後筆墨的探戈：機器美學與當代水墨的轉型

The Tango of Post-Ink: Machine Aesthetics and the Transformation of Contemporary Ink Art

當代水墨藝術正面臨著AI與自動化科技所帶來的深刻變化，而過往研究較少針對此科技轉型，提出系統性的分析視角。據此，本研究旨在探討傳統水墨於科技時代的轉型路徑，並提出「後筆墨」作為核心分析概念。研究方法結合理論架構與案例研究，借鑑Andreas Broeckmann的機器美學理論，並深入剖析姚瑞中、黃宏達以及鍾愫君等三位藝術家的創作。本文指出，當代水墨的創新關鍵在於「創作方法論」的建立，呈現出從「人力驅動」到「機器創生」的連續系譜。此分析的主要貢獻為：建構了「機器美學」與「後筆墨」之間的理論連結，將論述重點從筆墨技巧引導至對觀念設計與生成邏輯的關注，為水墨藝術在科技時代的發展提供了新的分析框架。

Contemporary ink art is facing profound changes brought about by AI and automation. Previous studies have offered limited systematic analytical perspectives on this technological shift. In response, this study aims to explore the transformation of traditional ink art in the technological era and proposes“post-ink”—understood not as a rejection of ink as a material medium, but as a shift from medium-specific techniques toward a reconfiguration of generative logic and system agency—as a core analytical concept. This research methodology combines theoretical frameworks with case studies, drawing on Andreas Broeckmann’s theory of machine aesthetics, and closely examines the works of three artists: Yao Jui-Chung, Victor Wong, and Sougwen Chung. This paper argues that the key to innovation in contemporary ink art lies in establishing a“methodology of creation”that reveals a continuum from human-driven to machine-becoming processes. The main contribution of this analysis is the construction of a theoretical linkage between“machine aesthetics”and“post-ink,”shifting the focus of discussion from brush techniques to conceptual design and generative logic. This study provides a new analytical framework for the development of ink art in this technological age.