素描(drawing)在十七、十八世紀英國的興起是近來英國藝術史界關心的議題。然而，目前研究多著重在素描與水彩成為業餘高雅消遣的過程與現象，對於素描概念本身在這一個半世紀間的發展，尚未提出充分解釋；尤其有關義大利「設計」概念(disegno)對英國素描發展所造成的影響、素描和繪畫理論的關連、素描論述具有的社會意義等，皆仍待釐清。本文即針對此不足，從相關藝術、教育、哲學論述、素描手冊、百科全書等文獻，探討素描概念在這段期間的演變與意義。正文分為二部分，第一部分「為何素描」，從「實用論」與「博雅教育論」兩條脈絡探討提倡者如何申論素描的功能與價值。第二部分「何謂素描」，從「模仿眼見自然表象」、「理性化與理想化的設計」、「素描如書寫」三個面向討論素描的定義與評價標準，以及素描和繪畫的關連與意義。在十七世紀末、十八世紀初英國繪畫理論形塑時期，素描融合了設計概念，成為繪畫的要素，進而作為1768 年皇家藝術學院設置的理念基礎；甚至素描教育的推展也呼應了此一素描概念。尤為重要的是，當時提倡、定義或教導素描的文論，訴諸的對象並非只有職業藝術家，而是日益增長的閱讀公眾，所關心的也並非只有個人教養與消遣，而還有英國社會競爭力與人民品味的問題。如此一來，這些提倡素描的論述除了是「藝術論述」，更是「社會論述」，英國素描文化的發展也因此有了社會性的意義。

The rise of drawing in seventeenth- and eighteenth-century England has recently drawn attention in English art history. These studies, however, tend to focus on the phenomena and processes by which the art of drawing and watercolor became a polite pastime for amateurs. The changing concept of drawing itself through this period remains relatively under-explored. Certain questions particularly require clarification, such as those regarding the influence of the Italian ‘disegno’ on English drawing, the connection between drawing and theories of painting, and the social significance of discourses on drawing. This article examines how and why the concept of drawing changed in this period by examining relevant artistic, educational, and philosophical treatises, drawing books, and dictionaries and encyclopaedias. The main body of this article consists of two parts: the first, “reasons for drawing,” examines how advocates promoted the value and functions of drawing along the two lines of argument based on the notions of utility and liberal education. The second, “definitions of drawing,” discusses changing meanings and criteria of drawing, as well as the relevance of drawing to painting, as seen in “the imitation of visible nature,” “the rationalization and idealization of design,” and “drawing as writing.” The concept of drawing based on that of design was deemed an essential part of painting as the theory of painting was formulated in the late seventeenth and early eighteenth centuries in England. Later, it provided a conceptual foundation for the establishment of the Royal Academy of Arts in 1768. Moreover, it was echoed in the promotion of drawing education. Significantly, these treatises advocating, defining, or instructing drawing appealed to a growing reading public as well as professional artists, and addressed issues not only about individual breeding and entertainment, but also about the competitiveness and taste of the English people. In this sense, these discussions of drawing were not merely an artistic discourse, but also served as a social discourse, and the development of the culture of drawing therefore acquired social significance.

素描；設計；繪畫；藝術論述；近現代英國

drawing; design; painting; artistic discourse; early modern England