The curriculum reform of design education in China has been going on for many years, but at present, many universities in China still remain superficial slogan work, and there are a series of problems, such as unclear educational direction, unclear definition of syllabus, imitation and plagiarism in curriculum setting in many universities, lack of practice of trained talents, and difficulties in applying what they have learned. Facing the multicultural vision brought by informationization and the fierce competition of global information integration, China's design art, as a discipline closely related to life, is bound to adapt to the current market and the global advanced education trend. Eisner, a famous American art educator, mainly emphasizes the discipline center and advocates making orderly and rigorous art courses to realize the value of art education. This theory also has important implications for the current curriculum reform and development of art design education in China.

Two. Eisner's Curriculum Theory Thought

1. Eisner's view of art education

Eisner thinks that the various emphases of art education in the past can be represented by a triangle. These three vertices represent children's center, social center and subject center respectively. The content of the child-centered subject education plan is to stimulate children's potential, and the educational content emphasizes the development of self-awareness. Teachers' responsibility is mainly to understand students and help them develop their interests and talents. Taking society as the center is the measure to reflect social needs. And "the goal, content and teaching method of the subject-centered education plan pay attention to the integrity of the subject, the application of human experience and knowledge and its intrinsic value." [1] He proposed that art courses should reflect the intrinsic value and essential characteristics of art. This subject-centered course selects the contents of art education and creates a teaching environment conducive to students' development and concept perception. The task of teachers in the subject center is to implement the established art curriculum plan, and the whole educational theory of the subject center attaches importance to the research of curriculum objectives, contents and teaching methods. Online design. China

2. The curriculum objectives of eisner's curriculum theory.

In the discipline-centered education theory, eisner particularly emphasized the importance of curriculum objectives, which he considered to be "the educational result that students can achieve through the process of education", also known as the expected result. [2] He creatively put forward the expressive goal on the basis of the guiding goal, and in 2002, he put forward the "problem-based art curriculum goal" on the basis of combining the original two goals, which made the educational goal more closely related to students' learning. The guiding goal is to develop certain skills necessary for expression. Once you master these skills, you can use them in expression and problem-based activities. The goal of expression is to help students explore their own views, images and feelings freely on the basis of acquiring systematic skills. The goal of problem-based art course is to put forward the problems that need to be solved according to the details of specific art education practice. This problem-based goal is a special form of the first two goals, and does not include the solution to the problem. Online design. China

3. The curriculum content of eisner's curriculum theory.

In DBAE Theory, eisner divided the curriculum into four areas: artistic creation, artistic criticism, artistic history and aesthetics. DBAE is a comprehensive art teaching and learning method integrating anthropology, archaeology, communication, culturology, educational evaluation, linguistics, philosophy and sociology. He divides the types of art courses into three types: studio-oriented courses focusing on the creative field of courses, creative design courses focusing on the form and design of visual arts, and artistic methods focusing on human nature or related to it.

4. The curriculum structure of eisner's curriculum theory.

Eisner attaches importance to curriculum objectives and standards in curriculum design, and also emphasizes that the design of curriculum structure must be continuous, orderly and related. Connectivity refers to the selection and organization of curriculum activities, so that students can use the skills they have learned before in each activity. In other words, persistence is an opportunity for exercise to improve. This also means that course designers should consider that when asking or encouraging students to use a special material, they should clearly understand the students' requirements. The uniqueness of curriculum requirements is directly proportional to the lack of continuity between courses. [3] Sequential means that the curriculum design arrangement should take into account the courses that students have studied before, and the skills they have learned can be used in the next course. At the same time, Eisner thinks that the lack of continuity will hinder the development of skills in using materials as a necessary medium of expression, and the following two principles should be paid attention to in curriculum design: First, students' learning activities should not be regarded as a collection of simple independent events, and art courses need sufficient continuity to develop, refine and internalize skills, thus requiring sufficient continuity to promote the improvement and development of skills. Second, the interval between art activities should be short, so as not to let students' interest fade.

5. Eisner's activity design about learning

Eisner thinks that learning activities are the center of the curriculum. He proposed that the following five points should be paid attention to when designing learning activities: (1). The setting of teaching activities must have educational significance. When designing, we should take into account that the current activities should be based on the past and should also be connected with the later courses. (2) The complexity and difficulty of activity setting are related to the level of students. (3) Choose courses according to students' interests. (4) When designing an activity course, we must consider the social significance outside this course. (5) Provide students with opportunities for personal practice and creation.

