清末民初圖案教育的建立與轉折;The Establishment and Transition of the Design Education in Early Twentieth Century China

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題名:	清末民初圖案教育的建立與轉折;The Establishment and Transition of the Design Education in Early Twentieth Century China
作者:	顧志揚;Kou,Chih-yang
貢獻者:	藝術學研究所
關鍵詞:	博覽會;圖案;圖案教育;圖畫;實業;應用美術;普通教育;美術;applied art;design;design education;exhibitions;fine art;graphs;industries;regular education
日期:	2013-01-25
上傳時間:	2013-03-25 16:23:49 (UTC+8)
出版者:	國立中央大學
摘要:	本文旨在透過新式教育的制度、博覽會的效應、實業氛圍的影響、美術學校的興起等議題，討論中國於清末至民初圖案教育建構與變化的過程。論述以中國所受到的西方文化衝擊為始點，由於初期重工業需求漸演變至民生需求，應用美術的普及化使得基礎教育開始產生相應的圖案教學內容。中國在學制及教學內容上對於日本的模仿，為中國圖案教育的誕生提供了養分及基本框架。而這個框架亦不斷受到二十世紀初以後，中國自身對博覽會展示機制的重視及實用主義觀點等外力的滲透。與此平行的是，民間畫師得利於圖像製造能力及視覺舊慣的優勢，對學校圖案教育所造成的威脅與挑戰。另一方面，美術學校依恃實用主義勢力而崛起，卻企圖拉攏、收編圖案教育，甚至以其為手段，合理化美術教育的層級架構並擴張學院體制的勢力版圖。二○年代初期歸國的留日圖案人才，以整合者的姿態為中國譯介了日本在圖案方面的研究及資訊。而二○年代後期歸國的留法人才，則於二○年代末、三○年代為學院所主導的圖案教育再掀高潮。然而，於此同時，圖案的應用本質及圖案家在身分上的二元性似乎模糊了學院內外圖案教學上的區別，使得圖案教育與學院的關聯有逐漸被弱化與稀釋的現象。然而，作為應用藝術的圖案由於與市場需求產生了更有機的互動，同樣地使得圖案設計跨出學院烏托邦，與社會活動有更緊密的連結，間接實現了此刻藝術世界中為社會而藝術的普遍訴求。 This thesis aims at exploring the establishment and changes of the design education in modern China from various perspectives regarding the application of general education, the effects of the exhibitionary fever, the influence of the industry-prone atmosphere, and the emergence of schools of fine arts. The argument starts with the impact of western culture that modern China encountered. And due to the phenomenon that the demand for consumption goods gradually took a share of the initial demand for heavy industrial products, the applied arts gained its access to common people’s daily life, which induced the corresponding design instruction within general education. China modeled her new education system and teaching method after Japan, and this gave nutrition and a gestation environment to the birth of design education in China. As a matter of fact, throughout the early twentieth century, several forces, including the exhibitionary effects which China began to value and the prevalence of the pragmatistic point of view intervened in the above environment. Meanwhile, with a more flexible image-making ability and a better acceptance from the viewers regarding their visual habits, the folk painters stood as a potential threat and challenge to the design education in schools. On the other hand, the schools of fine arts rose appropriating the pragmatistic ideology, attempted to incorporate the design education into their curricula. Moreover, design education itself was seemed to be utilized as an approach to justify the hierarchy within the fine arts education, so as to expand the territory of the system of the academy of fine arts. The design learners who had pursuded further study in Japan returned around early 20’s. They not only interpreted and introduced for China the latest design study and information in Japan, but also seemed to manage to integrate them into the Chinese context. As for the students who accomplished further study in France and returned around late 20’s, they brought another prosperous moment to the design education in the academies of fine arts. Nevertheless, at the very same period, the applied nature of “design” and the two-sided identity of “designers” appeared to blur the distinction between the design education inside and outside the system of the academies of fine arts. And the once strong connection between the design education and the academies of fine arts was hence weakened. Therefore, owing to the fact that design as applied art would come to interact more lively with the market demand, this enables design eventually step out of the Utopia formed by the academies and got to engage more with social activities, which indirectly realized the common claim about art for people’s sake of the Art World then.
顯示於類別:	[藝術學研究所 ] 博碩士論文

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