“由技入道”与“由理入法”：潘天寿与徐悲鸿美术教育思想的比较与融合研究

“From Skill to Principle” and “From Theory to Method”: A Comparative and Integrative Study of Pan Tianshou and Xu Beihong’s Art Education Philosophies

摘要: 20世纪是中国美术教育现代化的关键时期，潘天寿与徐悲鸿作为两大巨擘，分别提出了以“由技入道”守护传统正脉与以“由理入法”引进西方写实体系的教育方案。本文旨在系统比较二者教育思想的哲学基础、核心主张及其在学院教学、课程设置、创作评价等实践层面的具体体现。通过历史梳理与文本分析，本文认为二者的分歧根植于对“中国画本体”与“时代需求”的不同认知，而其思想在历史进程中形成的张力与局部融合，共同塑造了现代中国美术教育的基本格局，并对当下反思“传统如何创造性转化”与“中西如何有效对话”提供了宝贵的历史镜鉴。

Abstract: The 20^th century was a crucial period for the modernization of China’s fine arts education. As two giants, Pan Tianshou and Xu Beihong respectively put forward the educational schemes of “from technology to Taoism” to protect the traditional mainstream and “from reason to law” to introduce the western realistic system. The purpose of this paper is to systematically compare the philosophical basis and core propositions of their educational thoughts, and their concrete manifestations in practical aspects such as college teaching, curriculum setting and creative evaluation. Through historical combing and text analysis, this paper holds that the differences between them are rooted in different understandings of “Chinese painting itself” and “the needs of the times”, and the tension and partial integration of their thoughts in the historical process have jointly shaped the basic pattern of modern China art education, and provided valuable historical lessons for the current reflection on “how to creatively transform traditions” and “how to effectively talk between China and the West”.