Why Is My Painting By Chinese School?
journal commodity
Studies in Art Education
Published By: National Fine art Education Association
https://www. jstor .org/stable/25746080
This article examines the transition of Chinese painting from literati painting, exclusive to the scholar-amateur or scholar elite—the backbone of the Chinese traditional culture—to a new genre, guohua (national or traditional Chinese painting). It studies the role of artistic institutions in this process, using the Shanghai Fine Arts College as an example. This research draws upon a number of chief sources to shed light on the way in which modern art schools institutionalized literati painting, and the rationale of guohua education in the Chinese Painting Department in the College. This inquiry shows that while competing with professional artists teaching in private studios, the College developed its own pattern of guohua pedagogy which preserved literati painting principles and enhanced efficiency in educational activity technical skills but was intrinsically weak in inculcating the scholarly spiritual content of literati painting. Thus, the College played a role in developing a style of semantically exhausted literati painting known as guohua.
Studies in Fine art Education is a quarterly journal which reports quantitative, qualitative, historical, and philosophical research in art education, including explorations of theory and practice in the areas of art production, art criticism, aesthetics, fine art history, human development, curriculum and pedagogy, and assessment. Studies also publishes reports of applicable research in related fields such as anthropology, education, psychology, philosophy, and sociology.
Founded in 1947, The National Art Education Association is the globe's largest professional art education clan and a leader in educational research, policy, and practice for art education. NAEA'southward mission is to advance fine art teaching through professional development, service, advancement of knowledge, and leadership. Membership (approximately 48,000) includes elementary and secondary art teachers (and heart and senior high students in the National Art Honor Society programs), artists, administrators, museum educators, arts council staff, and university professors from throughout the United states and several foreign countries. It also includes publishers, manufacturers and suppliers of fine art materials, parents, students, retired art educators, and others concerned about quality art didactics in our schools. The Association publishes several journals, papers, and flyers on art education; holds an annual convention; conducts inquiry; sponsors a instructor awards program; develops standards on student learning, school programs and instructor preparation; and cosponsors workshops, seminars and institutes on art education.
Why Is My Painting By Chinese School?,
Source: https://www.jstor.org/stable/25746080
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