Not the same thing: Three studios of the National Academy of Fine Arts of Rome and the Academy of Fine Arts of Venice

Author: Chen Guoqiang
Publisher:
Publish Date: 2005-06-01
Features: The Italian that nurtured Leonardo da Vinci also brought us Giuseppe Castiglione. This land where every brick and tile is a treasure offers the world an artistic richness no less than that of France. To this day, not many Chinese students go to Italy to study art. The negative reasons are not about art itself. History and reality are not the same thing. A deep admiration for Italian art and a lack of understanding of the current state of art education in Italy make Chen Guoqiang's book a meaningful beginning. Although it only introduces two art academies in Rome and Venice and three studios within them, and the text has been filtered through the author's personal perspectives, it still opens a window for us to glimpse. Through this window, we learn about the curriculum and application procedures of Italian art academies, as well as some of their educational philosophies and methods. We also gain Chen Guoqiang's firsthand experiences as a Chinese student, his reflections on education and art after becoming a teacher and artist, and see how a nation with a long cultural tradition faces postmodern and the historical process of globalization. We observe their actions in the field of painting and the confusion, resistance, inclusivity, and confidence they exhibit. This inspires us to ask further questions about art and its development. Art courses and art are not the same thing, and others and we are not the same thing. Therefore, this kind of questioning is more important than applying for school or attending classes. Only through such thinking can we know what to do and how to do it.
Personal Experience Description: World-renowned art academies all have their own rich history and teaching characteristics. This series invites artists and scholars who have studied or worked at art schools around the world for many years to write about them, introducing the institutions, majors, studios, courses, teaching experiences and artistic principles of professors, as well as the historical evolution, academic traditions, and humanistic roots of the schools. This is the first time such a topic has been chosen in China, and the personal experience feature makes it unique among books introducing foreign art education.
Experiences During the Process: The authors of this series, with the advantage of being insiders, describe in detail the specific teaching processes and their experiences during the process. The illustrated and textual format constructs visual and knowable spaces, guiding readers to enter and immerse themselves in the world, experiencing the joys and challenges of studying and exploring art in a foreign land alongside the authors.
Cross-Cultural Reflections: This series has a clear stance and academic perspective when focusing on foreign art education teaching. The authors approach and understand foreign art education with a background and perspective of Chinese art teaching, actively adopting while also examining and reflecting on the differences between Chinese and foreign teaching methods and cultural contexts. In a sense, this series can be considered a summary of the achievements of art study and visits over the 20 years of reform and opening up.
Hand Information: The personal experiences of the authors of this series in foreign art education give it a direct and vivid character, the significance of which cannot be compared to any second-hand introductions or research. The detailed teaching content and a wealth of information, including curriculum settings, professional directions, famous mentors, application requirements, and contact methods, provide direct references for changes in China's art education philosophy, management systems, and teaching content and methods. At the same time, it also meets the information needs of young students and their parents who expect to study abroad.