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1.
学前教育专业本科生有必要掌握一定的美术教育技能。美术课是培养本科生美术教育技能的首选途径,包括美术基础与幼儿园实用美术技能两方面内容,重在提高本科生的造型能力、应用能力和动手能力,以使本科生踏上工作岗位后能有效组织幼儿开展美术教育活动,进行幼儿园和活动室环境创设。课外技能竞赛和幼儿园见习、实习活动同样有利于培养本科生的美术教育技能,以便他们将来胜任幼儿园教师工作。 相似文献
2.
美术教师专业化发展是教育发展的需要,也是教师发展的需要。在数码技术高度发达的现代社会,美术教师要注重自我的专业化成长,才能进一步适应社会发展及教育发展的需要,才能在教学过程中更好地引导学生进行美术活动,从而建立高尚的审美品格和正确的人生观、道德观,才能真正促进学生自身素质的发展。美术教师专业化发展体现在教学行为的转变、教学技能的发展、教学领导力的提升、自身文化底蕴的累积、专业技能的扩容和教科研能力的提高等多个方面。 相似文献
3.
曹颖 《北京教育学院学报》2015,(6):48-51
与普通美术院校的学生相比,成人美术教育存在年龄阅历差异大、专业水平起点较低等问题。环境速写通过对环境、人物、道具、场景的组合训练,能比单一的速写训练更充分地调动成人的自主绘画经验和兴趣,全面提升他们对描绘对象的整体观察、理解、体悟、概括的能力,从而提高他们的绘画技能,增强绘画自信心。因此,应依据成人学生的特点及实际所面临的具体学习状况,在成人美术课教学中开展环境速写训练。 相似文献
4.
艺术是人类表达自己内心情感的一种语言技巧。由于艺术教育在人才培养过程中拥有其他教育方式无法替代的作用,所以在大学非艺术专业中开展艺术教育具有十分重要的意义。但现实中艺术教育在我国大学非艺术类专业人才培养中却被人们忽视,产生这一问题的根源何在?从管理学的视角,以管理的基本要求为基点,展开相关探讨分析,并针对问题产生的根源提出了对策。 相似文献
5.
Rita L. Irwin Dónal O'Donoghue 《The International Journal of Art & Design Education》2012,31(3):221-236
Two artists involved in ‘socially engaged art’ practice were invited to work with art education teacher candidates and instructors in an effort to rethink notions of teaching, learning and art. We initiated this residency, which we called ‘The Summerhill Residency’, to examine how learning encounters might create environments for meaningful exchanges between the ways in which artists and secondary art education teacher candidates learn to think about pedagogy and the nature of artistic learning. Drawing upon Bourriaud's theory of relational aesthetics, we consider, yet trouble, the relational aspects of the processes and products of the artist residency, and examine the crisis of imagination that permeated teacher candidates' experiences. Throughout the project, a/r/tography offered a rich form of living enquiry that opened up possibilities for learning within a community of enquirers. 相似文献
6.
Mind,Language and Artworks as Real Constraints on Students' Critical Reasoning about Meaning in Art 
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下载免费PDF全文 Karen Elizabeth Maras 《The International Journal of Art & Design Education》2018,37(3):530-540
To engage in discussions of artwork meaning is to engage in critical reasoning, a factor that is central to the interpretation of artworks in the art classroom. While this may appear as a common‐sense claim that reflects the tacit assumptions most art educators have about students' critical dispositions in art, it is also evident that little is known about the deeper structures underlying students’ critical reasoning and how such structures shape students’ interpretations of artworks. Drawing on my research on students’ theories of critical meaning in art, this article explores the nature of practical and theoretical constraints on students’ critical reasoning about the meaning of artworks. I account for how intentional beliefs, language and representational artefacts function as a nexus of real constraints that condition students’ advance into interpretations of the social meaning of art. After briefly outlining the design and methodology of my study, I examine students’ critical reasoning performances during the formative period of development between middle to late childhood. The findings reveal that with increasing age students gradually learn to exercise their own critical intentions and represent inferences that acknowledge the significance of constitutive rules and force of a collective intentionality in the artworld on their interpretations of artworks as artefacts. I then make some conclusions about the relationship of domain‐specific shifts in art understanding, the role of intentionality, representational understanding, beliefs about art and reasoning skills to the linguistic, theoretical and artefactual constraints conditioning students’ intuitive advance into real understandings of art. 相似文献
7.
21世纪多媒体的出现,促进了教育方式和方法的改革,也对传统的美术教学造成了很大程度的影响。多媒体对高校美术教学的影响表现在能够提高学生对美术课的乐趣,丰富学生的想象力,提高学生的绘画技能,提高课堂教学的效率等。 相似文献
8.
