這門課程草擬了四個授課主題：1、文物的價值，2、文化的傳播，3、文明的誕生，4、歷史的變與常。說明如下。
1、文物的價值：首先，預設以物質文明和精神生活作為區分性概念，探討「何謂真正幸福」。引導同學們討論問題的方式是，以市場炒作機制(價錢)與歷史文化內涵(價值)的預設作為出發點，期望同學們能夠通過辯證反思而為自己找到最初步的「合理的判斷」。其中，與中國文物相關的｢藝術涵養、發現美善素養、美的鑑賞、創意創新｣等等議題，都是主要的教學內容。
2、文化的傳播：「合理的判斷」僅僅只是一個可能性概念，它還需要具體的社會實踐才能現實化，因此，｢尊重差異、溝通互動、良善意願｣等因素，它們都影響了文化傳播的結果。本課程以瓷器為例，說明(海上)絲綢之路的全球傳輸概況，進一步地引導同學們反思文化優劣論，是一個援引文化人類學概念的研究視角。
3、文明的誕生：種種｢良善意願｣或許因為歷史文化差異而沒有標準答案，因此，為求逼近「人本教育」的終極理想，形而上學的通識教育或有必要。本課程首先從文、史、哲的共同的先驗預設(meta，後設、史元、形上學) 開始這個授課單元，再從中國文物的直觀經驗轉往現象學反思。與之相關的教材內容有：人類文明從無到有的舊、新石器時代，包含台灣卑南文化在內的環太平洋的玉石器文化圈，以及上古世界四大古文明(銜接到下一單元｢歷史的變與常｣)等。通過考古與盜墓的批判，嘗試以辯證反思的方法論，開啟同學們從文明的誕生轉往形上思辨的心路歷程。
4、歷史的變與常：在康德著名的「二律背反」裡，形上思辨除了是時間開端的有無之外，另一道命題是關於時間意識的變與常(一與多)。關於人類文明是否具有黑格爾(G. W. F. hegel,1770-1831)所謂的絕對精神 (歷史長期發展的合理性)，本課程持以開放的態度而保留給同學們自己尋找答案。惟於教材的選擇方面，本課程以宗教文物權充精神文明的象徵，依照時間序列而介紹三代青銅、秦漢神仙思想、唐代造像、宋元明清的世俗生活。
根據通識教育之目標，本課程草擬教學大綱，約如上述。有別於傳統文史哲研究多局限於文獻史料或文字概念者，本課程主要以中國文物的直觀圖像作為授課教材(看圖片授課，而不是書面文字的教科書)。經由藝術社會學、工藝美術史、考古學與文物收藏機制等學術研究視角，多方面地與文、史、哲等相關學術領域相互交流，促進同學們認識並反思種種不同的審美情趣與價值判斷，希望能對同學們的理性人格養成有較積極的影響。
This course has drafted four teaching themes: 1. The value of cultural relics, 2. The spread of culture, 3. The birth of civilization, 4. Changes and constants in history. Instructions are as follows.
1. The value of cultural relics: First of all, it is assumed that material civilization and spiritual life are used as distinguishing concepts to explore "what is true happiness." The way to guide students to discuss issues is to use the presuppositions of market hype mechanism (price) and historical and cultural connotation (value) as the starting point, hoping that students can find the most preliminary "reasonable judgment" for themselves through dialectical reflection. Among them, topics such as "artistic cultivation, discovery of beauty, appreciation of beauty, creativity and innovation" related to Chinese cultural relics are the main teaching content.
2. The spread of culture: "Reasonable judgment" is just a concept of possibility. It also requires specific social practice to be realized. Therefore, factors such as "respect for differences, communication and interaction, and good will" all affect culture. the result of dissemination. This course uses porcelain as an example to illustrate the global transmission of the (Maritime) Silk Road, and further guides students to reflect on the theory of cultural superiority and inferiority. It is a research perspective that invokes the concept of cultural anthropology.
3. The birth of civilization: Various "good intentions" may not have standard answers due to historical and cultural differences. Therefore, in order to approach the ultimate ideal of "humanistic education," metaphysical general education may be necessary. This course first starts this teaching unit with the common transcendental presuppositions (meta, metaphysics, history, metaphysics) of literature, history, and philosophy, and then moves from the intuitive experience of Chinese cultural relics to phenomenological reflection. Relevant textbook contents include: the Old and Neolithic Ages when human civilization began from scratch, the Pacific Rim jade cultural circle including Taiwan's Beinan Culture, and the four major ancient civilizations of the ancient world (connected to the next unit "Changes and Constancy in History"), etc. Through the criticism of archeology and tomb robbing, we try to use the methodology of dialectical reflection to start the students' mental journey from the birth of civilization to metaphysical speculation.
