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传统中国画以线造型为基础;而共和国成立后至今的美术学院基础教学,则以明暗造型为主的契斯恰科夫的素描作为造型基础的训练手段。科学严谨的素描造型手法在弥补了传统中国画造型短板的同时,也引发了对于“西方素描造型+传统中国线描和上色”这种“嫁接”的教学手法是否合理的长期讨论。如宗白华在《论素描》中所说:“西画线条是抚摸着肉体,显露着凹凸,体贴着轮廓以把握着坚固的实体感觉;中国画则以飘洒流畅的线纹,笔酣墨饱,自由组织(仿佛音乐的制曲),暗示对象的骨骼、气势与动向。”中国画教学经过了数十年的改革发展之路,许多从事专业教学的老师都在探索一条系统化和科学化的教学发展道路。本期“对画对话”栏目我们邀请了三位有着丰富的中国画教学实践和改革经验的女教师,请她们畅谈关于当前国画教学中存在的问题,以及如何解决问题的设想和尝试,其中对于“三个画室”的构想、毛笔速写和写生的课程实践颇具特色,闪耀着独特的智慧光芒。
The traditional Chinese painting is based on the line style; while the founding of the Academy of Fine Arts since the founding of the Republic up till now, Chestychakov’s sketching, which is based on the light and dark forms, is used as the training method of the modeling foundation. Scientific and rigorous sketching techniques make up the shortcomings of traditional Chinese painting, and at the same time lead to the long-term rationalization of teaching methods such as “western sketching + traditional Chinese sketching and coloring” discuss. As Zong Baihua said in his sketch on sketches: “The lines of western painting are stroking the body, revealing the concave and convex, the outline in order to grasp the solid feeling of solidity; the Chinese painting is drifted with flowing lines and the ink is full , Free to organize (as if the song of music), suggesting that the object of bone, momentum and trends. ”Chinese painting teaching after decades of reform and development of the road, many teachers engaged in professional teaching are exploring a systematic and scientific The teaching and development path. In this issue of “Dialogue with Painting”, we invited three female teachers with rich experience in teaching Chinese painting and invited them to talk about the ideas and attempts to solve the problems existing in traditional Chinese painting. For the “three studio ” concept, brush writing and sketching of the curriculum practice quite distinctive, shining a unique wisdom light.