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一、“写生变化”的尴尬与民间艺人的自由 长期以来,中国高等艺术院校中一直开设装饰艺术课程。在这门课程的基础教学中,流行最广、影响最大的教学方法,就是所谓的“写生变化”。具体而言,就是先以写生的手法忠实地记录客体对象,然后再把写生得来的素材加以“变化”,“改造”成所谓的装饰形象或图案纹样。对于受过严格写实训练的高等艺术院校的学生而言,前半部的“写生”自然是得心应手,毫不费力;但是对于后半部的“变化”,他们却往往感到十分的困难和别扭。多年以来,这个问题几乎成了困扰教学双方的一个顽症。早在20世纪60年代,雷圭元先生就指
I. Embarrassment of “Sketching Changes” and the Freedom of Folk Artists For a long time, art deco courses have been set up in higher art colleges and universities in China. In this course of basic teaching, the most popular and most influential teaching methods, is the so-called “sketch changes.” Specifically, we first faithfully record the object object with sketch techniques, and then “change” the material we have derived from sketching to “decorate” the so-called decorative image or pattern. For students of art academies with rigorous and realistic training, the first half of the “sketch” is handy and effortless; however, they often find it very difficult and uncomfortable for the latter’s “changes.” Over the years, this problem has almost become a chronic problem plaguing both teaching. As early as the 1960s, Mr. Lei Guiyuan said