黃昌惠的花鳥畫稿對於當前水墨畫基礎教學的啟示

The Evolution of Foundational Ink-and-Wash Pedagogy: A Study of Huang Changhui's Preparatory Drawings for Bird-and-Flower Painting

黃昌惠是接替林玉山在師大美術系教授花鳥畫的老師，其授課模式主要仰賴質精量多的課徒畫稿，本文藉由對其畫稿之分析，闡述黃昌惠循序漸進的水墨教學體系，進而探討水墨基礎養成的時代變遷。從畫譜、畫稿意義功能的追溯，到近代學院體制取代傳統的師徒傳授，加上西畫語彙的衝擊，種種條件徹底改變了過去水墨專業養成的方式，及至當代資訊發達、多元價值之下，藝術表現之自由，令畫稿的臨習逐漸被視為落伍狹窄的傳統。然而，當我們反思當下水墨基礎養成的狀態，由於寫生、素描學習和照片刻畫的追求，使筆墨的操練與傳統範式的學習漸趨邊緣，水墨的主體性逐漸模糊。基於這番「何為水墨基礎？」的困境，檢視傳統畫稿的意義與功能，或許能夠提供若干參考的價值。

Professor Huang Chang-huei succeeded Professor Lin Yu-san in teaching traditional flower-and-bird painting at the Department of Fine Arts, National Taiwan Normal University. His pedagogy centres on a substantial personal archive of meticulously rendered preparatory drawings, which he provides to students as models for imitation and technical refinement. This thesis critically examines the role of Huang’s preparatory drawings, tracing a progression from foundational to advanced exercises, as a lens through which to explore shifting paradigms in the transmission of ink painting techniques over time.
From tracing the significance and function of painting manuals and preparatory sketches to examining how the modern academy system replaced traditional apprenticeship–and considering the impact of Western painting vocabularies–these factors have profoundly transformed the ways in which ink painting is taught and learned. In addition, in an era marked by the rapid dissemination of information, a plurality of artistic values, and the freedom of artistic expressions, the act of learning through preparatory copies is often perceived as outdated or restrictive.
In observing the dominance of life drawing, sketching, and photographic realism in today’s art education, I argue that the traditional ink painting pedagogy has been increasingly marginalised and the ontological significance of ink art is at risk of being diminished. This thesis revisits the challenging question of what constitutes the‘basics’of ink-and-wash painting and reassesses the role and significance of preparatory drawings. Through this reflection, I hope to offer meaningful insights for educators navigating the transmission of traditional artistic knowledge in contemporary contexts.