中国古代美术教育史纲
摘要
隋唐以前，“艺成而下”，丹青一事被视为小道。宋元以后，文人画兴起，或云“气韵非
师”，教育无从言论。故中国古代美术教育，向来不成题目，惟有经过近百年殖民文化周折，
中国古代美术数千年一统其陶铸教化之功，始渐渐显山露水。业师 绶祥先生明鉴，命我
以此为博士学位论文选题，并三年来悉心指导，遂成本篇。然题目究属初涉，故名曰“史纲”。
本篇类以通史朝代常例，序为八章，曰先秦，秦汉，魏晋南北朝，隋唐。五代两宋，宋元，
明，清。正文计约十五万言。其中宋代所涉，兼跨五六两章，又秦汉一章第四目下括魏晋工
匠教育内容，明代一章第一目上含元代内廷美术教育内容，略相错综，皆因各章划分除朝代
大体之外，别以书法艺术教育、百工美术教育、宫廷画院教育、文人画教育诸端为次，各有
轻重。若再细究，复有官学私学以及教育思想、制度、名目种种区别、其间系统源流，穿插
复杂，姑造附表如后，以见大要。诸端头绪，寻共纲领。止惟“经典”二字。无论官私、书
画，亦无论宫廷、百工、文人，皆以经典范本为楷模，形成中国古代美术教育历史。书法教
育临仿之法帖，隋唐以前画壁之粉本画样，宋元以后习画之画谱画诀，虽以摹写、捶拓、雕版刊印各有不同形式，然其为经典范本立意则一，并为美术教育主要传承师授媒介，是中国古代美术教育史重要内容。
In the Chiese ancient fine art history .art was regarded as low skill
("艺成而下") before 9. century A. C. Literati Painting rose in Song- and
Yuan Dynasty. The literatl painters often said: "气韵非师"Which means
that "气韵"cannot be achieved through the teaching from teachers to
students, still less need fine education to say. That's why Chinese
ancient fine art education has never been specially researched. Now that
after nearly one hundred years of essentnally colonial cultural
revolution, China starts to introspect the historical reason why Chinese
ancient civilization could have been going on continually for thousands
of years,to reknow the cultural significance of Chinese ancient education
and its importance to Chinese consummate fine art history. Professor Chen
ShouXiang, tutor of my dissertation, has a very deep historical insight. He
preseribed the titel of my dissertation "Essentials of Chinese ancient
fine art history and has given me so elaborate guidance during the last
three years that I could complete this text smoothly. The full text amounts
to 150 000 words. According to the general divide method of Chinese
history. the whole text is divided into eight chapters. Following the
principles of Chinese ancient history research which lays on the basis
of literature , it expounds the C.A. 3000-year-history of Chinese fine art
development from Shang - to Qing Dynasty. In two aspects. official-and
folk education, from various angles, such as educational thoughts and
system(Including teaching organization,educational mechanism, qualify-
leation of teachers, students, teaching matertal aim and demands usw ), the
teaching-learning relations and schools, it conducted deep historical
fesearch and exposition to Chinese ancient education of calligraphy, hand-
lcraft art and architectual technology, to fine art education for imperial
professional painters. and to the concerning contents about the education
for impertal professional and to the concerning contents about
the education of literatl painting. Each has its particular emphasis so
as to expose the basic sequence of Chinese ancient fine art history. Though
all kind of elements and threads are very comlicated, the fundamental
progtamme femains"模范经典",which4 means to take good examples from
classical model, style, form, size and proportion as educational pattern
and stadard This is the consistant fundamental principle of Chinese
ancient fine art education in different history Phases, departments and
classes.
