【作者】 应宜文；

【导师】 任平；

【作者基本信息】 浙江大学 ， 中国古典文献学， 2013， 博士

【副题名】以中西美术教育改革比较为视角

【摘要】 20世纪初期,中国美术教育呈现“中西兼学、博采众长”的局面,中国传统画院、师徒制美术教育模式和西画教学并行发展；国学思想与西方美术思想兼容并蓄,使中国美术教育进入探索与求真、借鉴与开拓、传承与改革的特殊转型时期。同一时期,西方国家经历一战后及二战前夕的社会变革、经济动荡而产生诸多问题,使西方美术教育及美术创作风格都出现重大改革,受表现主义和重建主义思潮影响呈现两种美术教育模式并行发展的趋势。本文研究以中西美术教育改革比较为视角,从宏观分析美术教育法规到微观研究美术教材、美术课程以及美术教育家的教学实践,探讨了20世纪初期中国美术教育转型的意义与影响。论文分五章。第一章对中国一千五百多年以来画学教育文献考辨与梳理,总结传统中国美术教育的特性、20世纪初期传统美术教育的改革举措及转型的历史根源。第二章考述了西方美术教育体系传入中国的历史、蔡元培西方美育思想溯源以及留学生引进西方美术教育体系对中国美术教育转型的影响。第三章论述了美术教育家的西方美术思想接受研究及其对美术教育改革的贡献,并以西方美术教育家阿瑟·韦斯利·道为例,比较中西美术教育观念的异同。第四章解读西方美术教育法规文献并分析其优劣,总结1900-1936年中国美术教育法规与纲领文献的特点与转型观念,思考西方美术教育改革适合在中国推行的具体措施。第五章阐述了20世纪初期(1900-1936)中国出版的各类美术教材与画谱以及同时期西方畅销的各类美术教材或美术教学文献的整体状况与特点,结合中西美术课程教学模式,探讨中国美术教育改革的特点与转型的深远意义。本文立足于原始文献,一方面钩稽通行之史料,一方面到实地搜求西方美术教育文献材料。通过中西文献比较研究,思古论今、纵横中西,在比较研究中西美术教育法规、美术教育观念、美术教材与美术课程,总结20世纪初期中国美术教育转型的历史根源、特性、成果与历史意义等方面做出了一些新的探索。更多还原

【Abstract】 During the early20th century, the art education in China presented a situation in which Chinese and Western learning paradigms went hand in hand, giving play to the advantages of both. The traditional Chinese painting academy, the master-apprentice mode of art education, and the and teaching of Western painting saw parallel development. The Chinese national culture and Western art ideology were both fully included. As a result, the art education in China entered a special period of transition marked by exploration and truth, reference and development, and inheritance and reform. In the same period, art education in the West and the styles of its creative arts underwent significant reforms following the social changes and economic turmoil from the end of World War I to the eve of World War Ⅱ. The impacts of the Expressionist and the Reconstructionist led to the parallel development of two trends in Western art education.This dissertation explores the sigmificance and influence of the transition of art education in China in the first period of the20th century from a comparative perspective of Chinese and Western art education reforms. It extends from a macroscopic analysis of Art Education Regulations to the microscopic study of art materials, art curriculum and art educator’s teaching practices.The dissertation is divided five chapters. Chapter Ⅰ makes a comprehensive and methodical review of ancient texts, documents and literature on Chinese traditional painting education over a period of more than1500years. It sums up the characteristics and reform initiatives of traditional Chinese art education, and the historical roots of the Chinese art education transformation in the early20th century. Chapter Ⅱ sketches the history of introducing Western art education system into China, traces Cai Yuanpei’s thoughts on Western aesthetics back to its origin, and outlines the influence of returned students from abroad who pioneered the introduction of the Western art education system into China. Chapter Ⅲ expounds how art educators in China studied and accepted the Western art thinking, thereby contributing to the art education reform in the country. The noted Western art educator Arthur Weslay Dow is taken as an example to show the similarities and differences between Chinese and Western art education concepts. Chapter IV interprets Western art education regulations, analyzes their advantages and disadvantages, and sums up the characteristics and guiding concepts of Chinese art education regulations from1900to1936. On this basis, it enumerates the specific steps to apply thoughts about Western art education reform to the art education in China. Chapter V elaborates all kinds of art textbooks and art materials which were published in China and the most popular art textbooks and art education literature in Western countries from1900to1936, offering an overall view of the situation and characteristics. Through a comparison of the teaching paradigms of Chinese and Western art curriculums, it seeks to provide an insight into the Chinese art education reform and the significance of its transformation in the early20th century.The author attaches special importance to the study of historical literature, trying to thoroughly digest historical materials on the one hand, and conduct, on the other hand, on-the-pot investigations in Western countries as well as in China. In so doing, the author hopes to provide some new, original ideas on the Chinese art education transformation in the early20th century.更多还原