【作者】 邱正伦；

【导师】 张诗亚；

【作者基本信息】 西南大学 ， 教育学原理， 2009， 博士

【副题名】“77、78”大学美术教育现象研究

【摘要】 针对不仅备受美术界关注,而且引发社会关注的“77、78”现象,本文力图从中国当代大学美术教育的主体性视角对此做一系统研究。“77、78”作为美术界的热点现象,其影响已经十分广泛。许多走红中国乃至走红国际画坛的当代艺术家,要么是“77、78”中的一员,要么与此有着密切的联系。“77、78”艺术群体,为何能集体成名?为何能表现出如此强大的艺术创造力?为何能在中国当代艺术史上书写如此辉煌的篇章?对此又该作出怎样的解读?与此热点不相称的是美术界对“77、78”现象的关注主要集中在画家的个案研究上,缺乏从整体,尤其缺乏从当代大学美术教育的角度做深入系统的研究。为此,本文紧扣“77、78”美术现象为什么会形成,究竟是什么因素使得“77、78”具有如此旺盛的艺术创造力,这一教育现象对中国当代大学美术教育在培养学生艺术创造力方面有何理论与实践经验启示等问题,力图给出有说服力的解答,从而为当代大学美术教育提供可资借鉴的参考。由于学界尚无从整体上专题研究“77、78”现象的学术成果,本文对形成“77、78”群体的主体意识和形成“77、78”现象的时代语境进行了必要的阐释;然后,按照大学美术教育的主体性理论,对“77、78”在大学美术教育与社会历史之间、大学美术教学中教师与学生之间、艺术创造力与人作为主体自由发展之间等价值功能方面进行了深入系统的理论思考、分析和研究。为使本研究有一个客观准确的分析依据,笔者选择以“四川美术学院”为案例,运用统计分析、比较分析、社会历史分析等方法,将“77、78”与“87、88”,“97、98”,“07、08”等几个时期的相同专业进行比较分析,以此来观察学生艺术创造力的发展变化轨迹,探索影响艺术创造力的内在核心因素。由此发现从“77、78”以来,直到现在,中国当代大学美术教育在招生数量、师资配备、课程设置、教学环境等方面都有了明显的上升趋势,但从学生主动参加各级各类艺术展览、获奖情况、艺术创作现状来看,学生表现出来的艺术创造力呈现出严重的下降趋势。正是凭借对这一变化趋势的分析和思考,笔者发现了隐藏在“77、78”艺术群体具有强大艺术创造力这一现象背后的内在奥秘。通过对“77、78”美术现象深入系统的研究,笔者认为:(1)影响艺术创造力的核心因素是人的主体自由意识;(2)人的主体自由意识是在社会实践活动中形成和发展起来的,大学美术教育要培养学生的艺术创造力,就必须努力培养学生在艺术实践中的主体自由意识;(3)反映在大学美术教学中的主体性不是单一的主体性存在,而是师生双向的主体性交互模式;(4)“77、78”现象有望为中国当代大学美术教育的主体自由性建构提供积极有效的经验借鉴与价值启示。本文以“77、78”美术现象为研究对象,以探究艺术创造力的内在动力机制为旨归,从主体性理论建构方面回答了“77、78”在艺术创作上获得普遍成功的创造力动机问题,并基于此,本研究进一步思考了“77、78”现象在实践上如何为中国当代大学美术教育的主体性建构提供有效的经验模式和相应的价值启示等问题。更多还原

【Abstract】 In the following chapters we will offer a systematic research on the Autonomous artistic creativity in art education, by analyzing the phenomenon grade 77 and 78, the very people who are not only remarkable in professional art history of China, but also drawing public attention.It is intriguingly observed that many contemporary artists and painters from China, welcomed and acclaimed by reviewers both at home and abroad, are either a member of the well known "77, 78", or its direct/indirect descendant. It is this group that exhibits tremendous creativity never before seen since modern arts’ establishment in China. What makes the "77, 78" group’s universal success? How would one explain their remarkable contributions they have made to Chinese contemporary art? Traditionally, the researches on "77, 78" phenomenon were subjected to case study. The fact that it lacks an overall viewpoint and further discussions on educational doctrines leads us to put some weight on the resolution of following questions: What is the spiritual source of their artistic creativity? What can we learn from this in future art education?In case that former study on this subject is vacant, we might need to begin from ground zero. This paper begins with an explanation of historical background and social context of "77, 78", followed by an detailed narration on the relationship between the educational background of "77, 78" and the social history status of their time, as well as the relationship between teachers and students, and the connection between creativity and individual development.To make its arguments consistent, we have run a comparison of art student groups of "77, 78", "87, 88", "97, 98", "07, 08" in the famous "Sichuan Fine Arts Institute", with decades in between, only to discover, surprisingly, that despite the increasing of investments and the improvements both on hardware and software for art education, hard data covering exhibition entrance, awards received, working conditions and other aspects actually displayed a major downfall on the creative quality of our children. Yet we must admit, perhaps unwillingly, that the essence of artistic creativity comes from none of the above, but the automomy of its participant..Consequently, from studies on "77, 78" phenomenon we may conclude that: (1) Artistic creation relies on the subjective freewill of man; (2) Since the freewill of man is constructed through social practices, we must ensure this process as the major task in undergraduate art education to develop the creativity of students; (3) The subjective stance in art education is by no means individual, but interactive; (4) We must draw lessons from this phenomenon and, from which seek solutions to fix the current condition of our art education.The "77, 78" phenomenon serves as a specimen here purposed to reveal the inner strength of artistic creativity and to establish the relation between autonomy theory and the universal success of "77, 78" group. Any experience and conclusive guidelines from this will be priceless for today’s art education.更多还原