當今社會隨著都市化的轉變，人與人連結消失了而出現”大眾”，社會中偶像、娛樂媒體取代古代宗教，宗教已經沒有再扮演心靈寄託的獨一無二地位，精神寄託在當今已經由神轉變為各種不同的偶像，而當今的迷文化也是在此之下形成的特殊文現象。初音未來在大眾文化中占有相當的影響力，虛擬歌手成為眾人心中不可取代之偶像，在它們以迷的身分在進行活動時，環繞關於投入奉獻的舉動即與宗教活動在經歷上產生了相似性，因此在這樣的背景下筆者想以神聖化的形象來為初音未來造像，將當代虛擬偶像以宗教畫的形式營造出神聖感，散發靈光。
在歷史中宗教畫家們沒有人看過聖經中的耶穌、聖徒們，但卻藉由想像與約定俗成的符號來詮釋它們，如耶穌的形像、聖徒們與聖母衣著的顏色，這些都是藉由社會中共同認可具有文化意義背景的符號；同樣的初音未來為一個虛擬的角色，它沒有真實的形體但有一個普遍認定的形象，若將這形象符號化的方式使用，即使是不同的人五官膚色不相同，但只要能使用初音未來的符號依然具有詮釋其的正確性。
將這形象以人的方式來詮釋，這即是角色扮演者在做的事。如同畫家們在畫宗教畫時，因從未有人看過神的樣貌，無論如何都必須附著在「人」的身上，對照初音未來的文本脈絡，若數位角色必須臨現在現實當中，在今日便是附著於稱之為 cosplay 的角色扮演者身上。因此為初音未來造像的宗教畫，便是以角色扮演者為對象進行。

In today's society with the transformation of urbanization, people link disappeared and the emergence of "public", the community idol, entertainment media to replace the ancient religion, religion has no longer play the unique position of spiritual sustenance, spiritual sustenance in today has been transformed by God For a variety of different idols, and today's fan culture is also under the formation of the special phenomenon. The future of the Hatsune has a considerable influence in the popular culture, and the virtual singers become unparalleled idols in the minds of the people. When they are in the form of fans, the activities surrounding the devotion are similar to those of religious activities , So in this context I want to sacred image to the future of the original sound of the original, the contemporary virtual idol in the form of religious painting to create a sense of sacred, distributed emmanuel.
In the history of religious painters who have not seen Jesus in the Bible, the saints, but by imagination and the common symbol to interpret them, such as the image of Jesus, the saints and the Virgin dressed in color, these are by the community The same vowel future for a virtual role, it does not have a real form but there is a generally recognized image, if the image of the symbolic way to use, even if the different people facial complexion Not the same, but as long as the use of Hatsune's future symbols still have the interpretation of its correctness.
This image is interpreted in a human way, which is what role-playing is doing. As the painters in the painting of the religion, because no one has ever seen the appearance of God, in any case must be attached to the "person" who, against the future of the text of the text, if the role must be present in reality, Is attached to what is called cosplay role players. So for the sound of the future of the original portrait of the religious painting, is the role of actors for the object.

中文書目：
1. 卡拉瓦喬Caravaggio，何政廣/主編，陳英德、張彌彌/合著，台北：藝術
家出版社，2005
2. 朱光潛，《西方美學史》，台北市 : 漢京出版，2015
3. 瑪莉塔．史特肯 (Marita Sturken)、莉莎．卡萊特(Lisa Cartwright)，《觀看
的實踐》，陳品秀、吳莉君譯， 台北:麥田˙城邦文化，2013
4. 李幼蒸《文化符號學 : 符號學和意識形態》臺北市：唐山, 1997
5. Matt Hills，《探究迷文化》，朱華瑄譯，臺北:韋伯文化國際, 2009
6. Niklas Luhmann，《社會中的藝術》，張錦惠主譯,國家教育研究院與五南圖
書合做翻譯發行
7. W.J.T 米歇爾，《圖像學：形象、文本、意識形態》，陳永國譯，北京：
北京大學出版社，2012
8. 羅蘭巴特（Roland Barthes），《流行體系(二)－流行的符號學》，桂冠圖書，
2011 四刷
9. 吳逸驊，《圖解社會學》，台北：易博士，2004
10. Lone Bell，《藝術鑑賞入門》，台北；雄獅圖書，1984
11. 班雅明(Walter Benjamin)，《迎向靈光消失的年代》，許綺玲譯，台北:台
灣攝影工作室，
英文書目：
1. Alex Potts, “Sign,” in Robert S. Nelson & Richard Shiff ed., Critical Terms for
Art History, Chicago & London: The University of Chicago Press, 1996,
2. Cavicehi,D.,Tramps Likes Us：Music And Meaning Among Springsteen
Fans,Oxford:Oxford University Press,1988
網路資料：
1. 林心如，〈現代繪畫的先驅—Edouard Manet 回顧展〉，MOT TIME 明日誌
2. 陳采瑛，「不是「偶像崇拜」，是「迷文化」」，自由時報，2004 年5 月
28 日，第15 版。