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High school art "Ancient Chinese Landscape Painting" lesson plan template
Teaching purposes:
Through the teaching of this course, students will have an understanding of the nature, painting methods, various artistic styles and unique artistic traditions, and broaden their horizons. Increase knowledge, cultivate sentiment, cultivate healthy aesthetic taste, know how to understand and feel the beauty of art, improve art appreciation ability and establish correct aesthetic viewpoints.
Teaching focus:
Guide students to focus on understanding the unique artistic tradition.
Teaching difficulties:
How to understand "artistic conception"? The pursuit of the creation of artistic conception is not only one of the important artistic traditions of China, but also an important aspect of ancient Chinese aesthetic thought.
Teaching time: 1 class hour
Teaching aid preparation: pictures, video materials, self-made courseware.
Teaching process:
1. Organizing teaching: (conventional)
2. Introducing new lessons:
Today I will study lesson 10 . (Show the topic and start using the courseware)
The content of this lesson is appreciation. Through the appreciation of typical masterpieces, we can understand the nature, painting methods, various artistic styles and unique artistic traditions.
1. The nature of painting and its important position in ancient Chinese painting:
We have learned in the last two lessons that ancient Chinese painting habits are traditionally divided into figures, landscapes, flowers and birds Three painting subjects. The main description object is natural scenery. It not only expresses the rich and colorful natural beauty, but also embodies the natural outlook and social aesthetic consciousness of the ancient Chinese people, and even indirectly reflects social life from the side.
As an independent painting discipline, Chinese landscape painting is later than figure painting, but it has achieved outstanding development in the history of Chinese painting, and in the long-term development, it has formed a variety of painting methods and artistic styles. The main ones are: green landscape, ink landscape, light crimson landscape, small green landscape, boneless landscape, etc.
Green landscape - Green refers to the azurite and stone green in Chinese painting pigments. Landscape paintings using this pigment as the main color are called "green landscapes". Among them, there are big green and small green. The former has more outlines, less chaffing and heavy coloring, such as "Thousands of Miles of Rivers and Mountains". The latter is based on ink and light colors with slight green and green colors, such as "Spring Outing".
Light crimson landscape——On the basis of ink outline and dyeing, light color landscape painting with ocher as the main color is laid.
Ink landscape painting - using rendering as a method, using concise and unrestrained brushwork, emphasizing the effectiveness of ink painting.
1. Explanation of terms:
"The external teacher creates things, and the inner source is the source of the heart" - "creation" refers to nature, and "xinyuan" refers to spiritual feelings. The general idea of ??"Teaching nature from the outside and getting the source of the heart from the inside" means that landscape painters must not only take nature as their teacher in creation, but also benefit from the painter's feelings about nature. It correctly pointed out the basic principles of Chinese landscape painting creation and had a profound influence on the subsequent development of Chinese painting.
"Southern and Northern Sect" - Ming Dynasty painter Dong Qichang borrowed the Tang Dynasty Zen Buddhism to divide it into Southern and Northern Sects to explain the development of painting for hundreds of years from the Tang to the Ming Dynasty. According to the painting creation method and the painter's Identity, the landscape painting after the Tang Dynasty is also divided into two sects, the northern and southern sects. The literati painters with ink painting method are compared to the "Southern sect", and the professional painters with green painting method are regarded as the "Northern sect". For example, Wang Wei and Li Sixun in the Tang Dynasty were later called the "Northern and Southern Sects".
Although the landscape paintings of the Northern Song Dynasty contained the painter's feelings and ideals about these scenes in the natural scenes they depicted, they were more mainly about objectively describing natural objects. The representative figures are Fan Kuan, Guo Xi and Wang Ximeng.
Fan Kuan's "Travel in Streams and Mountains", ink on silk
The first thing that catches the eye is the main peak rising in the center, which takes up about two-thirds of the picture, and there is a deep valley waterfall on the right. , a short side peak on the other side. The middle scene and the main mountain are blocked by clouds, which highlights the unreachable momentum of the main mountain. The composition of this painting is not complicated, but the details are described very carefully, showing the painter's high observation ability and realistic skills. The description technique is also extremely vivid and natural, and conforms to the laws of nature. Fan Kuan uses deep black ink and twisting and trembling brushstrokes to draw the outlines and textures of rocks to separate the rock faces. He then uses different shades of light and raindrop-like short lines to follow the direction of the rock structure and create reverse strokes. The chaffing creates a three-dimensional sense of light and dark, and strengthens the movement of the rocks guided by the chaffing patterns, giving the rocks strong vitality.
In "Traveling in Streams and Mountains", the status of the mountains far exceeds that of the characters. It shows the traditional Chinese cosmology: nature is endless and eternal, while human beings are just like traveling in the mountains. A transient visitor.
Wang Ximeng's "A Thousand Miles of Rivers and Mountains"
There are obvious differences between the landscape paintings of the Southern Song Dynasty and those of the Northern Song Dynasty, which are highlighted in the pursuit of poetic artistic conception.
The titles of many landscape paintings of the Southern Song Dynasty are very poetic, such as fishing alone in the cold river, returning to the boat after a storm, etc. Famous landscape painters include Ma Yuan, Xia Gui, etc.
As can be seen from the above works, ancient Chinese painters were good at using the artistic technique of blank space, which is called "white as black". Although the subject matter, scenes, and pictures of the landscape paintings of the Southern Song Dynasty were much smaller, because they vigorously pursued the artistic conception of poetry, were good at making bold artistic generalizations, and used the artistic technique of using less to win more, the artistic conception of the works was thicker and more distinct, showing the Chinese Important features of national aesthetic tradition.
The landscape paintings of the Yuan Dynasty placed more emphasis on subjective expression and the creation of personal style in the creation of artistic conception. Representative painters include Ni Zan, Wang Meng, etc.
(2) Secondly, in the processing of space, the method of "seeing the small from the big" and "seeing the big from the small" is adopted.
It means that the landscape painter himself is regarded as a giant, facing nature, just like a person looking at a bonsai. In this way, thousands of miles of rivers and mountains can also be seen, or expressed in the form of a long scroll, such as "Thousands of Miles of Rivers and Mountains", which is 11 meters long. Or use the unique composition method of lofty, flat and far-reaching in Chinese painting to paint very complicated mountains and ridges, such as "Travel in Streams and Mountains", "Early Spring", "Residence in Qingbian", etc. The spatial processing prominently reflects the Chinese style. The unique composition method of landscape painting. This unique artistic method of dealing with spatial relationships not only embodies the Chinese painter's unique method of observing nature, but also contains the aesthetic mind of the Chinese nation and embodies the Chinese people's view of nature.
(Video screening)
(3) In addition, in the long-term development of Chinese landscape painting, many effective expression programs have been formed.
For example, to express various kinds of rocks, there are various methods of chapping, such as hemp chapping, raindrop chapping, lotus leaf chapping, etc. In the application of these expression programs, we advocate flexible use and continuous development. The brush and ink techniques of landscape painting are also richer and more varied. For example, the brush techniques include the above-mentioned various methods of chaffing mountains and stones and moss-dotting techniques; in ink techniques, wet ones are called "dying" and dry ones are called "rubbing". "Broken ink", "accumulated ink" and so on. It can be seen that it has also formed its own unique artistic tradition and system.
(Video screening)
3. Summary (courseware completed)