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1.
在建筑行业飞速发展的今天,国内很多美术院校都开始着手于建筑专业课程的建设,尤其是设计专业,不管是素描教学方面还是色彩教学方面种类都越来越丰富。但经过几年的实际探索发现,建筑学专业的素描教学和美术类素描有着本质上的区别,和传统的美术素描相比,建筑设计专业素描对于形体和结构的表达更加关注,教学的侧重点在于培养学生对于形体方面的感觉和塑造能力,重视设计意识的培养。正因为如此,教学的方式也值得进一步进行探究和改善。本文从建筑学专业素描教学的现状出发,和设计素描和基础素描有机的集合起来,对于建筑学专业设计素描的教学方法进行了浅要的分析,从而使得素描教学和建筑学专业培养拥有创新能力人才的目的更加协调统一。 相似文献
2.
本文通过论述建筑院校中艺术设计专业素描教学和色彩教学两方面美术的教学,指出了建筑院校的艺术设计与艺术院校的艺术设计和建筑院校的建筑学专业在美术教学方面存在的优势,并指出建筑院校艺术设计专业美术教学需要改革和创新的地方. 相似文献
3.
文章首先阐述了素描的概念和发展历史,其次说明了素描在中国的发展及现状,并简要论述了我国美术院校在开设素描这门课程时应注意的相关问题。 相似文献
4.
自从西画船如以来,新型的美术院校逐渐取代了中国自古以来的师徒传承的学画机制。在这新的美术院校中,西方教学思想和西画课程一直占主导地位,即是开设了中国画教学西式素描和硬笔(铅笔、炭笔、钢笔等)速写也占了很大比重, 国画系科的协调一二年级基本上接触不到国画方面的教学,尤其是写意画;绝大 相似文献
5.
高中美术欣赏课,一直被美术教师们认为是较难掌握的一门课程,因为当前很多中学美术课除了初中开设了一点素描、色彩的临摹课程以外,类似书法、中外美术史论、美术欣赏等课程大部分学生都没有接触.很多学生对美术常识和美术史论知之甚少或者一无所知.所以新课改把美术欣赏课作为高中必修课是非常有意义的. 相似文献
6.
一、改变以素描色彩为主的考试科目,为符合中国画专业特点要求的科目设置20世纪西方的教育体制进入中国,特别是建国初和前苏联的全面合作,使得我国许多方面都有苏联模式,这点在美术院校中都有相应的体现。美术院校的招生考试中无论什么专业曾经一律以苏式素描色彩作为基础,改革开放以来一些院校已意识到全凭素描色彩为中国画招生考试科目的不妥,做了相应的微调,但在整体上还是存在片面性和局限性。 相似文献
7.
长期以来,素描与色彩分段式教学构成了高校建筑学科美术课程一直沿用的教学模式,这种分段式教学模式存在的问题就在于素描与色彩的严重脱节.在分段式教学基础上,增设素描与色彩融为一体的教学内容,不失为解决这一问题的一种好办法. 相似文献
8.
本文通过论述建筑院校中艺术设计专业素描教学和色彩教学两方面美术的教学,指出了建筑院校的艺术设计与艺术院校的艺术设计和建筑院校的建筑学专业在美术教学方面存在的优势,并指出建筑院校艺术设计专业美术教学需要改革和创新的地方。 相似文献
9.
《太原教育学院学报》2009,(4):F0002-F0002,F0003
太原大学教育学院艺术系创建于2006年,是一个朝气蓬勃、年轻的新建系。现有音乐教育和艺术设计两个专业。承担着学院音乐教育专业、艺术设计专业、公共音乐课和美术课的教学任务,并肩负着太原市中小学音乐、美术教师的多项培训工作。音乐教育专业现开设有钢琴、声乐、乐理、视唱练耳、舞蹈唱游、和声学、合唱指挥、中西方音乐史与欣赏和中小学音乐教学与研究等课程;艺术设计专业现开设有设计素描、设计色彩、室内设计、展示设计、广告设计和中外工艺美术史等课程。 相似文献
10.
《太原大学教育学院学报》2009,27(4):F0002-F0002,F0003
太原大学教育学院艺术系创建于2006年,是一个朝气蓬勃、年轻的新建系。现有音乐教育和艺术设计两个专业。承担着学院音乐教育专业、艺术设计专业、公共音乐课和美术课的教学任务,并肩负着太原市中小学音乐、美术教师的多项培训工作。音乐教育专业现开设有钢琴、声乐、乐理、视唱练耳、舞蹈唱游、和声学、合唱指挥、中西方音乐史与欣赏和中小学音乐教学与研究等课程;艺术设计专业现开设有设计素描、设计色彩、室内设计、展示设计、广告设计和中外工艺美术史等课程。 相似文献
11.
Lucy Howarth 《The International Journal of Art & Design Education》2014,33(2):258-271
In the wake of the recent demolition of the 1965 Chelsea School of Art building on Manresa Road in London, this article seeks to explore the relationship between art school architecture and art school pedagogy. Research on art school buildings, both national and international, and British art school education of the 1960s, is brought to bear, on the former ‘New School of Art in Chelsea’ building. In addition to an account of how this building came about, drawn from archival records and interviews with architects and former Chelsea students and staff, the correlation of utopianist values in post‐war British society, modernist architecture and higher education in art is examined. The reports of the National Advisory Council on Art Education (NACAE), which, in the 1960s, ushered in fundamental changes to British art education, are touched upon, and an account of the building design developed between art educationalists (including Chelsea Principal Lawrence Gowing and Chairman of the NACAE William Coldstream) and architects of the London County Council, is given. Photographs of the building, in the 1960s and during its demolition in 2010, are included. In addition to a historical account and case‐study, and despite the difficulties inherent, art school building is approached as an imaginative and socio‐political gesture, as a utopian act; ‘art school building’ in both senses (‘building’ as a verb and as a noun). 相似文献
12.
