This article discusses research that employed practice-led and action research methods to study the tacit knowledge of painting practice and its application to teaching. Polanyi’s theory of tacit knowledge is used to analyse the non-verbal, experience-based knowledge of painting to construct a discursive relationship between the dual practices of painting and teaching. The research was undertaken in the context of a twelve-week class in landscape painting for adults in a non-profit art school. Within the context of the class, a series of paintings was created and documented. By analysing the focal and subsidiary knowledge of the painting processes, several distinct patterns of action and thinking emerged. These patterns were synthesised into three modes of thinking that integrate the mind, body and materials. The outcome of the study is a preliminary model that describes painting as a dynamic multi-modal thinking process, integrating visual perception, material actions and expressive ways of thinking. The discussion includes a detailed description of the research methods, the data analysis, the application in teaching, and the embodied nature of cognition in the painting process.

中文翻译：

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绘画的隐性知识：从工作室到课堂

本文讨论了以实践为主导和行动研究的方法来研究绘画实践的隐性知识及其在教学中的应用。波兰尼的隐性知识理论用于分析绘画的非语言性、经验性知识，构建绘画与教学双重实践之间的话语关系。该研究是在一所非营利艺术学校为成人开设的为期 12 周的山水画课程的背景下进行的。在课堂的背景下，创作并记录了一系列绘画。通过分析绘画过程的重点和辅助知识，出现了几种不同的行动和思维模式。这些模式被合成为三种思维模式，将思想、身体和材料融为一体。该研究的结果是一个初步模型，将绘画描述为一个动态的多模态思维过程，整合了视觉感知、物质行为和表达思维方式。讨论包括对研究方法、数据分析、教学应用以及认知在绘画过程中的体现性的详细描述。