十九世紀末以來，西方現代藝術呈現多元發展，二十世紀初社象宣稱繪畫已死，藝術家們逐漸把觀看的方式改變，將視點從畫作內的故事轉變到畫作本身，探討繪畫本質。本研究以德國藝術家傑哈、李希特（Gerhard Richter）的玻璃板創作為例，導入發人省思的雙重層面：一是圖像的內容性及可辨識的意義。另一個層次是作品本身的物質性及當下存在的同時性。先從物質性觀點切，探討他在玻璃實體雕塑的應用，以其特性來比較繪畫及照相的固定影像。接著，以非物質觀點分析玻璃被體現在其「照相－繪畫」中的概念。

Western modern art has presented a diversified development since the end of the 19th century, and in the early 20 thcentury Marcel Duchamp claimed that painting is dead, artists gradually changed their way of observation, and changed their viewpoint to tableau itself instead of the function of story for discovering the essence of painting. This research takes a German artist Gerhard Richter's glass creation for example, importing the dual thought-provoking aspects: one is the content of the image and the signification identifiable. The other is the material of work concerning the simultaneity of work's presence. This paper will start from a point of view material, and discuss the artist's application of the glass sculpture. It is important to find the features of glass in order to compare fixed images of the painting and photography. Then, we use the nonphysical viewpoint to analyze the concept of the glass incarnated in Richter's photo-painting.