浅论儿童早期绘画及其对教育的影响 总被引：1，自引：6，他引：1
涂鸦和率真的写意是儿童的天性。儿童的绘画除了表面所能表达的意思之外，还有许多深层的内涵。它们是儿童发展水平和技能的显示。儿童画有其内在的发展规律，成人不仅应充分了解儿童是如何作画的，而且应深入理解儿童为什么要这样画，并在美术教育中尊重儿童画的特点与发展规律，给予儿童充分表现和创造的自由。 相似文献
9.
柯立红 《福建教育学院学报》2012,(2):17-19
学校美育中的美术教育不仅要培养学生健康的审美理想和情趣,同时还要提高其思想品质,增进其身心健康,促进其人格的全面发展。学校美育中的美术教育有循序渐进的学习和人文精神的传播等特点。加强美术史论和作品欣赏教学,可培养和提高学生感受鉴赏美的能力。通过美术实践,可培养创新意识,提高学生表现创造美的能力。学校美育中美术教育可提升学生追求更高的人生境界,引导他们保持平和的幸福心境。 相似文献
10.
For many years art, anatomy and medicine have shared a close relationship, as demonstrated by Leonardo da Vinci's anatomical drawings and Andreas Vesalius' groundbreaking illustrated anatomical textbook from the 16th century. However, in the modern day, can art truly play an important role in medical education? Studies have suggested that art can be utilized to teach observational skills in medical students, a skill that is integral to patient examination but seldom taught directly within medical curricula. This article is a subjective survey that evaluates a student selected component (SSC) that explored the uses of art in medicine and investigates student perception on the relationship between the two. It also investigates whether these medical students believe that art can play a role in medical education, and more specifically whether analyzing art can play a role in developing observational skills in clinicians. An “Art in Medicine” 8‐week course was delivered to first year medical students at Brighton and Sussex Medical School. The use of art to improve observational skills was a core theme throughout. Feedback from the students suggests that they believe a strong association between art and medicine exists. It also showed a strong perception that art could play a role in medical education, and more specifically through analyzing art to positively develop clinical observational skills. The results of this subjective study, together with those from research from elsewhere, suggest that an art‐based approach to teaching observational skills may be worth serious consideration for inclusion in medical and other healthcare curricula. Anat Sci Educ 7: 370–378. © 2014 American Association of Anatomists. 相似文献
11.
孙平 《宁波教育学院学报》2012,(1):11-13,34
根据多年的教学实验和调查研究,结合高职学前教育实际,对高职学前教育专业美术课程建设提出了从培养学生创意儿童画能力、教学能力、动手能力和环境创设能力四个方面入手进行的课程整合调整,并对四方面课程必修课和选修课设置分别提出了相应的建议。 相似文献
12.
王薇 《青海师范大学学报(哲学社会科学版)》2014,(2):134-135
本文就西部高等设计艺术教育技能培养所面临的问题逐一剖析,分析了影响西部高等设计艺术教育技能培养的诸多因素,提出了关于西部高等设计艺术教育技能培养的发展策略。 相似文献
13.
本研究采用观察法和作品收集法,对3～4岁幼儿创作的自由画、模仿画和临摹画进行了收集.研究结果显示3～4岁幼儿在构图能力、构思、绘画语意和色彩等方面表现出显著的年龄特点.教师应据此开展美术教学,如选题宜生活化,鼓励幼儿大胆绘画,并能正确评价孩子的绘画作品. 相似文献
14.
Dorit Barchana‐Lorand 《The International Journal of Art & Design Education》2015,34(2):169-179
Herbert Read's Education through Art (henceforth ETA) is a pioneering attempt to provide empirical evidence for the need for art in the public school system. Rooting for art education, Read applies the conclusions of the newly evolving psychological research to his thesis on education, which he holds to be a contemporary revival of Plato's educational theory. Psychological research proves, Read believes, that art is required for the healthy cognitive and emotional development of the child, thereby creating a stable and productive society. ‘Education through art’ nurtures each individual's potential, so that every professional direction one would later take would be ‘art'. Since its publication in 1943, art‐education enthusiasts seem to hold that Read was on the right track, but that ETA suffers from a lack of evidence – a mere technicality that can be amended when research advances. Contrariwise, I argue that Read's thesis is inherently problematic, rather than empirically inaccurate. Psychological research may never suffice for the justification of art education, if ‘art education’ is both substituted for ‘creativity’ and expected to produce testable – immediate and quantifiable – results. My interest is not only in Read's theory per se, but in this form of justification. To wit, the discussion examines ETA as a case study in the empirical justification of art education. 相似文献
15.
