不知出于什么原因,风景素描课在美术院校始终没有受到应有的关注,这无论从哪个方面来说都是很令人费解的,因为,作为绘画三大门类的人物画、风景画、静物画中,唯独风景素描例外于各美术院校的基础教学领域。这也许是由于长期传统教学模式所形成的定式,对法的研习甚于对道的深究,才形成素描体系的偏食现象,这种习惯了的模式总是潜在地影响着我们基础教学体系的完善。事实上,素描教学的基础作用远不止于课堂上对人物、静物的表现手段和操作技巧,它是对造型意识和造型体现的综合能力的培养,即能运用最简单的工具和最单纯的媒介,随心所欲地表现任何对象并组织画面。对这种综合造型能力的培养,靠课堂上长期沿用的传统课题,既不能胜任,更不能代替。以往的风景画多是在上创作课收集素材时,随手画些草图 I do not know for some reason, landscape sketch in art schools has not received the attention it deserves, which no matter from which are very puzzling because, as the three categories of painting portraits, landscapes, Still life, except landscape sketch exceptions in the art education of basic teaching areas. This may be due to the formation of a long-term traditional teaching model. The study of law is even more than the study of Tao, thus forming the partial eclipse phenomenon of the sketch system. This habitual pattern has the potential to affect the perfection of our basic teaching system . In fact, the basic function of sketch teaching goes far beyond the means of expression and manipulation of characters and still life in the classroom. It is the cultivation of comprehensive ability of modeling awareness and modeling, that is, using the simplest tools and the simplest media , Arbitrary expression of any object and organize the picture. The ability to cultivate this comprehensive style, by the traditional long-term use of the subject in the classroom, can not be competent, but can not be replaced. In the past, most of the landscape paintings were drafted sketches when they were collected in the creative lessons