The textbook mainly includes three aspects:
1. Appearance of aesthetic self-discipline and personal style.
2. The embodiment of aesthetic self-discipline in China's calligraphy and literati painting.
3./kloc-the creative ideas and style characteristics of several representative European art schools in the 0/9th century.
"Aesthetic self-discipline" includes two meanings: first, it means that artists are not engaged in creation for a certain class, social group or other people, but emphasize a personalized expression that is completely based on personal interests, and at the same time, they do not have to succumb to the aesthetic taste of the public in the visual form of their works; Second, the development and evolution of artistic style has its inherent laws and is not interfered by external social factors.
In China, this creative mentality is mainly reflected in the calligraphy and literati paintings that have been gradually developed since the mid-Northern Song Dynasty. In calligraphy, the textbook lists Wang Xizhi's work "Preface to the Lanting Pavilion" to let students know the influence of the painter's mood on calligraphy creation. In other words, China's calligraphy is not a mechanical "writing", but an artistic creation led by the calligrapher's emotion. Only when the creator's emotions are involved, can we achieve a hearty and one-step effect.
Literati painting should pay attention to the following aspects: 1. Artist status. They are not professional painters, but some highly cultivated literati and officials. 2. Creative attitude. Because they are not professional painters, creation is just an amateur pastime and entertainment for them, just to express their feelings, not to make money or please people. 3. Style emphasizes personalized language. Comparing Guo's "Early Spring Picture" with Mi Fei's son Mi Youren's "Xiaoxiang Wonder Picture" in the textbook, we can generally see these differences between court professional painters and literati painters. If we want to realize this identity difference in the picture style, we need students to understand some formal characteristics: for example, Guo's works are deliberately arranged, the trees and rocks are more realistic, and Mi Youren's works are more free to use pen or composition, and don't care much about whether they are like or not.
In Europe, artists' pursuit of personal style mainly began in France since the19th century. Some innovative artists opposed the painting scheme stipulated by the official Academy of Fine Arts at that time and tried to open up a new direction of artistic development. In this respect, the textbook tells about the opposition between Angel and Delacroix, and also arranges two tables to compare the style characteristics of neoclassicism and romanticism. This comparison highlights the differences in genre and personal style. Another content of this part is Impressionism, including its changes in painting methods and main creative ideas.
/kloc-Great changes have taken place in the French painting style in the 0/9th century. Through these works, the teaching materials try to show that painting is getting closer to individuals, such as being faithful to one's own eyes and social attitudes, regardless of traditional norms and procedures. This is also one of the meanings of "aesthetic self-discipline".
Student analysis
The students of Grade One in our school come from all towns and villages in the county, with different levels and poor foundation, but they generally like art and love painting.
Students may not be able to directly draw the conclusion of aesthetic self-discipline when analyzing paintings. For example, at that time, the European art market was gradually forming. Artists did not accept orders from certain institutions or individuals, but hung them in galleries after painting. This kind of transaction is conducive to the free play of artists.
Teaching idea
Because high school students have a strong interest in calligraphy, I plan to finish the teaching in three class hours. 1 Class analyzes China's calligraphy art by combining Wang Xizhi and Mi Fei, the development of China art in Class 2 and the development of foreign art in Class 3.
The teaching of this course is mainly to let students understand the connotation of the concept of aesthetic self-discipline, understand the reflection of this trend in the art field and what influence it has on artists' creation. In the teaching process, we will make full use of the materials provided by the textbooks, and at the same time, combine the school-based resource textbooks to guide students to analyze the works, and help them understand the development and changes of artistic style and the important influence of the artist's personality, emotion and unique aesthetic concept on the works.
In the process of teaching, we mainly adopt the method of appreciation, so that students can master the content of teaching materials through intuitive understanding.
Learning activities and student activities plan:
This class has arranged two activities, the purpose of which is to examine the law of form evolution with Chinese and western works of art, that is, the relationship between inheritance and innovation. However, in combination with the actual situation of students and the characteristics of our school, I am going to assign three homework tasks in combination with the contents of the textbook and Thinking and Communication.
In the first activity, students were arranged to enjoy a calligraphy work independently and write it in words, aiming at the calligraphy art of China combined with "thinking and communication" on page 37 of the textbook.
The second activity is mainly to let students know about the inheritance and changes of forms and styles in China's fine arts works. This activity plan combines "Thinking and Communication" on page 38.
