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黄文 《湖北广播电视大学学报》2007,27(1):145-146
本文就通俗艺术和高雅艺术的性质和作用作了阐述,就二者与高校艺术教育的关系进行了探讨,并对高雅艺术如何争取大学生提出了自己的看法。 相似文献
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肖弋 《湖南第一师范学报》2005,5(4):43-45
动画是我国现代儿童喜爱的视觉艺术形式。动画不仅给儿童带来前所未有的视觉体验和快乐，同时也为学生的芙术学习提供了全新的资源，动画与儿童关术的学习、发展发生了直接联系：本文通过分析儿童在芙术发展各阶段接受动画的特点、动画在儿童芙术中产生的积极作用，为构建动画艺术与儿童芙术的教学渠道提供了教学依据： 相似文献
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何家福 《南宁师范高等专科学校学报》2009,26(2):65-68
凡思想性和艺术性完美结合的美术作品,能激发人们热爱生活,推动社会健康发展。凡疏离以“人”为本的,极度丑化人,狂怪病态,危害人们审美的,是不美的美术,是丑术。不美的美术严重损害了人类知识健康、审美健康,误导了人们的认识。美术美术,不搞真善美,尽搞假恶丑,那还叫什么美术？真善美当立,恶之花当败。时代呼唤表达真理、讲究道德伦理、弘扬时代精神的关术。 相似文献
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民间艺术与高校艺术教育 总被引：3，自引：0，他引：3
王东 《赣南师范学院学报》2005,26(1):121-123
民间艺术具有认识、审美、教育、实用、娱乐等多种功能。对民间艺术与高校艺术教育的关系探索，是艺术教育改革的重要内容之一。在高校开展民间艺术教育，有助于培养学生的民族情感、创新能力、探究能力、协作能力，能推动多元文化的发展，是全面推进素质教育的需要。 相似文献
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《中学生英语》2008,(7):60-60
What is Art？
Art is a way of interpreting the world around us and our place within it. We can see art not only in paintings, but in sculpture （雕塑）, buildings and even advertising Traditionally （传统上,照惯例）, artists were judged more for their technical skill, but art now has an aesthetic （美学的,审美的）value and / or emotional impact （冲动）. Art doesn＇t have to be beautiful, but we need to relate to the colors and images or feel something when we look at it. 相似文献
Art is a way of interpreting the world around us and our place within it. We can see art not only in paintings, but in sculpture （雕塑）, buildings and even advertising Traditionally （传统上,照惯例）, artists were judged more for their technical skill, but art now has an aesthetic （美学的,审美的）value and / or emotional impact （冲动）. Art doesn＇t have to be beautiful, but we need to relate to the colors and images or feel something when we look at it. 相似文献
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通过对环境设计韵律与学艺术、静态艺术的韵律关系分析，讨论在环境设计中运用学艺术和静态艺术的韵律来传达和创造环境艺术设计的韵律。 相似文献
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张屹 《淮阴师范学院学报(哲学社会科学版)》2007,29(2):260-262
网络艺术以其开放性挑战着观赏者的审美惯例,欣赏者应以空明的心境包容这种新的艺术形态;中国传统艺术中以“悟”为本色的创造方法,求韵求味的审美理想可供网络艺术借鉴。中国传统艺术是丰富的艺术宝藏,网络艺术完全可以从传统艺术精神和内涵中汲取资源,创造更具审美效应的艺术作品。 相似文献
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李富贵 《渭南师范学院学报》2012,(8):81-83
讲课,关键是内容。内容精通,讲课没有大问题。其次是内容之间的逻辑关系清晰顺畅。最后是表达具体、优美。内容、逻辑关系、表达方式,就是讲课的三要素。学理、条理与文采,学科、逻辑与艺术,艺术师范生掌握了这几方面,就掌握了讲课。 相似文献
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黄鸣奋 《华东师范大学学报(哲学社会科学版)》2006,38(4):112-117
集前卫艺术精神、后现代文化意蕴与数码技术于一炉的互联网艺术家是当代艺术批判中最为活跃的群体.他们将矛头指向有关艺术主体、艺术版权及艺术惯例的传统观念,通过引入随机因素、进行戏仿与克隆等方式创造反艺术,以自己特有方式推动艺术发展. 相似文献
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An experiment was conducted in which the face-name mnemonic was applied to the task of associating 14 artists' names with two styles of their artwork, portraits and thematic paintings. Following study of the 28 items, mnemonic students outperformed “own best method” control students on both immediate and delayed matching tests. Further, mnemonic students maintained that advantage on a two-day delayed “transfer” test that required the identification of “new” paintings by the same artists. In addition to replicating prior positive mnemonic artwork-learning findings, we found that thematic paintings are generally easier to associate with names than are portraits — likely because they are more distinctive, and because they provide a more “target-rich environment” for making mnemonic associations. Implications of our findings for remembering artwork and other picture-word content mnemonically in educational and real-world contexts are discussed. 相似文献
