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美术学院学生的毕业创作,是他们在校期间学习各种文化专业知识的总结,同叫也是对学院教学工作的衡量。这些学生四年前入校时,只知道一般的素描、速写概念和简单的色彩关系,而入学考试中的构图大多都是在步入考场之前已有充分“准备”。所以若问他们创作是怎么回事,难以说得清楚,然而就是在入学后的四年学习中,除了一些必修的文化课外,大都是长短期的技法练习,而创作基本未曾涉足。在四年最后的毕业创作中,没有创作经验的他们,理不清创作是怎么回事,或者知其然不知其所以然。所以,有些学生的想法容易混乱、盲目,还时不时莫名其妙地自信。可过了几天,又变得什么主意也没有了,究其原因,在于长期以来我们忽视了以下几个问题: 一、对生活的理解和感受。二对创作规律的认识与把握。三、教学中基础和创作两者关系的谐调。四、任课教师创作水平的提高。我们如果想在创作()大()一个台阶,就必须解决以上所有在的问题,从毕业创作的基本规律入手,深入生活,在生活中获得感受,进而从事艺术创造。 怎样深入生活,以前我们在这力向的理解和实践比较片面。使我们的艺术在个性化、多柞化和题构广泛性上受到了人为的制约。改革前我们所说的深入生活主要是指工农兵生活,这本身没有什么,因为这和当时的社会背景桕结合,建
The graduation creation of art college students is a summary of their learning of various cultural specialties while in school. It is also a measure of college teaching. When these students entered school four years ago, they only knew about general sketching, sketching concepts and simple color relations. Most of the compositions in the entrance examination were fully “prepared” before entering the examination room. Therefore, it is difficult to say clearly how they are writing. However, most of the four-year studies after admission have some short and long term technical exercises except for some compulsory cultural courses, and their basic work has never been covered. In the final graduation work of four years, they did not know how to create their works or did not know why they did so. So, some students’ ideas tend to be confusing, blind, and inexplicably confident from time to time. After a few days, but also what ideas have gone, the reason is that we have ignored the following issues for a long time: First, the understanding of life and feelings. Second, understanding and grasp of the law of creation. Third, the basic teaching and creation of the harmony between the two. Fourth, teachers improve the level of creativity. If we want to create a higher level in creativity, we must solve all the above problems and start with the basic laws of graduation, deepen our life, gain experience in our life, and then engage in artistic creation. How to live in depth in the past, we are in this understanding and practice of one-sided. Our art has been artificially constrained by its individuality, omnipreation, and generalization. Before the reform, what we mean by in-depth living mainly refers to the life of the workers, peasants and soldiers. There is nothing in itself because this is combined with the social background of that time.