Abstract In the early sixteenth century, a new genre of epistemic and artistic objects appeared in southern Germany. For the first time, art manuals, ranging from instruction booklets to model books, put craft know-how into pictures and stabilized it in print. These slim and user-friendly art primers were made by artists for artists, at least in theory. They were designed to teach basic drawing skills, including simple geometry, perspective, and human proportions, and to circulate patterns. However, the manuals also taught how and where to look: their objective, then, was to develop a certain optical acumen through intense visual absorption. By examining some examples of the genre authored by such prominent figures as Sebald Beham or Erhard Schön, this article addresses questions on the teachability and display of artistic knowledge in the wake of Albrecht Dürer. It argues that sixteenth-century German art primers thematize, aestheticize, and embody modes of transmission and self-presentation in the ways they showcase practice. Despite their pedagogical ambitions and claims to be closer to practice than Dürer’s didactic model, early modern art manuals in fact created an ideal and condensed version of artistic knowledge: rather than mediating practice, they show what their authors understood practice to be. In the process, they powerfully championed the cognitive authority of pictures, and influenced the shape and format of later drawing manuals.

中文翻译：

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巧妙的教学：在早期的现代德国绘画和印刷艺术知识

摘要十六世纪初，德国南部出现了一种新的认识论和艺术对象。从说明书到样板书的美术手册首次将手工艺知识应用到图片中，并稳定了其印刷版。这些苗条且易于使用的艺术底稿是艺术家为艺术家制作的，至少在理论上是这样。它们旨在教授基本的绘画技巧，包括简单的几何图形，透视图和人体比例，以及传播图案。但是，这些手册还讲授了外观和方式：他们的目标是通过强烈的视觉吸收来形成某种视觉敏锐度。通过研究由Sebald Beham或ErhardSchön等著名人物创作的这种类型的例子，本文讨论了在阿尔布雷希特·丢勒（AlbrechtDürer）之后对艺术知识的可教性和展示性的问题。它认为，十六世纪的德国艺术入门以展示实践的方式主题化，美学化并体现了传播和自我表现的方式。尽管他们的教学野心和声称比杜勒的教学模型更接近实践，但事实上，早期的现代艺术手册创造了理想且浓缩的艺术知识：他们不是调解实践，而是表明作者理解实践是什么。在此过程中，他们大力捍卫了图片的认知权威，并影响了后来的绘制手册的形状和格式。并以展示实践的方式体现传播和自我展示的模式。尽管他们的教学野心和声称比杜勒的教学模型更接近实践，但事实上，早期的现代艺术手册创造了理想且浓缩的艺术知识版本：他们不是调解实践，而是表明作者理解实践是什么。在此过程中，他们大力捍卫了图片的认知权威，并影响了后来的绘制手册的形状和格式。并以展示实践的方式体现传播和自我展示的模式。尽管他们的教学野心和声称比杜勒的教学模型更接近实践，但事实上，早期的现代艺术手册创造了理想且浓缩的艺术知识版本：他们不是调解实践，而是表明作者理解实践是什么。在此过程中，他们大力捍卫了图片的认知权威，并影响了后来的绘制手册的形状和格式。