In the third activity, by comparing the works of impressionist painter Monet, live photos and Turner's works, students can understand the evolution of painting forms more concretely and emotionally. Both works only pay attention to pure light and color phenomena, especially the vivid scene of sunlight passing through fog, and pay little attention to the three-dimensional space effect of objects and images, and have no clear outline, which is far from traditional painting; But Monet's works pay more attention to the accuracy and vividness of colors, and his brushwork is more indulgent. We can even see his brush strokes clearly. It can be said that Turner opened a gap for the new painting form, while Monet gave full play to the possibility in Turner's works. Through this comparison, students will understand how painting forms have evolved step by step according to their own logic.
Teaching objectives:
1. Understand the connotation of "aesthetic self-discipline" and the artist's pursuit of personal style and formal beauty;
2. Understand some main concepts and development clues of China's calligraphy and literati painting;
3. Understand the main concepts and styles of neoclassicism, romanticism and impressionism.
Teaching emphases and difficulties
1. Pure formal factors in works of art;
2. Inheritance and innovation in the development of artistic style.
Teaching AIDS and learning tools
Teaching AIDS: self-made teaching courseware, multimedia playing tools, picture books, famous copybooks by Wang Xizhi and Lu Yuanlin.
Learning tools: notebooks (designed according to the idea of comparative appreciation), self-provided appreciation materials, pens, etc.
The teaching process design of the first class;
First, create a situation, the introduction of teaching
Do you like writing?
Who has the best handwriting in the class?
What font do we usually write?
What is the most outstanding representative work of this font?
Introduction: Wang Xizhi, the world's first running script "Preface to Lanting"
Today, we will discuss the influence of the painter's personality, emotion and unique aesthetic concept on his works, as well as the diverse artistic styles of China's paintings.
Second, appreciate the works and introduce new lessons:
1. Exhibition works: Wen Zhiming's "Lanting Xiu Ji Tu"
2. Description of Ming Si Jia: Wen Zhiming, Tang Yin, Shen Zhou and Chou Ying.
3. Introduction: Two Kings: Wang Xizhi? Wang Xianzhi
4. Ask students to list some calligraphers around them:
Lu Yuanlin (provincial calligrapher, teacher of Shouning No.2 Middle School), works display, copybook display.
Liu Mingcheng (provincial calligrapher, Xietan native, Shouning native, now Ningde native) exhibited his works and copybooks.
Li Peixiong (provincial calligrapher, Xie Tan, Shouning, present-day Shanghai) exhibited his works and copybooks.
Wu Hemiao Chang Zuan (provincial calligrapher, Shouning, now Shouning) exhibited his works.
Third, the focus of the course, works appreciation:
(1) Appreciate Wang Xizhi's Preface to the Lanting Pavilion.
1. The teacher briefly introduced the background and artistic features of the work. Introduce the specific content of this article, so that students can understand the feelings expressed in the work.
2, complete the first "thinking and communication":
Teacher's summary: This is the word "Zhi" written by the great calligrapher Wang Xizhi in his famous calligraphy work "Preface to Lanting". But he didn't write it on purpose. Why?
Please read the second paragraph on page 37 of the textbook.
Teachers put forward requirements:
(1) Can you find the original position of each word "Zhi"?
(2) If the positions of these words are reversed in the work, will it affect the effect of the whole article?
3. Students think and answer.
Calligraphy pays attention to verve, the Lanting sequence is completed in one go, it is natural and casual, and it reaches a wonderful state, forming an independent aesthetic and personal style, which deserves to be called "the best running script in the world".
4. The teacher summed it up.
This work is improvised, and the emotions and feelings at that time are naturally revealed in it; Because of this, it cannot be copied. Its creation is only to express the feelings at that time, and it is a kind of pure self-entertainment and emotional expression without any external purpose.
(2) Teaching knowledge points:
The meaning of "aesthetic self-discipline";
Include two aspects:
First, artists are not engaged in creation for a certain class, social group or other people, but emphasize a personalized expression that is completely based on personal interests, and at the same time, they do not have to succumb to the aesthetic taste of the public in the visual form of their works;
Second, the development and evolution of artistic style has its inherent laws and is not interfered by external social factors. These two aspects are interrelated, because artists can freely explore their own personalized formal language only if they have independent personality and status.
However, although artists hope to gain full freedom in their creation, they do not live in a vacuum after all, so they always inherit the things of their predecessors in style and then develop them. (For example)
(3) Teachers show their works:
Guo's Early Spring Picture and Mi Youren's Xiaoxiang Wonder Picture.
1. Please read page 38 of the textbook and compare the two works according to the analysis in the textbook.
Teachers should guide students properly in the process of reading, and compare them from the aspects of author identity, service object, creative purpose, painting form and innovation.
2. The identity of the painter? Creative attitude? Style characteristics?
Song? Mi Youren? Xiaoxiang wonders map? Paper, ink pen, vertical: 19.8 cm, horizontal: 289.5 cm.
