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在师范美术教育的课程安排上,下乡写生课程占重要地位。“写生”一词是西方的翻译语,它是指绘画者直接从自然中寻找绘画的方式,在现代美术教育中,它变成了基础练习和收集素材的代名词。这种以下乡写生实践来培养学生绘画能力的教学方法,在以往的教学中往往关注视觉经验的客观描述和创作素材的记录,但问题是教学中忽略了如何在写生中培养学生进入创作层面的思考。而强调写生中运用形式增强生活感受和思考,是培养学生创作能力关键的一步。如何改变传统写生与创作分离的教学方法,教师面临的问题是如何调动学生在写生中不断记录构想的积极性,面对生活中的视觉感受实现“限、手、心”的综合,显示匠心独运的创作构思。
In the course of the fine arts education curriculum, the countryside sketchbook occupies an important position. The term “sketch” is a Western translation, which refers to the way in which the artist looks for painting directly from nature. In modern art education, it becomes synonymous with basic practice and collection of material. This kind of teaching method of cultivating students’ abilities of painting in the following township sketching practice often pays attention to the objective description of visual experience and the recording of creative materials in past teaching. However, the problem is that teaching neglects how to train students to enter the creative level in sketching Thinking. Emphasizing the use of forms in sketching enhances the feeling and thinking of life is a crucial step in cultivating students’ creative ability. How to change the traditional teaching method of sketching and separation of creative writing, the teacher is facing the problem how to mobilize students in sketching continue to record the enthusiasm of ideas in the face of the visual perception of life to achieve “limit, hand, heart,” the combination of show ingenuity Creative concept of creation.