在全国的各大建筑院校中将《艺术史》作为一门专业必修课程，同济大学建筑系可以说是开创者。12年前这领先一步的教学决策充分体现着同济大学建筑系培养未来的建筑大师的战略眼光和雄心。如果说建筑匠人只是执着于建筑语言熟练而重复地使用，建筑大师则着重于语言的创新。不仅要表达得生动，还要表达出内在非同寻常的精神气质。而这精神气质的养成，正是培养优秀建筑师的重中之重。《艺术史》这门课对于拓宽艺术眼界，提升审美能力和准确把握历史文脉都起着最为积极的作用。这门课最初是针对当时刚成立不久的历史建筑保护专业而开设的。经过多年的发展，目前该课已经成为建筑与城市规划学院所有设计专业一年级本科生的必修课程。

　　在艺术史课堂教学中，有几个问题引起了我的注意。首先，照片图像作为二手资料会受到印刷质量、拍摄角度、色彩还原等一系列技术的局限，损耗掉原作的许多重要信息。其次，即使在照片图像边标注了作品的尺寸，依然无法让学生们体会实际作品尺寸带来的视觉感受。再次，图像各种局部和不同的拍摄角度使学生对原作的认识趋于碎片化。原作原来的观赏展示方式在图片中无法得到直观感受，同时会极大地改变原作应有的设计思想。

　　造成这些问题是因为使用的照片图像会一定程度地造成信息的误导和缺失。课堂教学虽然可以十分高效地让学生们掌握艺术发展的脉络，但是要让学生们获得最真实的、最丰富的艺术视觉感受，就有必要增加在博物馆现场和原作面前的教学环节。博物馆现场教学是课堂教学有效的补充，可以基本解决课堂教学中遇到的二手图像资料问题。

　　另外，博物馆现场教学采用讨论课的教学形式，要求学生在事先有针对性地对馆藏美术品进行充分的背景研究，然后在现场原作前做15-20分钟的学术演讲，将自己所学习到的相关知识清晰明了地告诉在场的每一位同学和教师，并接受大家的提问。这样的教学形式有两个积极的意义。首先，学生在整个学习过程中被置于一种独立而主动的学习状态中。无论是主题背景料的阅读、现场的演讲、回答提问的互动、指导教师补充讲解的记录和主题报告的撰写，学生都将围绕主题全身心投入每一个教学环节中，这使学习的效率大大提高。其次，现场艺术品的实际尺寸大小、材料质感、细节都将给学生许多二手资料所无法展现的信息，这会极大地增强学生的学习积极性并提高他们的鉴赏水平。

　　在这样的教学要求背景下，我们利用学院大二艺术造型实习课程的时间组织安排了第一次以艺术史教学为内容的巴黎博物馆教学之旅。以卢浮宫、奥赛和蓬皮杜艺术中心三大博物馆为主线，辅之以其他大小博物馆、美术馆、教堂和艺术史研究机构。从三大博物馆中选择15个重要的作品主题，分别为：

　　乔托的《圣弗朗西斯》；曼坦尼亚的《胜利的圣母》；达·芬奇的《圣母子与圣安娜》；米开朗基罗的《奴隶》雕塑；维米尔的《蕾丝工》；席里柯的《梅杜萨之筏》；贝聿铭的《玻璃金字塔》；莫奈的《蓝色睡莲》；高更的《沙滩上的塔希提女人》；凡·高的《自画像》；维克多·拉鲁的奥赛博物馆改建；伦佐·匹亚诺的蓬皮杜艺术中心；毕加索的《小提琴》；夏加尔的《红马》，康定斯基的《在灰色中》。按教学场景来分，其中卢浮宫7个专题，奥赛4个专题，蓬皮杜4个专题。绘画11个专题，雕塑1个专题，建筑3个专题。

　　从早期文艺复兴的乔托绘画开始，一直到贝聿铭的当代建筑设计，15个主题就像15个重要的时空坐标点，基本涵盖了一部完整的西方艺术史。

　　回顾此次巴黎博物馆艺术之旅，我想，其最具价值之处就在于我们完成了中国的年轻学子与欧洲艺术之都间的真正对话。从学院二年级各专业的申报者中进行层层筛选而出的15名优秀学生，他们不仅具有很好的艺术修养，而且具有非常出色的英语表达能力。可以说，这是展开对话的基本条件。每一位学生分别在卢浮宫、奥赛、蓬皮杜的预先指定作品前，现场完成主题演讲。中国的年轻学子站在欧洲大师的经典原作前，用英语大声直接向大家介绍作品。这一教学举动本身已经极具历史意义。它表明中国的年轻人正以研究者的身份而非游客或听众的身份，在与欧洲古典、近代和当代的艺术大师们进行主动的对话。同时，带队教师和欧洲的教授一起现场点评并补充讲解。

