For example, altamira Rock Paintings in Spain and Lascaux Rock Paintings in France are world-famous prehistoric rock paintings. Some animals such as bison, wild horses and wild boar described by primitive people are chasing and running, while others are struggling with injuries. Before enjoying these murals, teachers and children had a brief discussion on primitive people and primitive social life, such as the age, appearance and living conditions of primitive people, which not only broadened children's horizons, but also laid the foundation for children to understand murals. During the activity, the teacher guided the children to appreciate the animal's posture and the vivid and powerful lines of the works, and discussed various problems in and out of the picture. For example, when enjoying the "Horsehead of Lascaux Cave", the children raised many questions: "Why are there thorns-like lines on the horsehead? Is this animal's hair or an arrow that hit it? Why did primitive people use curves to draw a horse that was about to fall to the ground? Why only draw animals and nothing else? Why do they paint in dark caves? " Through these discussions, the children learned that all this was related to the primitive people's hunting-oriented life, which was a reflection of primitive people's emphasis on food. Primitive people thought that painting the image of an animal that was hit or captured was equivalent to hitting or capturing the animal itself. The more realistic it was, the greater the magic it showed. Through various artistic appreciation, children not only gained rich aesthetic experience, but also deepened their understanding of primitive people and primitive society.
Teachers should learn to have a dialogue with works of art before guiding children to appreciate works of art, and do a good job of "aesthetic expectation" intermediary between children and works of art. Therefore, teachers themselves should reasonably explain the meaning of artistic works and have a certain understanding and appreciation of artistic forms. For example, teachers must understand the possible symbolic meanings of formal languages such as lines, shapes, colors and composition, and the principles of formal beauty such as symmetry and balance, rhythm and rhythm, change and unity. On this basis, guide children to understand the meaning of each part of the art work first, and then explain the overall meaning according to each part, thus forming one or more reasonable explanations. This understanding of the whole in turn strengthens children's understanding of all parts of the work.
Teachers should provide children with many opportunities to appreciate, expand their appreciation and broaden their horizons. Of course, this kind of appreciation can be not only the appreciation of artistic works, but also the appreciation of natural scenery and surrounding environment. It is also necessary to properly teach children the basic artistic language and the principle of formal beauty of artistic appreciation, so as to help them further deepen their emotional experience of works and constantly enrich their perceptual experience.
For example, the combination of various parts of a work in formal analysis, that is, the use of formal languages such as modeling, color and composition, and the principles of symmetry, balance, rhythm, rhythm, change and unity. Formal analysis is the only way to deepen aesthetic experience, improve aesthetic comprehension ability and finally improve children's appreciation ability.
Children should be given time to fully experience through various channels. Teachers should first give children some time to appreciate independently. They should try their best to use their various senses, mainly the visual organs to feel. Don't rush into it, talk too much. Let children speak freely, try not to interrupt their statements, and give full play to their observation, artistic imagination and expressive ability. Only when children need help can teachers enlighten children by asking questions and guide them to observe, experience and imagine.
For example, the impressionist painter Seurat's work "Sunday on the Big Bowl Island" feels and experiences. After guiding children to perceive and experience the form of each part of the work, teachers can guide children to experience and understand the meaning of the work in the following ways. The teacher told the children to close their eyes and imagine themselves as the characters in the painting, and then imagine as the teacher said: "I am lying on this green grass ... my body is relaxed ... there are some people around me ... they make vague noises ... there are all kinds of people ... but here, they are all easy to step on the same beat ... Everyone feels the existence of others ... sunshine ..."
Teachers should not only learn to ask questions themselves, but also teach children to ask questions. Take Sunday in Big Bowl Island as an example. Regarding the description of the work, the teacher can ask this question: What do you see in the painting? What are these people doing? Can you guess where they are? What else do you see from this photo? What color did the painter use in painting this picture? How are these colors arranged on the screen? What does the color of the figure look like when combined with the color of the background? How do you feel after seeing the whole picture? Teachers use questions to guide children to further deepen their experience. It is also a way for children to learn how to observe and compare. In this process, the teacher's language should be easy to understand and concise, so that children can understand it.
Teachers can guide children to express their aesthetic feelings in many ways. In the process of children's art appreciation, teachers should guide them to discuss while experiencing, so that children can express this feeling after full and emotional experience. This feeling is intuitive, not a rational analysis in the true sense. This feeling can be expressed in many ways, such as language, expression, body movements and so on. For example,