师”，教育无从言论。故中国古代美术教育，向来不成题目，惟有经过近百年殖民文化周折，
中国古代美术数千年一统其陶铸教化之功，始渐渐显山露水。业师 绶祥先生明鉴，命我
以此为博士学位论文选题，并三年来悉心指导，遂成本篇。然题目究属初涉，故名曰“史纲”。
本篇类以通史朝代常例，序为八章，曰先秦，秦汉，魏晋南北朝，隋唐。五代两宋，宋元，
明，清。正文计约十五万言。其中宋代所涉，兼跨五六两章，又秦汉一章第四目下括魏晋工
匠教育内容，明代一章第一目上含元代内廷美术教育内容，略相错综，皆因各章划分除朝代
大体之外，别以书法艺术教育、百工美术教育、宫廷画院教育、文人画教育诸端为次，各有
轻重。若再细究，复有官学私学以及教育思想、制度、名目种种区别、其间系统源流，穿插
复杂，姑造附表如后，以见大要。诸端头绪，寻共纲领。止惟“经典”二字。无论官私、书
画，亦无论宫廷、百工、文人，皆以经典范本为楷模，形成中国古代美术教育历史。书法教
育临仿之法帖，隋唐以前画壁之粉本画样，宋元以后习画之画谱画诀，虽以摹写、捶拓、雕版刊印各有不同形式，然其为经典范本立意则一，并为美术教育主要传承师授媒介，是中国古代美术教育史重要内容。
In the Chiese ancient fine art history .art was regarded as low skill
("艺成而下") before 9. century A. C. Literati Painting rose in Song- and
Yuan Dynasty. The literatl painters often said: "气韵非师"Which means
that "气韵"cannot be achieved through the teaching from teachers to
students, still less need fine education to say. That's why Chinese
ancient fine art education has never been specially researched. Now that
after nearly one hundred years of essentnally colonial cultural
revolution, China starts to introspect the historical reason why Chinese
ancient civilization could have been going on continually for thousands
of years,to reknow the cultural significance of Chinese ancient education
and its importance to Chinese consummate fine art history. Professor Chen
ShouXiang, tutor of my dissertation, has a very deep historical insight. He
preseribed the titel of my dissertation "Essentials of Chinese ancient
fine art history and has given me so elaborate guidance during the last
three years that I could complete this text smoothly. The full text amounts
to 150 000 words. According to the general divide method of Chinese
history. the whole text is divided into eight chapters. Following the
principles of Chinese ancient history research which lays on the basis
of literature , it expounds the C.A. 3000-year-history of Chinese fine art
development from Shang - to Qing Dynasty. In two aspects. official-and
folk education, from various angles, such as educational thoughts and
system(Including teaching organization,educational mechanism, qualify-
leation of teachers, students, teaching matertal aim and demands usw ), the
teaching-learning relations and schools, it conducted deep historical
fesearch and exposition to Chinese ancient education of calligraphy, hand-
lcraft art and architectual technology, to fine art education for imperial
professional painters. and to the concerning contents about the education
for impertal professional and to the concerning contents about
the education of literatl painting. Each has its particular emphasis so
as to expose the basic sequence of Chinese ancient fine art history. Though
all kind of elements and threads are very comlicated, the fundamental
progtamme femains"模范经典",which4 means to take good examples from
classical model, style, form, size and proportion as educational pattern
and stadard This is the consistant fundamental principle of Chinese
ancient fine art education in different history Phases, departments and
classes.
引文
1 郑玄注曰：“六书。象形、会意、转注、处事、假借、谐声也。”贾公彦疏曰：“云六书象形之等皆依许氏《说文》。”许慎《说文解字》定六书为指事、象形形声、会意、转注、假借。许、郑所称六书名目、次第虽有出入，但都是经过对小篆形、音、义进行分析之后归纳出来的六种主要的汉字造字法则，是“书同文”以后汉代汉字学的重要研究范畴，其中形、音、义方面的要素，在先秦的文字教学、在文字的识读和书写学习中，或多或少应有所涉及。
2 《殷契粹编考释》第1468片。
3 《汉书·艺文志》：“古者八岁入小学，故周官保氏掌养国子，教之六书。”
4 《论语·微子》：“大师挚适齐，亚饭干适楚，三饭缭适蔡，四饭缺适秦，鼓方叔入于河，播鼗武入于汉，少师阳、击磬襄入于海。”
5 郭沫若《天玄地黄》，新文艺出版社，1954年，第605页。
6 此句言车轮造物之理。郑玄注曰：“齐人有名疾为戚者。”
7 而，颊毛。见王引之《经义述闻》周官下。
2 《殷契粹编考释》第1468片。
3 《汉书·艺文志》：“古者八岁入小学，故周官保氏掌养国子，教之六书。”
4 《论语·微子》：“大师挚适齐，亚饭干适楚，三饭缭适蔡，四饭缺适秦，鼓方叔入于河，播鼗武入于汉，少师阳、击磬襄入于海。”
5 郭沫若《天玄地黄》，新文艺出版社，1954年，第605页。
6 此句言车轮造物之理。郑玄注曰：“齐人有名疾为戚者。”
7 而，颊毛。见王引之《经义述闻》周官下。