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“中国历史文化名人肖像”的教学探索

Teaching Exploration of "Portrait of China Historical and Cultural Celebrities
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摘要 (一)课程的形成过程 广州美术学院雕塑系“中国历史文化名人肖像”课程的设置是逐步发展成熟的。1977年以后,雕塑系在泥塑课教学中,一直把纪念性肖像教学视为重点。具体是:充分发挥每个同学的主观能动性,从个人的生活经验、兴趣爱好、价值判断和艺术视角出发,创作一件半身纪念性肖像。此种做法的优点是,在习作的基础上强调了创造力的培养,使学生有了一定的自由发挥的空间。不足之处是。 The courses of 'Portrait of China Historical and Cultural Celebrities' of Sculpture Dept. of Guangzhou Painting Institute have been gradually ripe. After 1977, the Sculpture Dept always regarded the commemorative portrait as the main point in clay statue teaching courses. Afterwards, portrait-teaching courses have been appropriately adjusted. Students set composition of a picture according to their selected figures (historical documents and pictures) and then created semi-body commemorative portrait. After summary of many teaching experience, we unit the figure body equal to human and portrait courses into one. The aim is full portrait creation, including unfolding creation course, selecting artistic normal form and experiencing project technology. In actual operation, students select figures to be moulded, then check words and picture materials, write brief biography and work out materials of composition of a picture, and through teachers and students' common comments, it will be implemented after scheme decided. What teachers do just lies in giving directional instructions to different students respectively in the light of its general trend, while leaves final determinations to students. Change the original semi-body into entire body figure. Stipulate selection of figures in 'China Historical and Cultural Celebrities' based on the following: First, enriching contents of creations. Compared with semi-body figures, the entire figures whether in not only showing figure sight and interpreting objective ideas, but space structure are more entire. Then, restricting figures of relative ranges, which not only avoids free rein of teaching, but under the circumstance of the same aim of teachers and students, through serials of mental analysis such ax enlightening, understanding, thought and extension, the creation mentality is finally clear, which causes students to toughen their adaptation and finish works in light of determined direction and which lays foundation for accepting entrusting or creating works themselves.
作者 黎明 高蒙
出处 《雕塑》 2003年第4期12-14,共3页 Sculpture
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