瓦萨里的艺术教育思想研究

【作者】 朱立文；

【导师】 周春生；

【作者基本信息】 上海师范大学 ， 世界史， 2014， 博士

【摘要】 2011年7月30日，是意大利著名画家，建筑师，艺术史家乔治欧?瓦萨里(Giorgio Vasari，1511—1574)诞辰五百周年的纪念日。在意大利文艺复兴的中心——佛罗伦萨举行了一系列的学术研讨会来纪念这位为人类文化艺术发展做出杰出贡献的伟人。瓦萨里被公认为文艺复兴时期人文主义运动的重要代表人物之一，他的艺术史著作《艺苑名人录》(Le vite de più eccellenti pittori, scultori earchitettori，又译《最杰出的画家、雕塑家以及建筑师传》，（以下简称《名人传》)生动地记载了一百六十位文艺复兴时期艺术家的生平事迹和他们的主要艺术成就，从早期的契马布埃(Giovanni Cimabue,1240—1300)﹑乔托（Giotto diBondone，约1267－1337）到文艺复兴巅峰时期的米开朗基罗（MichelangeloSimoni，1475—1564）、提香(Tiziano Vecellio,1488/1490–1576)等这些至今仍对人类艺术发展极具影响力的艺术大师。瓦萨里除了在艺术史方面所创具的成就之外，还在建筑设计、绘画创作与艺术教育等领域独领风骚，受到了当今众多学者的关注。瓦萨里的艺术教育思想主要有以下三个特征：第一，强调写生，瓦萨里的艺术理论崇尚艺术家应以自然为模仿对象的自然主义艺术理念，这使他对于艺术学习过程中的写生（对象为古典雕塑和自然事物本身）十分重视；第二，注重培养人的全面发展，他认为艺术家除了技法，应该掌握解剖、数学和哲学等多种学科；第三，通过艺术教育形成统一的艺术风格，他希望组织有规划的训练与学习，使学生最终形成固定且特征鲜明的风格。瓦萨里创办的“迪塞诺”学院为佛罗伦萨培养更多的年轻艺术家，也正是基于以上的教育思想。本篇论文共分四章。第一章介绍了瓦萨里在故乡阿雷佐的生长环境、生平记事、艺术生涯与成就。此章还简述了14—16世纪意大利的艺术环境和文艺复兴时期艺术教育，以及成立“迪赛诺”学院的社会背景。从分析阿雷佐、佛罗伦萨等托斯卡纳地区的城市人文主义运动圈的形成原因入手，反映了文艺复兴时期的艺术圈中的保护人、行会、手工作坊，以及艺术家们通过种种艺术手段使其社会地位发生变化的过程。在中世纪时期，手工艺人的社会地位比较低下，他们主要从事为宗教场所和各种宗教活动提供装饰、布置、圣器制作等服务。但随着文艺复兴的到来和人文主义运动的兴起，逐渐唤醒了艺术家的社会意识，他们要求得到比工匠更高的社会地位并最终得到公允，从而使绘画、雕塑、建筑等视觉艺术从“机械艺术”逐渐进入至“自由艺术”的高层次范围。