The so-called appreciation is to form a dialogue between the author and the appreciator through the intermediary of the work. Appreciation can also be said to be the process in which the appreciator participates in the creation through the works, and appreciation does not only represent the simple aesthetic enjoyment. As an opportunity of creative appreciation activities, it is this touch that awakens the aesthetic feeling of the appreciator and further improves the aesthetic consciousness. In this sense, appreciation is not a simple enjoyment of beauty, but a re-creation of aesthetic consciousness.
Appreciation is a creative activity, although many people don't think that appreciation around famous paintings can create anything. However, appreciating a good work can completely re-create aesthetic consciousness. If the appreciation of a work is limited to asking questions from the perspective of the work itself, but not related to the author's creative motivation, it will not only lead to dialogue, but also be difficult to understand, so appreciation sometimes even needs to be observed from a completely opposite angle. For example, when we are moved by the beautiful scenery of nature and sprout the desire to express, we can already understand the creative mentality of the painter in describing the landscape in the dialogue with the landscape.
When describing works, both painters and primary and secondary school students are generally constantly revising their ideas and their works. He always compares the scenery in front of him with that in his works. In this process, the author's heart keeps talking with the object (landscape and works). Through this kind of dialogue, the author's aesthetic consciousness has been continuously trained and gradually approached a higher level of aesthetic requirements. Kaii Higashiyama, a famous Japanese contemporary painter, once wrote in his influential book Dialogue with Scenery: "In the dialogue with the silent scenery, I silently determined my own path ... I don't want to lose a pure heart, a heart that was moved by beauty into a simple life." In this book, Kaii Higashiyama truly expresses a painter's understanding of beauty.
Therefore, appreciation and expression are similar in essence, and they are both re-creation of aesthetic consciousness, which can be said to be two aspects to achieve the same goal. The performance uses a brush or carving knife, which is in direct contact with the materials, and exercises and improves the aesthetic consciousness in the process of hand-brain cooperation. Although appreciation does not have the above specific activities, in the process of contacting various works, its own aesthetic consciousness is awakened, and at the same time, it produces the pursuit of a higher aesthetic level. It can be said that both of them are based on aesthetic consciousness and works, but in essence, they are real projections of natural view, cultural view and outlook on life.
② Appreciation of teaching and ideological education.
At present, there is a phenomenon of "alienation" in the art education of primary and secondary school students in China. That is to say, in the practice of art education in primary and secondary schools, due to the unclear guiding ideology, improper teaching methods, low quality of teachers and other reasons, art education is often easy to lose its own essential characteristics, neither highlighting the characteristics of art nor highlighting the characteristics of primary and secondary education, so that it can not be regarded as a veritable art education in primary and secondary schools in essence.
On the one hand, art education in primary and secondary schools lacks artistic characteristics. As far as the whole education scope is concerned, art education in primary and secondary schools is not relatively independent to a certain extent, which is reflected in people's understanding and determination of the essence and purpose of art education. It either falls into the category of moral education or intellectual education. Nominally, art education is called "art", but in fact, art education is called "virtue" or "wisdom", so art education has mainly become a vassal and "colony" of other aspects of education.
On the other hand, art education in primary and secondary schools lacks the characteristics of primary and secondary education, and general education is not ordinary. Art education in primary and secondary schools is an ordinary and popular art education, not a professional and professional art education. It is quite different from the art education in professional art colleges in terms of educational purposes, educational objects, teaching requirements and teachers' quality. However, in the process of educational practice, there is often a tendency to compare art education in primary and secondary schools with professional art education. We call this trend "specialization of art education in primary and secondary schools".