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目前,全国各艺术院校的中国画教学的模式是大同小异的。用这一模式,自五十年代起曾建立了稳定的教学秩序,并取得了很大的成绩。但是,今天使用这一模式就很难再保持住往日那种稳定的教学局面了。各院校的中国画教学都先后遇到了一些相似的问题.这就是我们的学生越来越“不听管束”。他们不能恪守传统绘画的法度,甚至无视教学上的规范要求.对传统艺术的继承与发扬问题,往往只谈发展不谈继承……。促成当前这种局面的原因无疑是多方面的。但必须看到,学校是社会的一部分,艺术教育和整个上层建筑紧密联系着。外界因素的改变导致了中国画的教学与整个社会发展的不协调,进而出现了这些使人惶惑的问题。
At present, the modes of Chinese painting teaching at art schools all over the country are much the same. With this model, a stable teaching order has been established since the 1950s and great achievements have been made. However, it is very difficult to maintain the stable teaching situation of the past by using this model today. Chinese schools in Chinese teaching have encountered some similar problems, which is that our students are becoming more and more “unmanaged”. They can not abide by the law of traditional painting and even ignore the normative requirements of teaching.For the inheritance and development of traditional arts, we often talk about the development of succession. The reasons for this current situation undoubtedly are manifold. But we must see that the school is a part of society and the arts education is closely linked with the entire superstructure. Changes in external factors led to the lack of coordination between the teaching of Chinese painting and the development of society as a whole, and these confused problems arose.