艺术家的社会地位也由此发生了相应的改变，开始成为达官显宦的座上宾。到了16世纪，米开朗基罗、拉斐尔、切里尼和瓦萨里等一批知名艺术家在上流社会圈内的活动非常频繁。此时，旧的作坊和行会组织显然已经不能满足社会的需求，艺术教育逐渐成为了完善上层意识形态中不可取代的重要部分。因此，其为瓦萨里在柯西莫?德?美第奇（Cosimo I de Medici，1519—1574）的支持下建立“迪赛诺”学院提供了良好的契机。第二章关联瓦萨里教育思想的核心内容，着重介绍了瓦萨里本人的艺术教育思想的核心价值观，即他对艺术教育的理论与实践的探索；对技法审美意识与艺术美学观的研究，特别是对“赋形”概念的认知。其中，文章还探讨了哲学与艺术之间的互为递进关系，并列举了瓦萨里提出的关于艺术家接受教育的标准。本章节的作用是将瓦萨里的巨作《名人传》中的艺术思想与“迪赛诺”学院的教学实践的基本框架联系起来，一方面，瓦萨里受到了新柏拉图主义和亚里士多德“模仿论”的影响，认为人的灵魂可以通过艺术得到升华而更近于“神性”，使艺术创作成为一项崇高的事业。另一方面，他又认为艺术家应该以自然为对象，必须持有良好的道德标准，即一个优秀的艺术家，必须持有聪明的天赋和接受良好的教育，特别还应该德才兼备。此外，这一章通过介绍瓦萨里的艺术实践过程，使我们了解到更多的有关他多才多艺以及在多个艺术领域有所建树的资料。第三章主要介绍了瓦萨里创建的“迪塞诺”学院成立过程与设置章程情况。此章的第一部分介绍了学院的成立过程、艺术教学模式以及参与人员等情况，分析了瓦萨里是如何将自己的艺术教育理论与实践结合为一体，以及他对“迪赛诺”学院的未来规划。瓦萨里希望将“迪塞诺”学院作为艺术家的新团体，并取代传统的行会与作坊。同时，结合瓦萨里重视的基础学科训练与理论学习的价值，使我们认识到学院的创建实质是人文主义范畴内的文化创造。第二部分通过详细介绍“迪赛诺”学院的章程制定过程和内容，以及瓦萨里根据章程所实施的教学模式，进一步阐明了学院作为贯彻瓦萨里艺术教育思想实验场的重要意义。学院章程具有前瞻性，其存在的意义大大超越了当时任何一个绘画作坊或者一个致力于“赋形”的艺术家组织。从某种程度上说，章程奠定了“迪赛诺”学院成为当时佛罗伦萨最重要艺术机构以及的地位。此章第三部分回顾了“迪赛诺”学院四百多年来的发展历程，奠定了“迪赛诺”学院成为世界最重要艺术机构之一以及对后期的西方美术教育起着重要的影响。第四章的主题是探讨“迪赛诺”学院之后的东西方艺术学院的发展情况。瓦萨里的学院创办理念带来了一种接近于现代观念的艺术教学思路。“迪赛诺”学院的影响力跨越了文化和历史的界限，不仅在16世纪以后西方美术学院的发展模式上有所体现，如果我们观察当今中国的艺术教育模式，仍然可以看到“迪赛诺”艺术学院留下的痕迹。更多还原

