從古至今世人都希望能將經典透過臨摹、拓印等方式，讓美好的文物、藝術品得以流傳；著重文化資產保存的博物館也透過複製技術，對於藏品進行保存、教育、修復等研究工作，手法、材料與使用目的隨著時代變化也有所不同。今日在數位科技的輔助之下，數位影像所能支援的解析度愈來愈精細，印刷複製技術日益精良；然尚有一群珂羅版工藝技師遵循著古法，仍沿襲著過往手工方式進行底片分色、修版、套印，以量少質精的要求追求文物的擬真性。
中國國家高級工藝美術師李東方，作為珂羅版複製技術的佼佼者，早年憑藉著熱情遂而前往敦煌投入珂羅版技術研究，前後長達廿餘年。壁畫顏色日漸斑剝褪色，卻能透過珂羅版複製技藝將當時的壁畫樣貌凍結，嶄露保存文化資產的另一種可能性，也奠定了日後各類經典書畫複製的製作水準。為了呈現珂羅版複製的每道手藝，展區特別規劃實地全景的多媒體互動裝置，猶如親臨北京工作室現場，一探珂羅版製作過程。
臺灣在地文化館舍不遑多讓，國家圖書館、國立臺灣文學館、國父紀念館皆有彌足珍貴的複製館藏，作為文物保存以及教育推廣之用。產業界亦有一片天地，運用珂羅版製作、平版印刷以及噴墨列印等技術，與兩岸各大博物館進行合作，吸引不少收藏者的目光。我們以館內典藏品的複製為例，展現噴墨列印的複製過程，提供觀眾比較欣賞。
絕品的複製除了讓時間凝結，亦能跳脫出空間的侷限，具有文化保存、教育、展示以及文創加值等功能。複製技法無關乎好壞，也都有各自的擁護者，在欣賞這些「絕品的分身」同時，除了瞭解複製工藝的堅持與講究，展品本身蘊含的藝術與精神，才是為何值得大費周章，製造分身的原因。
Since ancient times, people have been eager to use methods such as reproducing or rubbing to preserve wonderful artifacts and arts. Museums with an emphasis on the preservation of cultural assets also utilize reproduction techniques to conduct research tasks such as preservation, education, and repair on their collections. The methods, materials, and purposes they employ have varied in different eras. With the help of digital technology, the resolution of digital images has become increasingly higher, and techniques for reproducing prints have also improved over time. However, a group of collotype artisans still follows the ancient method, using the inherited manual means to separate colors for the negatives, to edit the print, and to separately print the different colors. They obey the requirement of quality over quantity to strive for the vividness of the artifacts.
Li Dongfang, a senior national artisan from China, is an expert at producing collotypes. In her early years, her enthusiasm brought him to Dunhuang to study collotype printing techniques for over twenty years. Although the colors of the murals have gradually become mottled and faded, collotype techniques allow the features of the murals to be frozen and preserved. Collotype printing has proven to be a way to preserve cultural assets, and it set the production standards for various later reproductions of classic calligraphy works and paintings. To present every technique in collotype reproduction, the exhibition specifically planned a multimedia interactive device to present a panorama of a collotype studio. Visitors will feel as if they were at the studio in Beijing and will be able to learn about the collotype production process.
Many cultural facilities in Taiwan are also devoted to preserving artifacts. National Central Library, National Museum of Taiwan Literature, National Dr. Sun Yat-sen Memorial Hall, and National Chiang Kai-shek Memorial Hall have precious reproduction collections to preserve artifacts and promote education. The industry also utilizes technology such as collotype printing, lithography, and inkjet printing, in cooperation with major museums in Taiwan and in China, to attract the attention of collectors. This exhibition uses the reproduction of museum collections as an example to demonstrate the reproduction process of inkjet printing for the visitors to compare and appreciate.
Reproducing exquisite artifacts not only stops time but also escapes the limitations of space. It has multiple functions, including cultural preservation, education, exhibition, and the addition of value to culture and creativity. Various reproduction techniques have their strengths and weaknesses, and each has their supporters. When appreciating these reproductions of exquisite artifacts, in addition to understanding the insistences and emphases behind the reproduction techniques, the viewer should also pay attention to the aesthetics and spirits demonstrated by the exhibits, for those are the reasons why the artisans spend so much effort to produce these fine reproductions.