4. Change and constancy in history: In Kant's famous "Antinomy", in addition to the existence or absence of the beginning of time, metaphysical speculation is about the change and constancy of time consciousness (one and many). As to whether human civilization has what G. W. F. Hegel (1770-1831) called the absolute spirit (the rationality of long-term historical development), this course maintains an open attitude and leaves it to students to find the answer on their own. However, in terms of the selection of teaching materials, this course uses religious cultural relics as symbols of spiritual civilization, and introduces the bronzes of the three generations, the thoughts of immortals in the Qin and Han Dynasties, the statues of the Tang Dynasty, and the secular life of the Song, Yuan, Ming and Qing Dynasties in chronological order.
Based on the goals of general education, the syllabus for this course is drafted, approximately as described above. Different from traditional studies of literature, history and philosophy, which are mostly limited to historical documents or textual concepts, this course mainly uses visual images of Chinese cultural relics as teaching materials (teaching by looking at pictures, rather than textbooks with written texts). Through academic research perspectives such as sociology of art, history of arts and crafts, archeology, and cultural relic collection mechanisms, we communicate with related academic fields such as literature, history, philosophy, etc. in many aspects to promote students to understand and reflect on various aesthetic tastes and value judgments. , hoping to have a more positive impact on the students' rational personality development.
1、本課程之教材主要是授課教師自行蒐集、編輯的數位圖錄檔案，並無指定教科書。圖像來源除了是美術史或各大博物館已予肯定的代表性中國文物之外，亦選取自《典藏--古美術》雜誌或各種拍賣會圖錄。以此，本課程在教學方法上是屬於看圖說故事的圖說或圖解，其詮釋學性質，亦屬現象學的直觀描述法。
2、指導同學們使用台北故宮博物院的「故宮典藏資料檢索」。故宮館藏中國文物有40萬件之眾，圖片與圖說較具學術權威性，足以擴充同學們的專業知識。
3、其他參考書目如下：
中國硅酸鹽學會主編，《中國陶瓷史》(北京：文物出版社，1982年)。
張明華，《中國古玉：發現與研究100年》(上海：上海書店出版社，2004年)。
陳芳妹，《故宮商代青銅禮器圖錄》(台北市：故宮，民國87年)。
馬自樹主編，《中國文物定級圖典》(上海：上海辭書出版社，1999年)。
劉慶柱主編，《二十世紀中國百項考古大發現》(北京：中國社會科學出版社，2002年)。
《典藏-古美術》、《故宮文物》等期刊。
1. The teaching materials for this course are mainly digital catalog files collected and edited by the instructors themselves. There is no designated textbook. In addition to representative Chinese cultural relics recognized by art history or major museums, the image sources are also selected from the magazine "Collection - Ancient Art" or various auction catalogs. Therefore, in terms of teaching method, this course is a picture description or diagram that tells a story through pictures. Its hermeneutical nature is also an intuitive description method of phenomenology.
2. Instruct students to use the "National Palace Museum Collection Data Search" at the National Palace Museum in Taipei. There are 400,000 Chinese cultural relics in the National Palace Museum. The pictures and illustrations are academically authoritative and can expand students' professional knowledge.
3. Other reference books are as follows:
Editor-in-chief of the Chinese Ceramic Society, "History of Chinese Ceramics" (Beijing: Cultural Relics Press, 1982).
Zhang Minghua, "Chinese Ancient Jade: 100 Years of Discovery and Research" (Shanghai: Shanghai Bookstore Press, 2004).
Chen Fangmei, "Illustration of Bronze Ritual Vessels of the Shang Dynasty in the National Palace Museum" (Taipei City: National Palace Museum, 1987).
Ma Zishu, editor-in-chief, "Illustrated Dictionary of Chinese Cultural Relics Grading" (Shanghai: Shanghai Dictionary Publishing House, 1999).
Liu Qingzhu, editor-in-chief, "One Hundred Major Archaeological Discoveries in China in the 20th Century" (Beijing: China Social Sciences Press, 2002).
Periodicals such as "Collection-Ancient Art" and "Forbidden City Cultural Relics".
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 課堂參與課堂參與 class participation |
30 | .上課回答問題加分(加分直至學期總分100分為止) |
| 期中考期中考 midterm exam |
30 | 隨堂考，筆試 |
| 期末考期末考 final exam |
30 | 隨堂考，筆試 |
| 第 17 與 18 週的學生自主實作第 17 與 18 週的學生自主實作 Student independent implementation in weeks 17 and 18 |
10 | 學生自主實作表現評量，由通識中心辦公室提供 |