【Abstract】 Jul.30th.2011is the500th Birth Anniversary of Italian famous painter, architect,art historian Giorgio Vasari (1511—1574). In the center of the Renaissance-Florence,a series of the symposiums be held to commemorate this great man who madeoutstanding contributions to cultural development. In his famous art history writing,Lives of the Most Excellent Painters, Sculptors, and Architects (Le vite de piùeccellenti pittori, scultori e architettori)，which recorded vividly the life stories about160artists who lived during the Renaissance period, from Giovanni Cimabue,(1240—1300),Giotto di Bondone(1267－1337), to Michelangelo Simoni(1475—1564), allthe masters had maden gread great influence on the development of human arthistory. Not only his art history study, Giorgio Vasris achievements of art education isalso a hot topic in the research field.From my learning experience, and interest in art theory and practice, historyand other aspects, my thesis through the study of Vasaris life experience, artisticpractice, history books and paintings to explore aspects of his artistic thought,especially his art education practice.Vasaris art education ideology has the following three characteristics: First, theemphasis on painting, Vasaris art theory advocating artists should be natural for thenaturalistic philosophy of art imitating objects, which makes him the art of painting inthe learning process (objects of classical sculpture and nature of the thing itself)attaches great importance. Second, pay attention to the overall development ofhuman culture, he thinks artists in addition to techniques should be masteredanatomy, mathematics and philosophy and other disciplines.Third, the formation of aunified education through art artistic style, he hopes to organize a planned trainingand learning, to enable students to eventually form a fixed distinctive style andfeatures. Vasari founder of the Disengno Art Academy for Florence train more youngartists, it is also based on the above educational thinking.My thesis consists of four chapters. The first chapter introduces the Vasarihometown Arezzo in artistic environment of Renaissance as well as his personal life, including his learning career. The chapter beginnings with the introduction ofVasaris family and his art studying experience. Secondly, I combined with theexperience of Vasari to analyze the process of his future artistic education thoughtformation.The chapter also analysis the social condition in Renaissance Italy,especially the formation of humanistic movement circle city Arezzo, Florence, andthe other Tuscany areas. Followed by analysis of Renaissance art circle, including theprotection of guilds, companies, artisan workshops, and the change of artistssactivities and social status.To speak about the craftsmens social status in the middleages, they mainly engaged in decoration, layout, Hallows production services to theplaces of worship and religious activities. But with the rise of the coming of theRenaissance and humanism movement, gradually awakened the artists awareness ofself-protection. They demanded a higher social status than the craftsmen, areallowed to get public recognition, and resulting in painting, sculpture, architectureand visual art from the concept of "mechanical arts" gradually break away, into the"liberal arts". By the end of the sixteenth Century, famous artists, such as Cellini,Vasari and others in the upper society circle activities are very frequent. Obviouslythe old workshop and the organization has been unable to satisfied the artists ofRenaissance time, for this Cosimo I DeMedici(1519-1574) provides a goodopportunity to establish the "Disegno" academy under the support of the school.The second chapter introduces Vasaris theory of art education, which includeshis art theory foundation, his own concept of disegno and art practice. These twopoints as the basic framework of the educational thoughts of Vasari. Further more,the chapter discusses the climactic relationship between art and philosophy and alsoexamples the principles which Vasari pointed out of his art education. The aim of thesecond chapter is to contact Vasari’s thought of art that mentioned in the lives, onthe one hand, from the artistic point of view, he was influenced by the Neoplatondoctrine and Aristotle "theory of imitation", that the human soul can be sublimatedthrough art, closer to the "divine", make art become a noble cause. The naturalistictendency in Vasari from the "theory of imitation", believed that artists should takethe nature as an object. He also insisted that the artist should make a moral standards, for a good artist, has the talent and the good education are not missing.On the other hand, he also must have good moral character. This chapter alsointroduces Vasaris artistic practice, because all his art education idea cannot dowithout rich practical experience. Vasari gifted in many ways of art, made artachievements in many fields.In addition to art history books mde told, he alsoengaged in church frescoes, architectural design and indoor and outdoor celebration,know about the process and steps of the crafts and arts.The third chapter mainly introduces Vasaris Disegno Art Academy. The first partof this chapter introduces establishing in-process, teaching mode, and membersinvolved in the case. The second part discusses "Disegno" Academy as theexperimental field of the idea of Vasari, but also the history of the first Academy ofFine Arts, plays an important influence on later Western art education. This chapteralso analyses how Vasari combines art education theory and practice of their own asa whole, and he himself on the "Disegno" Academy of planning for the future. Vasariwants to "Disegno"to be a new association of artists, and to replace the traditionalguild and workshop. The process and significance of the combination of the school,this chapter according to the collected historical data to review, summarize. In asense, articles of association laid "Disegno" became the most important artinstitution of Florence art agency status.The third part reviews the development ofDisegno Academia for four hundred years, which laid Disegno to be one of importantart institutions over the world and made the deep influence to Western arteducation.The fourth chapter mainly talks about the development of the Disegno Academyof Eastern and Western art education.How Vasaris art education thought improve thedevelopment of Western art, help us to study his "Disegno" concept, which is amodern approach new art teaching ideas.Disegno Academia’s influence not onlyreflects on the art education model of Western art college after16th century. Itcrossed culture and transcended time.Even from today’s Chinese art education, westill could find some sign be left by Disegno Academia.更多还原