【作者】 武小川；

【导师】 杨晓阳；

【作者基本信息】 西安美术学院 ， 美术学， 2012， 博士

【摘要】 本文着眼于20世纪中国高等专业美术院校中的美术教学模式，通过研究其肇造、发展、固化的演进过程，分析内在特征与影响因素，剖析实质，反思经验，提出构建当代专业美术教学模式的设想，并以具体的方案为依据进行论证。本文将在美术教学理论研究的基础上提出一些个人的学理性思考。全文分为六个部分。第一部分对专业美术教学模式出现的问题予以梳理，并对其在美术教育中的核心作用与对人才培养的决定作用，予以分析，依据研究现状，界定核心概念与研究范畴。第二部分着重梳理20世纪美术教学模式的演进过程，辨析移植与仿制、正规化与学院派的轨迹。第三部分剖析其西化的技术主张、评价标准、理论定位与西化的价值导向，揭示在被误读的西方与被改造的传统等结果的共同作用下，百年来中国美术教学延续的西化模式所造成的文化自我的迷失、价值判断的混乱、评价标准的单一等现象。第四部分以中国文化的主体性重塑为理论前提，论证构建中国当代美术教学模式的思路与方案。分析主体性重塑是价值实现的前提、是自由实现的保障、是模式构建的基础等基本观点，支撑构建美术教学模式必须对应教育、文化与艺术的共同目标，以“强化中国美术内容、贯穿中国艺术方法、树立美术教学的多元标准”为构建思路。第五部分以人文为核心的艺术学科，建立“学科基础+实践创作”的教学模式，并以造型学科为例，对其中核心的四大课程板块的价值指向等进行论述；同时，提出体系开放的两阶段模式，保障有效实施的专业融通的工作室制，提出目标分类的学分制等运行机制与多元、独立的评价机制。第六部分得出本文的结论，建立从“科学”走向人文的学科理念，塑立从写实走向写意的艺术观念，整合从割裂走向整体的课程体系，实现从西化走向中国化的教学模式，坚定发展中国美术的文化立场，以此来实现中国美术之独特价值。更多还原

【Abstract】 This dissertation focuses on art education model in Chineseprofessional schools of higher education level. It studies the evolvingprocess covering the originating, evolving, and solidifying stages,analyzing the innate characteristics and influential factors,dissecting essential materials, revisiting experiences, hence resultedin a new vision for constructing contemporary professional art educationmodel, while tested with specific projects. This dissertation willpresent certain academic thoughts based on the study of art educationtheory. The dissertation comprises of four parts.The first part deals with the issues emerged with the professionalart education model, smoothing out the problems while analyzing itspivotal and decisive effect upon art education and talent training. Itdefines the core concepts and sphere of study.The second part concentrates on the evolution of twentieth centuryart teaching model, differentiating the trail of borrowing and copyingof regular and academic schools.The third is by analyzing their Westernized technique proposals,judging criteria, theoretical stands, and value systems, it is to revealthat through the combined efforts of misunderstood West and remadetradition, Chinese art education during the last hundred years has beentrapped in the lost of cultural identity, and confusion of value judgment, and monochromatic criterion.The fourth put rebuilding of the subjectivity of Chinese culture asthe theoretical premise, arguing the paths and projects for constructingChinese contemporary art education. The fundamental ideas thatrebuilding upon subjectivity is the prerequisite for achieving values,is the safeguard for obtaining autonomy, is the basis for constructinga model, will sustain the making of a art education model which facesmutual objectives of education, culture, and art; The ideas for newconstruction is based on “strengthening contents of Chinese art,underpinning with Chinese art methods, while establishing pluralistvalue system in art education”.The fifth are of the Humanities as the core artistic disciplines,and proposes a teaching model with two stages and four modules as“academic basis plus creative practices”. It use plastic art major asan example, discussing the issues like value guiding in its four corecurriculum blocks, while suggesting a two stage module with open system,guaranteeing an effective inter-disciplinary studio system, and anoperating system with goal differentiation and credit system, and apluralist, independent evaluation mechanism. Furthermore, based on apersonal experiences and current development, it envisions the positiveimpacts of main theme like educational reform, mechanism transformingof “problem consciousness”, and promoting the creativity ofteacher-artist, will be in the constructing of a new art education model.The final part comes to two conclusion of this dissertation. Theemphasis of the cultural intention of constructing Chinese contemporaryart education, is actually a self-motivated, self-conscious, autonomous,self-determined cultural action and educational practice to reshapingChinese cultural subjectivity in art education, while forming asteadfast cultural stand of Chinese art to express the teaching idealin an art education that celebrate the unique values of Chinese art while promoting the free spirit of art.更多还原