摘要
中国传统美术教育模式中在师承关系上有"技""艺"之分,并构成了中国古代美术教育的一大特征。侧重精神性追求的美术教育是"艺",它类同于现今的学校教育,例如汉代的鸿都门学和宋代画院;而以实用为主旨的美术教育是"技",就是只能以父子相传、世代相继的方式进行,成为所谓的"世业"。这两种古代美术教育模式,构成了我国传统美术教育的完整内涵,应证了中国古代美术教育的发展。检视中国传统美术教育的演变轨迹,这种"父子相传、师徒相授"的模式容易形成保守封闭,没有新意和创新的机制,甚至会导致一些特殊技艺的泯灭失传,但其教育模式有利于某些技艺向精细圆熟的方向发展。
In the style of Chinese traditional art education, there is a difference between ＂technique＂ and ＂art＂, which constitutes major characteristics of the ancient Chinese art education. Art education that emphasizes the spirit pursuit is ＂art＂ similar to the school education nowadays, such as Hongdumen school in the HAN Dynasty and art academy in the Song Dynasty. Art education that centers on the utility is ＂technique＂, which is only handed down from father to son, or from generation to generation tied of blood and has become the so-called ＂ancestor fortunes＂. These two styles of ancient art education have constituted a complete connotation of our traditional fine arts educa- tion and guaranteed the development of art education in ancient China. Cross-examined of the traces of the evolu- tion of Chinese traditional art education, this pattern of ＂Son inherits Father, Apprentice learns from Master ＂ is apt to the formation of the conservative mechanism devoid of new ideas and innovation, and even leads to perishing some special skills. However, this style of education is conducive to the perfect and precise development of some skills.
出处
《洛阳理工学院学报（社会科学版）》
2013年第5期87-89,共3页
Journal of Luoyang Institute of Science and Technology：Social Science Edition
关键词
美术教育
师承关系
得与失
art education
teacher-student relationship
gain and loss
