The Ideal of the East (A Series of Books on Education from World-Famous Art Academies)

Author: Hu Wei
Publisher:
Publish Date: 2005-03-01
Features: Descriptions from practitioners. World-renowned art academies all possess their own rich history and teaching characteristics. This series invites artists and scholars who have studied or worked at prestigious art schools abroad to write about the teaching experiences and artistic principles of specific institutions, majors, studios, courses, and professors. It also covers the historical evolution, academic traditions, artistic styles, and cultural heritage of these institutions. This is the first time such a topic has been addressed in China, and its unique feature of "firsthand experience" sets it apart in the field of foreign art education literature.
Personal Reflections
The authors of this series, with the advantage of being "insiders," provide detailed descriptions of specific teaching processes and their personal experiences. The illustrated format creates visual and tangible spaces, guiding readers to immerse themselves in the world of foreign art education and share the author's journey of studying and exploring art in a foreign land.
Cross-Cultural Perspectives
This series maintains a clear stance and academic perspective when examining foreign art education. The authors, with a background in Chinese art education, approach foreign art teaching with both openness and discernment. While actively adopting new ideas, they also reflect on and analyze the differences between Chinese and foreign educational methods and cultural contexts. In a sense, this series can be seen as a summary of the achievements in art study and exchange over the past 20 years since the reform and opening-up.
Hands-On Information
The firsthand experiences of the authors in foreign art education give the series a direct, concrete, and vivid character, making its significance incomparable to secondhand introductions or research. The detailed teaching content and abundant information, including course settings, professional directions, renowned mentors, application requirements, and contact methods, provide direct references for reforming China's art education philosophy, management systems, teaching content, and methods. At the same time, it meets the information needs of young students and their parents who aspire to study abroad.
Tōkyō Geijutsu Daigaku (Tokyo University of the Arts), formerly known as Tōkyō Bijutsu Gakkō (Tokyo School of Fine Arts), founded in 1887, has become one of the world's most renowned national art academies. In the early 20th century, some Chinese artists with democratic ideals studied in Japan and, upon returning, laid a solid foundation for the development of modern art education in China. Pioneering artists such as Li Shu-Tong, Chen Pao-I, Wang Ya-Shen, Wei T'ien-Lin, Hsü Hsin-Chi, Ting Ien-Yung, Ni I-de, Li Hua, and Wang Shi-Kuo all studied in Japan, with many of them furthering their education at Tōkyō Bijutsu Gakkō. It wasn't until the late 20th century that another government-sponsored student, Hu Wei, crossed the seas to study art at Tōkyō Geijutsu Daigaku.
Unlike his predecessors, Hu Wei had already received systematic, rigorous, and comprehensive training in (figurative art) at the Central Academy of Fine Arts (CAFA), one of China's most prestigious art institutions with a long history and academic tradition. Therefore, he chose to pursue deeper studies in Japanese painting, directly entering the third research laboratory of his mentor, Higashiyama Iwao, and studied there for a full decade.
This book authentically records Hu Wei's observations, reflections, and experiences in Japan, starting from the smallest details. The writing is simple yet moving, as if it will take readers into his decade-long journey of studying abroad, sharing his experiences, achievements, and ideals.
Chapter 4 of the book provides a comprehensive and in-depth introduction to the teaching style and characteristics of the third research laboratory of the Japanese Painting Department at Tōkyō Geijutsu Daigaku. It evaluates the artistic flair, unwavering pursuit, and "Eastern ideals" of his mentor, Higashiyama Iwao.
Now, Hu Wei, carrying his "Eastern ideals," has returned to China to teach and innovate in the field of art education. He has brought back new ideas and perspectives. Only someone with a true "Eastern ideal" can truly discuss the "Eastern ideal."