Mi Youren (1074- 1 153) was a painter in the Southern Song Dynasty. Mifei's eldest son is called Xiaomi. His landscape paintings developed Mi Fei's techniques. He painted clouds with horizontal dots (rice dots) of ink and wash, calling himself "ink play", which had an influence on the vertical style of ink and wash painted by literati later.
3. Students think and answer.
4. The teacher summed up the teaching theme "aesthetic self-discipline".
5. Complete "Thinking and Communication" on page 38.
6. Students read and study textbooks:
Students read and analyze the artistic phenomena of Yuan, Ming and Qing on page 39.
Teachers should guide students to understand from several aspects in the process of reading:
(1) The theme and content of the work.
(2) expression.
③ The relationship between these factors and the artist's personality and inner feelings.
④ Understanding of beauty.
⑤ What changes have the creative subject consciousness (that is, the enhancement of personality) brought to the painting field?
7. Students analyze and teachers summarize. And the literati painting is introduced and summarized.
8. Teachers and students appreciate some literati paintings together and appreciate them according to the appreciation method of "image art". It is important to understand why artists create these images, to express their true feelings, to transcend the secular, to rebel against society and so on.
Fourth, homework:
After class, students can enjoy a famous calligraphy work by themselves, such as the work of "Two Kings".
Reference content:
Preface to Lanting Collection (Eastern Jin Dynasty) by Wang Xizhi
Preface to Lanting, known as "the best running script in the world", is Wang Xizhi's masterpiece when he was 5 1 year old. Like a bright lamp, it shines on the development of calligraphy art in China since the Wei and Jin Dynasties, and calligraphers in all previous dynasties took it as the standard. Wang Xizhi (303 ~ 36 1) was born in Linyi (now Shandong). Later, he moved to Yin Shan Huiji (now Shaoxing) and became a native of Zhejiang. He's Stuart Wang Dao's nephew. At first, he was a secretary, a right army general and a civilian. He is called Wang Youjun by the world, and is honored as "the book saint". At that time, many celebrities lived here and chanted their temperament. On March 3rd, 9th (Shangsi Festival), Jin Yonghe held a grand and elegant party in Yinshan Lanting (the former site is at the foot of Zhu Lan Mountain outside Shaoxing today). Celebrities attending the party include Stuart Xie 'an, who is famous all over the world for his comeback, Sun Chuo, a famous monk with fame and fortune, Zhi Dun, and Wang Xizhi's father and son. On this day, the wind is clear and the clouds are light. Celebrities sit on both sides of the winding stream. The commander's men floated down the full glass from the upstream, and whoever stopped in front of it had to drink and write poems. The host and guest were in high spirits and wrote 37 poems, which were recommended by the public as the order and kept in mind. This wonderful ink, which has been passed down through the ages, was made by improvising with cocoon paper and moustache. Draft ***28 lines, 324 words, loose before and tight after, occasionally a few alterations, very natural and casual, reached the harmonious state of "fluent", plus a little drunk, God help. When I woke up, I read it again, but I couldn't find it back. This post was handed down from ancient times by Feng Chengsu's double-hook paper book in Tang Dynasty, and was collected by the Palace Museum. It was called "Dragon Book" in history.
Mi Fei (A.D.1051-107) was a calligrapher, painter and painting theorist in the Northern Song Dynasty in China. The word has no chapter,no. Haiyue Waishi, doctor of imperial palace painting. Originally from Taiyuan, he moved to Beigushan in Zhenjiang in his later years. His calligraphy is very famous, and he is also called "Song Sijia" with Cai Xiang, Su Shi and Huang Tingjian.
Mi Fei, who is good at poetry and calligraphy, is good at seal script, official script, regular script, running script and cursive script, and is good at copying ancient books, reaching a chaotic level. At first, Ou Yangxun and Liu Gongquan had tight fonts and heavy strokes. Later, it spread to Wang Xizhi and Wang Xianzhi, who developed their posture and vigorous brushwork, calling themselves "Chinese calligraphy". His paintings are good at dead wood and bamboo stones, especially ink and wash landscapes. It is very creative to express the changes of mountains and rivers in the south of the Yangtze River with brush strokes, which is called the Yunshan of rice.
The Coral Pen Holder was written by Mi Fei. The brushwork is pure calligraphy, the column is drawn from top to bottom, the front is slow, the arc is deliberately drawn, and the pen is pointed out. The file is drawn from left to right, shaken with a pen, and slightly supplemented in the middle to get the meaning of circle and column holding. The pens on the base below float freely and are strewn at random. The shape of the pen holder is sketched vividly, with its importance and urgency, and the significance of calligraphy is revealed by picking up the white, wrapping and collecting the pen.