　　第二个层面的对话是同济的学子们直接与欧洲的艺术史学术圈进行对话。在这次巴黎艺术之旅中，同学们不仅需要接受随行的欧洲教授的现场点评和提问，而且有幸受到众多欧洲博物馆界的馆长和部门主任的亲自会见。他们有的一直陪同解说整个展览，有的做一场生动的讲座，还有的和同学们围坐着交流。他们中不仅有此次带队的伯尔尼大学艺术史学院院长Gramaccini教授、卢浮宫学院的教师Brun博士和艺术史研究德国中心的Sissia博士，同时卢浮宫雕塑研究部Sophie Jugie主任、卡地亚基金会美术馆Leanne Sacramone馆长、红房子当代美术馆Paula Aisemberg馆长、艺术史研究德国中心Thomas Kirchner主任都对我们学生座谈时有水准的发言表示非常赞赏。Kirchner主任甚至当即希望中国的学生可以参与该研究中心今后的暑期学校项目。

　　此次巴黎之行的时间全都安排在巴黎市内。没有了提着行李的旅途奔波，可以让每一个学生有更多的时间细细感受大师们的艺术思想，欣赏精妙的艺术表现力。巴黎博物馆艺术之旅的行程也是非常紧凑的。13天中我们走访了11处知名博物馆、美术馆，3处城堡宫殿，3处教堂，1个巴黎艺术史研究德国中心，还走访了曾培养出一大批中国美术前辈的巴黎高等国立美院。最终，15位同学不仅通过前期的学习研究完成了专题的演讲和学术报告，而且通过在巴黎的学习体会和艺术认识，回国后创作出表现手法丰富多样的艺术作品。体现出了艺术史教学，尤其是博物馆现场教学对审美培养的促进作用。

　　为了完整地保留下2015年巴黎艺术之旅中的艺术史学习和艺术创作成果，故将此教学成果编辑出版。此书不仅是教学的记录档案，更是向每一位为此次巴黎艺术之旅付出努力的中外教师和专家们做的一个完美汇报。

胡炜

2016年6月写于柏林

From the Editor

　　Among all the colleges of architecture design in China, Department of Architecture of Tongji University took the lead to making Art History as a required professional course, which is a teaching decision ahead, fully indicating the strategic insight and ambition of the Department of Architecture of Tongji University to develop architectural masters in the future. The architects only hold on to the proficiency in and reuse of architectural language, however, the architectural masters focus on the innovation of language to express lively the extraordinary inherent spiritual temperament, which is the key point in bringing up excellent architects. Art History plays the most positive role in broadening the artistic field of vision, promoting the aesthetic judgment and accurately grasping the historical veins. It was first set up for the major of preservation of historical architecture, which had a short history at that time. After seven years of development, the course of Art history has been a required course for all the first-year undergraduates of design major in the college of architecture and urban planning.

　　In the classroom teaching of Art history, several matters arouse my attention. First, photo images, as secondary material, may be limited to printing quality, shooting angle and a series of technologies such as color rendition, so that much important information of the original work may be damaged. Second, even if size of the work is noted beside the photo image, the students still can't get the visual sense brought by the work in actual size. Third, with various partial and shooting angles of photos, students are apt to having fragmented understanding of the original works and cannot obtain visual sense from the photo by means of the original display mode of the original work, and meanwhile, the design idea attached to the original work may be greatly changed.

　　These problems result from the photo image used causing information misleading and shortage, to some extent. Students can grasp the vein of art development quite efficiently through classroom teaching, but cannot get the realest and richest visual perception of art, unless teaching is realized on the museum spot and in front of the original work, necessarily. On-the-spot teaching in museum is an effective supplementation of classroom teaching, which can basically solve the secondary image data problem encountered in classroom teaching.

　　Besides, by use of the teaching mode of seminar for on-the-spot teaching in museum, the students are required to have had full and targeted knowledge of backgrounds of the collected artworks, and then to make a 15-20min academic speech in front of the original work on the spot to tell each student and teacher clearly about what he has learnt and to reply everyone's questions. Such teaching mode presents two positive significances. First, the students are put in an independent and initiative learning state in the whole learning process. They will devote themselves to each teaching link around theme, including understanding of background information of the theme, on-the-spot speech, question interaction, records of interpretations supplemented by the instructors and of keynote report preparation, so that the learning efficiency can be greatly improved. Second, the actual size, material texture and details of the artwork on the spot will provide much information that the secondary data cannot display, so this teaching mode can also enormously enhance the learning initiative and appreciation level of students.