现代信息技术发展环境下艺术院校图书馆信息服务创新 总被引：1，自引：0，他引：1
陈爱平 《深圳职业技术学院学报》2012,11(2):62-66
结合深圳艺术学校图书馆信息服务创新的实践,分析了现代信息技术的发展对艺术院校图书馆服务的影响和艺术院校图书馆用户信息需求的特点,提出艺术院校图书馆读者服务重点应从服务观念、馆藏建设、信息服务的内容和方式、馆员素质提升等方面创新下功夫。 相似文献
13.
艺术教育是提升学生综合素质的有效方式。多年来,西安市铁一中学遵循艺术教育规律,围绕艺术课程、课外艺术实践、校园文化交流的内容结构,突出艺术团队以点带面的教育载体,不断探索艺术实践活动课程化的发展方式。学校以传承中华优秀文化和地方传统艺术为主线,强调通过丰富多元的实践活动和多样的艺术教育载体,以艺术表现水平和校园文化氛围相融合,形成了具有良好文化营养的校园环境,有效地提升了学生的艺术素养。 相似文献
14.
Richard Hickman 《The International Journal of Art & Design Education》2001,20(2):161-170
This paper focuses on a built environment project with a mixed ability group of learners from year seven attending Deacon's School in Peterborough, England. The School caters for students aged between eleven and eighteen, from a wide range of ethnic and cultural backgrounds (including a substantial minority from the Indian Sub‐Continent); it is an active participant within the University of Cambridge Post Graduate Certificate in Education partnership and is a ‘beacon school’. In practical studio terms, the project was concerned with school students making ‘pop‐up cards’ based on first hand observation of local architecture under the guidance of the Head of Art. [1] The focus for students' learning was on their critical responses to their built environment, in and around the City of Peterborough. In particular, students were encouraged to make full use of their sketchbooks and to engage in active oral work. The approach taken builds upon that advocated by Wolff and Geahigan [2] by emphasising the relationship between students' personal engagement with art and design and their personal response to it through their own art; students were encouraged to learn about art and design objects through the process of reacting, researching, responding and reflecting. [3] 相似文献
15.
Steve Long 《The International Journal of Art & Design Education》2001,20(3):255-263
Art educators, like those in other areas of the curriculum, are under pressure from various directions to use digital technology in the classroom. Whilst some of this pressure is politically motivated I believe there are also what could be described as more legitimate educational reasons for using computers; what is lacking at this stage is a coherent body of knowledge amongst art educators as to what happens when we do use them. This article focuses on a development project which took place last year in a secondary school involving a Year 10 class in the use of multimedia software. The project was collaborative in nature and was carried out by Miles Jefcoate, an art teacher at Beacon Community College in East Sussex, a group of Year 10 students at Beacon and myself as a member of the teaching team on the Art and Design PGCE course at the University of Brighton. Supported by research funding from the University, the school was provided with multimedia software which was installed into its computer network. The design and delivery of the students' project was undertaken by Miles whilst I evaluated the impact of the digital technology on the learning taking place, with an emphasis on how Miles and the students experienced and evaluated their activities. 相似文献
16.
闫同林 《安阳师范学院学报》2006,(4):148-149
19世纪六七十年代法国印象派的产生,完成了绘画色彩造型的变革,为艺术世界开启了新视野和新道路;随后产生的新印象派,尤其是后印象派更是深刻地改变了西方美术的进程,在创作思想和艺术观念上,偏离了西方客观再现的艺术传统,对20世纪西方现代艺术诸流派的产生都有着直接的影响。 相似文献
17.
彭博娜 《南昌教育学院学报》2012,27(3):66-67
歌唱艺术以其独特的魅力,越来越被人们所喜爱。尤其是在物欲横流的当今社会,人们越来越深切感受到歌唱艺术的美。现在,各大高校(包括综合性的文、理、工科大学,各职业技校和民办大学等等)都已经开设了艺术学院或音乐学院。歌唱的教学方法也是多种多样,我认为在歌唱教学中,情感起着重要的作用。本文将从歌唱艺术、情感、声音的内涵出发,层层论述情感对歌唱教学的必要性,并就如何加强对学生的情感培养阐明自己的观点。 相似文献
18.
湘西苗族服饰艺术绚丽多彩,承载着丰富的文化内涵。在当代,民族民间艺术在学校美术教学体系中的重要作用已经成为共识。美术教育或者素质教育不能脱离本土、本民族的独特文化情景。湘西中学美术教学应采取有效措施,因地制宜地利用民族文化资源,把湘西中学美术教学与苗族服饰艺术有机地整合起来,以此强调本土文化对创新性思维教学的作用,实现素质教育及中学美术教育的健康发展。 相似文献
19.
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
20.
Timo Jokela 《The International Journal of Art & Design Education》2007,26(3):238-250
The purpose of this article is to describe how the Department of Art Education at the University of Lapland in Finland has developed winter art as a method of environmental and community‐based art education. I will focus on the Snow Show Winter Art Education Project, a training project funded by the European Union and the State Provincial Office of Lapland. The general aim of the project was to increase the know‐how of winter art in Northern Finland. This goal was put into practice through workshops on snow construction, documentation of winter art, winter‐oriented media production, and snow and ice sculpting; through continuing education seminars, workshops, and school projects for teachers; and through public lectures and seminars on winter and winter art. In this article, I describe the challenges that winter offers to community and environment‐based art education in the North. Further, I introduce the methods of implementation and the outcomes of winter art exercises carried out by several schools in Lapland in cooperation with and inspired by the Snow Show Winter Art Education Project. 相似文献