| 摘要: | 清末中國正處於一個極度震盪不安的國勢中，1894年甲午戰敗後許多有志之士紛紛鼓吹應從根本振興中國。在諸多根本改革中，普通教育構成一個重要項目，但是普通教育立即帶入女子是否也包含在應受教範圍內的問題。除了教育理念外，新式女子教育在實行層面上有兩個前驅，一是與西方傳教士在華宣教連結的教會女學，一是透過日本女子教育調整的西式女子教育。隨著中國教育制度的建立，女子教育無法被排除在普通教育之外，特別是在教育救國的理念下，知識份子將興女學視為國家進步的表徵與手段。 研究此一時期的女子教育，我們必須要問實施女子教育的目的何在？此外，當我們關注到女學議題的歷史性時，許多今日看來保守的女學論述事實上都受限於當時的社會條件。另一方面，雖然女子教育最初設立的主軸在於培育賢妻良母，然而隨著女學的發展，女子教育的目的也逐漸轉變成為以女子就業為導向，以為教育找到施用的出路。女子求學的慾望一旦可以被局部滿足，她們便將進一步追求與一般男子一樣的教育權利。由於新教育初期對普通教育中能夠迅速應用的學科特別重視，藝術教育體現為中小學的圖畫手工兩科。這個現象在只規畫有限度女子教育的初期變得十分明顯，女子教育中手工與女紅的重要性甚至超過男子的圖畫與手工。隨著教育基礎的日漸擴大，專門美術學校出現，而即使在初期這還只是男子的專利，這個範圍終究無法阻擋女性進入。我們幾乎可以說，如果沒有女子教育，普通教育便不算成功；沒有女子藝術教育，藝術教育便不算完整。 本研究試圖從女子教育的制度面與實施面，來探討清末民初女子藝術教育的發展，透過當時的期刊和報紙等資料，還原女子藝術教育發展過程，並深入探討民初女畫家的出現及其意義，對於清末民初的女子教育也可以有更深的認識。清末民初女子教育發展與走向的研究，事實上既是對性別差異在現代化過程中的研究，也是對藝術與性別定義的研究。 In the late Qing Dynasty and early Republic of China, China was in a state of national instability, after China had been defeated in the Sino-Japanese War of 1894-1895, many intellectuals promoted to invigorate China from the roots. In these reformations, general education constituted an important event. It also turned out the question that whether the general education system included women or not. Expect the beliefs of education, women education had two pioneers in practice, one was that the missionaries propagated women schools in churches, the other was the western women education which modulated by Japan. Along with the establishment of the China Educational System, it was difficult to exclude women education from the education system, especially under the beliefs of “Education Saving the Country” , intellectuals treated women’s movements as a sign of the progress of the country. When studying the education of women during this era, we must first ask, what is the meaning to administer women education? In addition, when we pay attention to the historic of women education, many discussions about the women education seem conservative today were limited by the society. On the other hand, although the original motive for establishing women education was to cultivate dutiful wives and loving mothers, with the development of women’s schools, it gradually evolved into a channel for women’s employment, to find an applicable outlet for education. But once the desire for learning was only partially satisfied, they would take a step further to pursue educational rights, equal to males. Because of the placed emphasis on swiftly applicable courses, at the start of the New Education System, education in arts was realized in painting and handcrafting of junior and elementary schools. This was especially obvious at the beginning when only limited female education was planned, where the importance of handcrafting and needlework in female education exceeded that of males painting and handiwork. Along with the daily broadening of educational foundations, specialized art schools began to appear, and even though at first this was the singular right of males, this circle eventually could not stop women from entering. Thus we can almost say that without women education, general education cannot claim to a success; without women’s art education, the education of arts cannot be considered complete. This dissertation tries to discuss the development of the art education of women during the end of Qing dynasty and start of the Republic of China, from the system and practice of women education, through journals and newspaper and other data of the time, reproduce the development process of women education in art, and discuss the appearance of female painters in the early stage of the Republic of China in depth, to gain a deeper understanding of women education during the end of Qing and start of the Republic of China. Research on the development and direction of women education during the late Qing Dynasty and early Republic of China, is in fact a research on the sexual diversity during the progress of modernization, and is also a study on art and sexual definitions. |
