1964年，台灣籍藝術家林壽宇（1933–2011）代表英國參與德國卡塞爾舉行的第三屆卡塞爾文獻展（documenta），在「代表1964年藝術面向」的展區中，展出三件《繪畫浮雕》作品，林壽宇的《繪畫浮雕》畫面用色簡約、構圖嚴謹，僅以幾何形式構成。
本論文以研究林壽宇的《繪畫浮雕》作品為主軸，藝術家約於1960至68年間進行創作，包含1964年在第三屆卡塞爾文獻展展出的三件作品，此篇論文由下列三部分構成。首先，將對林壽宇的藝術生涯進行疏理，尤其是藝術家早期英國生活期間(1952–2002)。接著，將進行《繪畫浮雕》的視覺分析，透過解析作品中的形式特徵，回答何謂「繪畫浮雕」。最後，將進一步以結構主義和極簡主義等理論作為基礎，分析林壽宇《繪畫浮雕》作品中的概念。

In the year 1964, the Taiwan-born artist Richard Lin Show-Yu (1933–2011) participated in the third edition of the world-renowned exhibition documenta in Kassel representing the United Kingdom. In the section “Aspekte 1964,” dedicated to outstanding contemporary artists, Lin exhibited three works each labeled Painting Relief that impress by their simplicity and neatness of execution. Due to their geometric rigor, reduced color scheme and rational composition, Lin's Painting Relief look unpretentious and seem, at first glance, easy to grasp. When examined more closely, the works reveal an astounding formal preciseness, subtlety, and diversity in their substance.
In order to achieve a more in-depth evaluation of Richard Lin's œuvre, the present Master's Thesis turns its focus on a small part of the artist's creations, a work group titled Painting Relief, including the three works shown at the documenta in 1964. Executed in the time period between 1960 and 1968 circa, these works form a loose series that shares formal and content-related aspects with European movements of the postwar period, especially with Constructivism and Minimalism.
The primary goal of the research is to comprehend what Painting Relief is. To answer this question, a versatile methodological approach will be applied. Systematic formal analysis of the works will create the basis of the overall survey scrutinizing their possible coherence or diversity. In order to better understanding Painting Relief and to find the sources, which might have influenced its aesthetics and the concept, the present thesis will, firstly, offer an introduction into the artist's career with special regard to the earlier part of his life passed in the United Kingdom (1952–2002) and an overview of the literature dealing with Lin's work. To suggest the notion of a possible development of the paintings, a chapter with in-depth analyses of the main works presented in a chronological order has been chosen to exemplify the analytical approach to the works' form. Finally, theoretical approaches to Painting Relief will be undertaken. A catalogue raisonné equipped with the basic information in the attachment will provide a chronological overview of the entire series, as far as it is known.

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