体制与规训之外——明代苏州文人的绘画教育  

Beyond System and Regulation:Art Education of the Suzhou Literati in Ming Dynasty

作　　者：汪涤[1] 

机构地区：[1]华东师范大学艺术学院,上海200062

出　　处：《美育学刊》2012年第3期4-9,共6页Journal of Aesthetic Education

基　　金：2008年度教育部人文社会科学研究一般项目<明清江南绘画与文学关系史>(08JC760008)的研究成果之一

摘　　要：明代科举教育十分发达,科举考试竞争也异常激烈。这一背景下的一些文人厌倦了规范化的考试,向往绘画等艺术活动。由于绘画活动本身是对体制化的科举教育和考试制度的反抗,绘画教育也体现出业余和非体制化的特点。基于士绅家族的丰富的、多元化的教育资源是这种非体制化教育得以开展的保障。绘画教育在理念上强调学古和综合,强调考据、品鉴等理论活动和创作实践的一体。在明末、清初的政治动乱中,苏州文人绘画教育较之画院体制的教育更具生命力和持续性,从而促成了南宗文人画主导地位的形成。The Imperial Examination had been fully established by the Ming Dynasty and there was cutthroat competition in it.Faced with such a situation,some literati grew sick of the standardized examination and turned to artistic activities like painting.As art was a revolt against the institutionalized imperial education and the examination system itself,it displayed features of amateurism and non-institutionalization.What＇s more,the rich and pluralist educational resources at the disposal of the gentry made such a non-institutionalized education possible.In art education emphasis was placed on concepts like emulating the old masters and synthesis and on the integration of theoretical activities like textual research and art criticism with creative practice.In the political turmoil of the late Ming and early Qing Dynasties the art education of the Suzhou literati manifested more vitality and continuity as opposed to the institutionalized art schools and led to the dominant position of the art of the southern literati.

关 键 词：绘画教育 业余教育 非体制化教育 苏州文人 明代 

分 类 号：J209.2[艺术—美术]