　　Under such teaching requirement, we planned the first art trip in Paris Museum for teaching of Art history during the artistic modeling internship for sophomore students. Following the main line of Louvre, Orsay and Pompidou Centre, supplemented with other museums, art galleries, churches and institutes of art history, we chosen 15 major work themes from three large museums, which were respectively:

　　Saint Francis of Giotto di Bondone; Madonna della Vlttoria of Andrea Mantegna; The Virgin and Child with St. Anne of Da Vinci; two Dying Slave sculptures of Michelangelo; The Lacemaker of Johannes Vermeer; The Raft of the Medusa of Theodore Gericault; Blue Water Lilies of Claude Monet; Tahitian Woman with Evil Spirit of Paul Gauguin; Self-portrait of Vincent van Gogh; Dans le gris of Wassily Kandinsky; Le Cheval Rouge by Marc Chagal; Violin of Pablo Picasso; Orsay reconstruction of Victor Laru; Pompidou Centre of Renzo Piano; Glass Pyramid of Leoh Ming Pei, among which seven themes were from the Louvre, four from Orsay and four from Pompidou Centre, including eleven painting themes, one sculpture theme and three architectural themes.

　　From Giotto di Bondone's painting in the early Renaissance to the contemporary architectural design of Leoh Ming Pei, 15 themes, like 15 important space-time coordinates, covered a complete history of western art.

　　Looking back the journey of art in Paris Museums, I think, what's the most valuable is that we have finished a real dialogue between Chinese young learners and the European art. 15 excellent students were selected from the applicants who were sophomore students in different majors of the college to participate in this journey. They were equipped with both good artistic culture and extraordinary ability of expression. They could even be considered to have the fundamental condition for the artistic dialogue. Each student finished their own keynote speech in the front of a designated work respectively in Louvre, Orsay and Pompidou Centre. Chinese young learners stood in the front of the classical original works of European masters and introduced such works to everyone in English, loudly and directly. This teaching mode is of extreme historical significance, displaying that Chinese young people were having an active dialogue with the European classical art, as well as the modern and contemporary masters, as researchers instead of tourists or audiences. Also, the leading teachers and the European professors had a comment and supplementary explanation on the spot.

　　Dialogue at the second level occurred between the students of Tongji University and the art history circle of Europe. During the journey of art in Paris, the students not only needed to participate in the on-the-spot comments and questions of the accompanying professors, but also had the honor to interviewed in person by the curators and department directors of many museums, among which some accompanied to give an entire explanation all the time, some made a lively lecture and some sit around to have a communication, including the dean of Institute of Art History of University of Bern Professor Gramaccini, teacher of Ecole du Louvre Dr. Brun and Germany Center of Art History Dr. Sissia who led the team this time, as well as Director of Louvre Sculpture Research Division Sophie Jugie, Curator of Fondation Cartier Leanne Sacramone, La Maison Rouge Curator Paula Aisemberg, Director of Germany Center of Art History Thomas Kirchner very appreciated the free and high-level speeches during the seminar. Director Kichner even hoped Chinese students could participate in the later programs of the research center in the summer holidays.

　　This journey was totally completed in Paris. Instead of tiring journey with luggage, this journey could give the students more time to carefully feel the artistic ideas of masters and appreciate the elegant artistic expressive force. It was also tightly scheduled. During thirteen days, we visited eleven large museums and art galleries, three castles and palaces, three churches and a Germany Center of Art History of Paris, as well as ENSBA (Ecole Nationale Supérieure des Beaux-arts de Paris) which has cultivated a large number of Chinese artistic seniors. At last, 15 students not only finished their the keynote speeches and academic reports through the early learning and study, but also created the artworks in diverse techniques of expression after returning, with their learning experience and artistic understanding in Paris. This has indicate that the teaching of art history, especially the on-the-spot teaching in museums, can greatly facilitate aesthetic cultivation.

　　In order to completely preserve the art history learning in the journey of art in Paris and the artistic creations in 2015, we edited and published the book, not only providing a record for teaching, but also making a perfect report to Chinese and foreign teachers and experts who had made great efforts in the journey of art in Paris.

Hu Wei

Written in Berlin in June 2016