汪秀霞 《洛阳师范学院学报》2012,31(7):116-118
大学阶段是一个人形成成熟的审美观念的重要时期,大学教育不仅是向学生传授专业知识和技能,更应该注重培养学生高尚的道德情操和人文情怀。在多元文化语境中,秉着"和而不同"的差异化发展策略,高校公共艺术教育应努力开发我国文化传统中的价值理念,厚植学生本土文化资源,引导学生关注本民族的文化,关注当下本土现实情况。 相似文献
16.
One of the strong trends in medical education today is the integration of the humanities into the basic medical curriculum. The anatomy program is an obvious choice for using the humanities to develop professionalism and ethical values. They can also be used to develop close observational skills. Many medical schools have developed formal art observation training in conjunction with nearby art museums to enhance the visual diagnostic skills of their medical students. We report here on an art and anatomy workshop that paired medical and art students who did drawing exercises from plastinated anatomical specimens and the animated face to hone observational skills. Each member of the pair brought a different perspective and expertise to the work that allowed each to be a mentor to the other. The workshop had three sessions: the first involved drawings of plastinated specimens that allowed an intimate experience with authentic human material; the second involved drawings of the human face; and the third included examination of anatomical texts of important anatomist-artists, a lecture on contemporary artists whose work involves anatomy, and a film demonstrating the facial muscles. We propose workshops such as these will help students increase their ability to detect details. This will assist the medical student in developing diagnostic skills for identifying disease and the art student in using the human body as subject. We further propose that these programs will help students develop humanistic sensitivities and provide an outlet for expression of the emotional aspects of dealing with disease and mortality. 相似文献
17.
Gary Granville 《The International Journal of Art & Design Education》2011,30(3):349-362
Current education policy discourse in Ireland, as elsewhere, is replete with reference to innovation, creativity and enterprise. Meanwhile, the ‘pedagogical turn’ is a dominant motif in current discourse in art practice, curating and critique, in Ireland and internationally. This article firstly considers some of the implications of the ‘turn’ as a concept in art and education. In that context, it goes on to address changing patterns of curriculum design, development and reform in Ireland. Next, it describes the evolution of Irish education policy over the past decade in the context of global experiences. The particular experience of art education in Ireland is then considered in the light of the curriculum culture and the wider policy discourses already identified. Finally, some implications of the Irish experience are addressed, in terms of art practice at the edges of art education, and art education at the edges of education practice. 相似文献
18.
我国儿童艺术教育的变革及其影响因素——基于对两个纲要的比较 总被引：1，自引：1，他引：0
新旧纲要的比较显示,当前我国儿童艺术教育更为重视儿童艺术情感体验的突显程度,体现了更为明显的个性化和过程取向,更为彰显儿童的主动性,综合化与生活化的要求更高,政治化与德育化倾向则有所减弱。在此变革过程中,社会变迁,教育思潮的变革,儿童观、艺术观、教育观的转变,儿童艺术教育观念的改变等都是影响我国儿童艺术教育发展的重要因素。 相似文献
19.
徐世洁 《四川教育学院学报》2013,(8):56-58
在表演教学中,对创造型人才的培养是至关重要的。这就要求教师不断地改进教学方法,提高自身专业技能和素质,使学员在学习过程当中开拓思维,成为具有创造性的艺术人才。培养学生的创造力离不开对学生想象力的培养。想象是演员进行形象思维的重要前提,在整个创作中,想象是引导演员的先锋。艺术教育有别于其他的教育,"一"对"一"的教学是它的教学特点,在教学中不能一刀切,要有针对性,做到对每一个学生因材施教,激发学生的创造性,拓展学生的想象空间。通过提升教师的自身素质和创造能力能使教学更加良性互动。 相似文献
20.
Joni Boyd Acuff 《Critical Studies in Education》2018,59(1):35-53
Art educators continuously struggle to understand what multiculturalism ‘looks like’ in the art classroom. This has resulted in multicultural art education becoming superficial, in which art teachers guide students through art projects like creating African masks, Native American dream catchers, Aboriginal totems, and sand paintings, all without communicating the context of the art. This type of multiculturalism essentializes cultures, and builds Western, myopic narratives about groups of people, specifically about their ‘Art’. Critical multiculturalism is a power-focused upgrade of multiculturalism that calls for a critique of power and demands recognition that racism and other discriminations are enmeshed in the fabric of our social order. Teaching through a critical multiculturalism framework helps teachers dismantle Western, normalized narratives and produce counter-hegemonic curriculum that contextualizes culture and reveals its fluidity. In this article, the author shares a teacher action research study in which she describes what critical multiculturalism looks like in her art education classroom. The study focuses on ‘being’ a critically multicultural educator versus ‘doing’ critical multiculturalism. Such a position counters the idea that critical multiculturalism is a thing to complete, but instead is an ongoing process that rests on specific ways of thinking and considering the classroom, curriculum, and students. 相似文献