民国时期人体写生教学研究——以中央大学与上海美专为例  

Research on figure drawing instruction during the Republican period:a case study of Central University and Shanghai Art Academy

作　　者：赵澄 李轶南[2] ZHAO Cheng;LI Yi-nan

机构地区：[1]常熟理工学院纺织服装与设计学院,江苏苏州215500 [2]东南大学艺术学院,江苏南京210096

出　　处：《东南大学学报（哲学社会科学版）》2024年第5期110-121,150,共13页Journal of Southeast University(Philosophy and Social Science)

基　　金：2021年度国家社科基金艺术学项目“百年巨变下的中国设计艺术研究(1919—2019)”(21BG111)阶段性成果。

摘　　要：以图像学方法描述20世纪30年代中央大学艺术系与上海美专的人体写生课图像,分析图像中人物所处的时代与环境,还原历史原境。阐释两校艺术专业的办学理念、西画专业课程设置、西画教学师资、师生人体创作成果及人体写生教学情况。进一步剖析两校代表性学术观念对人体写生教学的影响以及两校人体写生教学的延续与发展。此研究反映了中国人体写生发展进程中阶段性成果,并在持续的努力中确立了人体写生教学在中国早期美术教育中的地位,为今天艺术院校西画专业课程教学奠定了坚实的基础。人体写生的背后体现了20世纪初期中国人在新旧思潮交织下的不同态度与立场。民国时期这两所学校的美术教育对引导中国人接受西方科学思潮、革新中国传统绘画、推进20世纪美术教育均起到积极作用。This study attempts to restore the figure drawing classes at the Art Department of Central University and Shanghai Art Academy during the 1930s by usingiconographic methods to analyze the social context depicted in the images.It explores the educational philosophies,Western painting curriculum,faculty,and figure drawings at both institutions,along with their figure drawing instruction.The study also examines how academic ideas at these two schools influenced their figure drawing education and traces the development of this practice.The findings show some milestone achievements and highlight how sustained efforts established figure drawing instruction as a key component in early art education in China and how they laid a solid foundation for today’s Western painting curricula in art institutions.Behind the practice of figure drawing lies the interplay of attitudes shaped by the crosscurrents of old and new ideas in early 20 th-century China.The art education at the two schools played a positive role in introducing Western scientific thought,influencing traditional Chinese painting and advancing 20 th-century art education.

关 键 词：人体写生 西画教学 中西融合 中央大学 上海美专 

分 类 号：G642[文化科学—高等教育学] J20-4[文化科学—教育学]