【作者】 唐楷之；

【导师】 王冬龄；

【作者基本信息】 中国美术学院 ， 现代书法创作与理论， 2010， 博士

【摘要】 论文依据中国美术学院书法教育近半个世纪的历史沿革,重读大量珍贵的历史文献资料,合理利用当前书法教育的研究学理,借鉴相关人文艺术的学术研究方法,紧密围绕中国美院教育思想及策略主张,贯穿书法教育“传承与使命”的核心命题,探讨全球化、信息化、图像消费的新时代和中国高等书法教育的新格局下,“多元互动、和而不同”的当下策略中美院书法教育所面临的历史境遇和时代使命。在面对当代世界文化话语权纷争与文化安全问题的策略上,“和而不同”的学术思想与中国美院、中国文化主体精神的建构相互策应,将对全球性的视觉文化当代转向及当代美术学院教育革新,给出中国特色的策略回应。“固本培源”与“开拓创新”并进,形成全方位的美院书法教育学科体系,交叠而成今日书法教育研究与创作的强势资源,构筑新时代中国美术学院现代书法教育的创新特色。本文分为四个部分:第一章回顾历史创新文脉通过对蔡元培、林风眠、潘天寿三大教育家思想的阅读理解,从国立艺术院到浙江美术学院的历史沿革中以林风眠“调和中西说”和潘天寿“两座高峰并存”的学术主张形成两大文脉贯穿影响和作用于美术学院的历史发展进程,并在不同的时代发展格局中创新演绎,成为美院各个历史阶段的教育思想及学术策略。两大文脉既是美院思想的智慧之源,又是宝贵的、鲜活的、富于创造性的策略之源,为确立美院、以至书法教学的立场和特色指引了富于启示性的现代化、艺术化、国际化的势在必行之发展方略。第二章创建专业培养专才概述中国古代皇家书法教育及中国近现代高等书法教育肇始状态,从“鸿都门学”、“师范学堂”指向浙江美术学院创建新中国第一个高等书法教育,使“书法式微”的历史窘境正式步入美术学院教育体系——“培养专才”的艺术学科构建之路。进而以“文革”结束,中国进入改革开放的历史新时期中“’85美术新潮”为时代背景,将美院书法教育的复苏、成长与中国现代艺术的发生、发展、激变相交织,并通过作者亲身体验的美院书法专业本科教学的几个课堂案例,见微知著,反映这一时期书法教育研究和创作所取得的成绩,体现中国美术学院书法教育在新时期的新进程。第三章固本培源开拓创新进入二十一世纪以来,中国美院书法系“固本培源”与现代书法研究中心“开拓创新”的学术宗旨共同谱就新时代中国高等书法教育的新命题——构建中国美术学院现代书法教育新体系。从书法系和现代书法研究中心创建的历史文献中梳理学术研究的“标尺”新意,原创“国美模式”新图象,实践现代书法实验教学课题研究成果,从而全面反映新世纪中国美院书法教育践行新使命的时代壮举。第四章现代书法创新特色围绕“现代”、“现代性”的研究展开现代书法及其教育探讨的创新命题。秉承中国美术学院思想文脉和艺术创新实验的优秀学术传统,及其对当代艺术教育的影响和建构,赋予当下的现代书法教育构建科学发展、创新特色的时代命题。构建中国美术学院现代书法教育思想创新特色,践行时代使命,发挥“榜样”的无穷力量,塑造振兴中国书法艺术、复兴民族文化的鲜活生命,为中国书法的现代化,为中国高等现代书法教育,为繁荣当代艺术创新与学术研究做出新贡献!更多还原

