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1、淺談高中美術教學 　　近代，中國美的教育提倡者蔡元培先生提出：“人人都有感情，而并非都有偉大而高尚的行為，這是由于感情推動力的薄弱。要轉弱而為強，轉薄而為厚，有待于陶養(yǎng)。陶養(yǎng)的工具，為美的對象；陶養(yǎng)的作用，叫做美育?！?我們目前在高中段實行的《美術鑒賞》教學就是美育教育的重要組成，不單純是高考的部分內(nèi)容。美術鑒賞的教學內(nèi)容很多，但“美學觀念是以具體者濟之”，想來每位教師都有自己的心得。結合近幾年的工筆國畫教學實踐，我想談談自己的一些體會。 　　一、提高自身修養(yǎng)重于提高繪畫技巧 　　中國畫是一門全方面的高品位的藝術，僅有技巧是遠遠不夠的。傅雷在《家書》中這樣對兒子說：“凡是一天到晚鬧技

2、巧的，是藝術工匠而不是藝術家。一個人跳不出這一關，一輩子也休想夢見藝術！藝術是目的，技巧是手段：老是只注意手段的人，必然會忘了他的目的?！币虼?，在學習初期，就要求學生平日加強修養(yǎng)，博覽群書，浸淫中國的其他藝術，如古典文學、音樂等。傅雷曾經(jīng)給兒子講過這么一個故事，著名指揮家弗里茨布希又一次問約翰普理查德，“你上次看文藝復興時代的繪畫有多久了？”普理查德很驚異地反問：“為什么問我？”布希答道：“因為看了偉大作品，可以使你指揮時得到進步------而不致眼光短淺?！睎|方藝術向來有文學、美術、音樂、戲劇相通之說，一切藝術，到了最高層次，都是相通的。教育學生不僅僅為了提高技巧而畫，而是為了提高整個的全面

3、的涵養(yǎng)。應該看到學生在校學習期間僅僅是一個入門的過程，是學會學習方法的過程。孟德斯鳩告誡我們：“樹人如樹木，若非善加栽培，必難欣欣向榮。”我覺得這句名言實在是值得每一個教育工作者去深思。如何使學生在走出校門離開老師后仍然能夠不斷進步，這是一個重要的課題。因此教師就要教育他們在學生時代注意提高自身修養(yǎng)。古人常說：取法乎上，得乎其下；取法乎中，得乎其下。教師對學生一定要嚴格要求，有一個較高起點，不僅是學識，尤其是品德。中國畫藝術向有“人品”、“書品”、“畫品”之說，人品高畫品才會高。寓德育于整個教學過程中，是每一位教師必須熟諳的教學原則。 　　二、學習傳統(tǒng)就是站在巨人的肩膀上 　　韓美林在

4、《裝飾助我》中強調(diào)：藝術家的生活，基本上都是“三部曲”，打基礎，搞創(chuàng)作，建風格。首要的就是基本功。他告誡學生們，千萬不能丟棄基本功。初學者對國畫的基礎課程----線描，往往容易心急手快，不知“慢即是快”的道理，殊不知根基不打好，如高樓筑于沙礫之上，后果不堪設想。中國畫藝術實質(zhì)上是線的藝術，把握住了線，就把握住了傳統(tǒng)的靈魂。但就學生目前的認識水平來看往往把“線”這種富于獨特表現(xiàn)力與形式美的表現(xiàn)手段退化為單純的技術性操作，使“線”只具備畫“形”的意義，“線”的審美價值與形式意味喪失殆盡。所以讓學生建立正確的線條觀很重要。西風東漸以來，傳統(tǒng)國畫受到的沖擊很大，一不小心把好東西也沖掉了一些，現(xiàn)在想撿回

5、來還真不容易。目前繪畫界的一些“現(xiàn)代派”，線的功力很差，或是不講究用線，而用顏色覆蓋住，或是采用各種特殊技法，掩蓋其缺陷，自以為有特色有風格，實則是跌倒了沒爬起來，索性打個滾兒的把戲。工筆畫是中國繪畫的原生態(tài)，這種以線勾勒、用色渲染的基本形式乃是中國一切繪畫的基本描繪方法。從兩千年前的帛畫到六朝時期的繪畫，可以看到“勾線、渲染”這一形式由定型到發(fā)展成熟的軌跡。這一形式到唐五代更發(fā)展到了一個高峰。直到今日，我們?nèi)阅艽┰綍r空，時時感受到那個時代繪畫的輝煌。 　　三、天人合一是畫者永恒的追求 　　“天人合一”論，是中國文化對人類最大的貢獻，談了兩千多年。季羨林先生對此有自己的看法：我不把“天

6、”理解為“天命”，也不把“人”理解為“人生”；我認為“天”就是大自然，“人”就是我們?nèi)祟悾烊岁P系是人與自然的關系。對于畫者而言，寫生就是沿著“天人合一”的道路在走。中國畫一貫堅持“臨摹、寫生、創(chuàng)作三位一體”的教學原則，要求學生堅持寫生，生活才是藝術的第一源泉。好多同學經(jīng)常抱怨自己創(chuàng)造能力差，正是忽略了寫生。莊子云：“栩栩然之蝶，蝶之為蟻，繼而化蛹，終而成蛾飛去。”凡學習三時期。賓虹翁對此強調(diào)說：“學畫者師今人不若師古人，師古人不若師造化；師今人者，食葉之時代，師古人者，化蛹之時代，師造化者，由三眠三起成蛾飛去之時代也?！睅熃袢藥煿湃硕际侵匾模獛熢旎?，即向大自然直接寫生?，F(xiàn)在的學生們往

7、往借助相機等現(xiàn)代技術來搜集素材，雖然有其必要性，帶來一定方便，但也造成學生依賴心理強，寫生能力差的弊病。在課堂教學中，不僅要多臨摹優(yōu)秀古人作品，更要加強寫生練習，并作定期講評展覽，激發(fā)學生興趣和上進心。經(jīng)過長期訓練，使學生養(yǎng)成寫生的好習慣，做到手不離筆。另外，在加強學生基本功訓練和寫生訓練的同時，教師不應該以教條主義的方法去框定學生，應懂得維護學生個性，懂得因材施教，啟發(fā)學生找“食”，正像萬物各有特點，學生也有各自不同的個性與素質(zhì)。教出千篇一律的學生來，這樣的教育無疑是失敗的，藝術教育尤其如此。QcWA3PtGZ7R4I30kA1DkaGhn3XtKknBYCUDxqA7FHYi2CHhI92

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