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郭晓霞 《安阳师范学院学报》2005,(4):146-147
艺术欣赏是人类精神生活的重要内容,也是人类自身主体力量在审美活动中的自我肯定与自我实现.艺术欣赏不仅在潜移默化中提高人的素质,而且也丰富着人们的情感世界.通过对中外艺术理论发展进程的分析,确立正确的艺术欣赏理念,以期引发对艺术欣赏更全面的深层思考. 相似文献
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Kirsten Dufour 《Review of Education, Pedagogy & Cultural Studies》2013,35(1-2):157-167
How can information and critique be introduced into an art project? What can art do? How can it position itself in society today? 相似文献
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《孙子兵法》高超的结构艺术与其思想内容相得益彰。它开创了科学论文的崭新样式,其结构体系和表达方式具有统筹兼顾的科学安排和整体规划。其思想理论遵循传统文化的思维规律,在结构系统上按"道法术"的不同层面进行安排。为了理顺各篇的基本理则,又根据以意为主、以理定形的原则进行部署,创造了六种基本的结构样式。这些结构形式简洁明快、丰富多彩,形成了均衡对称的整体格局,科学完美地反映了孙子的思维形式和理论内涵。在艺术布局上,孙子通过明确中心、突出重点的点题方式、过渡照应和名言警句的结构占位做到结构严谨、要言不烦。在科学定义、材料展示、节奏韵律和文字体量的把握上也都有许多过人之处。从而使其思想理论得到高度有序化的表达,成为东方兵学当之无愧的鼻祖和传统文化的重要经典。 相似文献
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Andrew Stibbs 《The International Journal of Art & Design Education》1998,17(2):201-209
The National Curriculum is bringing a systematic attention to the place of language in the teaching and learning of Art, but may be suppressing some of the liveliness of language in art. Art teaches a specialist vocabulary with benefits beyond the art lesson, but there are dangers (and opportunities) in the use of words in art which have different meanings elsewhere. Art rooms have traditionally promoted a rich variety of language uses, but new pressures could lead to formulaic didactic lessons with too little pupil discussion. One language use in art, from which English teachers could learn, is discussion about the aesthetic qualities of artefacts which pupils make or are shown. English teaching too often treats poems as documentaries, but art can teach pupils to use words for looking and thinking about artefacts in their own terms. A danger here, in art as in English, is that introducing a canon can encourage talking about art in second-hand language which does not connect with pupils’ experiences. Language would drive a model of pedagogy in which experience and perception inform the formation of new concepts, then new concepts inform the search for new experience and perception, in an ascending spiral of aesthetic understanding which could also be both a pleasure and an education of the feelings. 相似文献
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Chia Wai Hon 《Asia Pacific Journal of Education》1978,1(1):21-23
At the first art seminar held in 1965, a number of art topics was discussed and there were practical sessions featuring demonstrations by local artists and craftsmen. Unfortunately the findings of that seminar were never published although much work was put into the writing of the report. However, one happy outcome did result and that was the founding of the Singapore Art and Crafts Education Society which together with the Ministry of Education is responsible for the present art seminar. The SACES has been very active doing its bit enthusiastically since its inception to arouse interest in art amongst school children, parents and teachers. Its annual Spot Art competition has become a regular feature on the local art calendar. 相似文献
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许敏 《荆州师范学院学报》2005,28(4):109-110
产生于19世纪60—70年代的法国印象派艺术，处于传统的现实主义向现代派过渡的重要转折点上。印象派在艺术观点上与传统艺术一脉相承，强调艺术的真实性原则，在技法、色彩等方面则与传统艺术背道而驰，给现代艺术以直接启示，使后来的绘画艺术在视觉与审美领域产生了重大的变化。 相似文献
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曹鸣喜 《连云港师范高等专科学校学报》2006,(3):60-63
中国民间美术具有鲜明的民族特色,蕴藏着极其丰富的精神内涵,包含着广大人民群众的思维方式、价值观念和审美情趣。中国民间美术始终保持着旺盛的生命力和永恒的艺术魅力,既是我国传统民间文化遗产,也是世界艺术中绮丽的瑰宝。 相似文献