【Abstract】 This dissertation is based on the historical transformation of calligraphy education at the China Academy of Arts during nearly half a century through the reading of a large amount of valuable historical documents; the use of research methodologies derived from the current calligraphy education as well as from the fields of the humanities and the arts. The study is focused on the educational ideals and strategies of the China Academy of Arts, and the core theme of‘inheritance and mission’which underpins the calligraphy education of the Academy. Within the context of a new era of globalization, information and image consumption, and with relevance to new models of calligraphy training in China’s higher-education system and under the strategy of‘multiple and interactive, harmonious yet different’set by the Academy, this dissertation discusses the historical circumstances and the present mission currently confronted by the calligraphy training of the Academy.In face of the debates on the power of cultural discourse in the contemporary world and the strategies of cultural defense, the academic ideal-‘harmonious yet different’proposed by the Academy in response to the construction of a subjectivity of the Chinese cultural spirit, will provide a strategic resolution with Chinese characteristics towards the global contemporary transformation of visual cultures and the educational innovations in contemporary art institutions. The academic objectives of‘consolidating foundation and cultivating resources’and‘initiation and innovation’implemented alongside each other, formed a comprehensive academic system and a powerful resource for research and practice of current calligraphy education; the dual objectives construct innovative characteristics of modern calligraphy education at the China Academy of Arts in the new era.The dissertation is divided into four chapters as follows:Chapter One Historical Review and Innovative ContextsThrough the study of the three leading art educationists Cai Yuanpei, Lin Fengmian and Pan Tianshou, this chapter reviews that the scholarly conceptions-‘harmonizing Chinese and Western [art]’proposed by Lin Fengmian and‘co-existing of the two peaks [-Chinese and Western art]’advocated by Pan Tianshou have formed two major innovative contexts which have underpinned and influenced the Academy’s historical transformation.The two contexts have invoked innovative implementations during the different historical eras, and have developed into the educational ideals and academic strategies of the Academy.The two dominant contexts are not the only source of the Academy’s educational ideals, but are also a strategic source of value, dynamism and creativity. It aims to establish a position and distinguishing features of the China Academy of Arts and its calligraphy education-the two contexts have guided the developing strategies of the Academy which are inspirational, modern, artistic and international.Chapter Two Establishing Specialized Subject and Training SpecialistsThis chapter is an overview of the imperial calligraphic training in ancient China and the initial situation of calligraphic training in the higher education system during China’s late imperial and modern periods. Historically, from Hongdumen Academy in the late Han Dynasty, the normal schools (established in China since the late Qing Dynasty) to the first tertiary-level calligraphy education founded at the Zhejiang Academy of Fine Arts in the People Republic of China, the predicament of traditional calligraphy’s decline had eventually been rescued and calligraphy training had been transformed into a part of the formal art education system-the path of‘training specialists’of artistic subjects.Later after the Cultural Revolution, China entered a new historical era of reform. In the background of’85 New-Wave Art Movement, interacting with the development and violent changes of Chinese avant-garde art, calligraphy education at the Academy went through a process of revival and growth. Through the analysis of a few examples of calligraphy lessons personally experienced by the author, the chapter presents achievements on the research and practice of calligraphy education at the Academy during the new era.Chapter Three Consolidating Foundation, Cultivating Resources, Initiation and InnovationEntering the twenty-first century, the academic objectives-‘consolidating foundation and cultivating resources’aimed at the Calligraphy Department and‘initiation and innovation’projected by the Modern Calligraphy Research Institute co-composed the new theme of higher-education calligraphic training in the new era - to construct a new system of modern calligraphy education at the China Academy of Arts.Based on the historical documents regarding the establishment of the Calligraphy Department and the Modern Calligraphy Research Institute, this chapter surveys the new significance of academic research on calligraphy education and proposes a new vision of the‘China Academy of Arts model’. Also, the chapter points out the achievement of experimental calligraphic training. Through these aspects, the new mission for calligraphy education at the China Academy of Arts in the new era is thus reflected comprehensively.Chapter Four Modern Calligraphy and Innovative CharacteristicsCentered on the notions of‘modern’and‘modernity’, this chapter discusses the innovation in modern calligraphy and its education. In accordance with the academic contexts and the excellent tradition of artistic innovation at the China Academy of Arts, as well as the Academy’s influence on and construction of contemporary art education, the discussion emphasized on the development and innovation which will contribute to the constructing of modern calligraphy education.In conclusion, the dissertation aims to construct innovative characteristics of modern calligraphy education at the China Academy of Arts. The study aims to revitalize and modernize Chinese calligraphy and national culture, to make new contributions to calligraphy teaching in China’s higher education system and to the flourishing of contemporary art as well as its academic research.更多还原