3. The enlightenment of eisner's curriculum theory to the curriculum reform of design education.

What should the curriculum reform of design education in China change? What are our problems at this stage? What aspects should be reformed and paid attention to in the curriculum reform of design education? On the basis of discussing the curriculum theory of Eisner, a famous American art educator, drawing lessons from the current constructive postmodern curriculum theory of W. E. Dole, the deconstructive postmodern curriculum theory of C. H. Cheriholms and the critical postmodern curriculum theory of D. W. Oliver, and combining the social environment and different national conditions in China, this paper summarizes some enlightenment of Eisner's curriculum theory to the curriculum reform of design education in China.

1. design courses according to the needs of social development, take interdisciplinary as inspiration, and grasp and design diversified talent training mode macroscopically; Micro-design makes specific curriculum plans that meet the requirements of students, and advocates the characteristics of running schools in combination with the actual resources of our school.

The design of curriculum should pay attention to the conflict and instability of curriculum itself. At the same time, on the basis of maintaining its own characteristics, it embodies the inherent value and essential characteristics of art, and creates a teaching environment conducive to students' concept perception. Recognize that courses are a guide to planning and evaluation, including expected learning outcomes.

In addition, we should take discipline as the center, break the boundaries of disciplines, form a vertical and horizontal knowledge network of interdisciplinary knowledge, and build a discipline system, teaching plan, teaching content and teaching methods. Microscopically, we should design and formulate specific curriculum schemes that meet students' requirements, pay attention to the connection with social needs in curriculum design, and understand that postmodern curriculum is generated, not predefined, but has the characteristics of boundaries (Dole's postmodern curriculum view). Pay attention to the process of teaching, initiative, extension and continuity of learning in the talent training mode. Adopt developmental and project-based teaching.

Different types of universities should rely on the characteristics of their own schools and regions to run their own characteristic universities, such as Jingdezhen Ceramic Institute, focusing on ceramic art design.

2. Form diversified design art education curriculum objectives.

The three curriculum goals put forward by Eisner should also inspire the curriculum reform of art design education in China, especially the problem-based art curriculum goal, which puts forward the problems that need to be solved according to the specific details of art education practice and emphasizes the uncertainty. Dole also believes in his constructive postmodern curriculum theory that the postmodern curriculum hypothesis is transformative, not cumulative. In the post-modern curriculum planning, the goal is not fixed, but only the guidance of curriculum implementation and a signal of the scope of teachers and students' experience. [4] Similarly, China's art design education curriculum requires creating an atmosphere of exploration, and the curriculum should be rich and open enough to accept diversified viewpoints and ideas. Curriculum objectives become a continuous development process. In this process, the course objectives always change. Realistic challenges, interference and dialogue become necessary conditions here. Curriculum objectives, like students, teachers and curriculum materials, must undergo changes.

The current curriculum goal of design education emphasizes the cultivation of creative thinking, the ability to learn by using modern computer and other information technologies, the ability to obtain sustainable development, and the all-round development of morality, intelligence, physique and aesthetics of this discipline and related disciplines. Of course, this educational goal changes with the development of the times.

3. Pay attention to the development of explicit courses, build hidden courses in schools, and reform and update the course content.

Eisner's view of curriculum content has three important implications for the curriculum reform of art design education in China. First of all, we should blur the boundaries, strengthen the cultivation of students' humanistic consciousness and promote the development of students' comprehensive quality. Second, to strengthen the construction of superior courses in schools, it is necessary to broaden the professional caliber and expand interdisciplinary construction. For example, the Art College can co-organize the advertising major with the School of Journalism and Communication, and the Urban Construction College can set up the architecture major, so that teachers can adjust each other, and the college can give full play to its specialty and jointly cultivate students. Third, design education should attach importance to the construction of hidden courses, which can include the academic and humanistic environment, good atmosphere, beautiful art and profound culture of the school. Art colleges should create independent design teaching space, set up special galleries, set up tables and chairs, etc., to improve students' artistic accomplishment and artistic taste.

4. Design education should follow the idea that design itself is an interdisciplinary subject to reform the curriculum structure.

Eisner emphasizes that the design of curriculum structure must be continuous, orderly and related, which is similar to the four R basic principles of dialogue-centered postmodern curriculum proposed by American educator William E Doyle. Its enlightenment to the curriculum structure reform of design education in China is as follows: first, the curriculum must pay attention to the characteristics of curriculum richness (from the openness and hypothesis of the curriculum, which provides many fields for cooperative dialogue and exploration); Establish a unified compulsory course between the basic design course and the professional course in the freshman and sophomore stages, regardless of the professional direction, and integrate the cross-curriculum system at the same time.

Second, the design of curriculum structure has no fixed starting point and end point, it is cyclical. In the course structure, we can also break the boundaries between grades and majors and offer elective courses. For example, Jiangnan University offers comprehensive courses for students, and students of different majors, disciplines and grades jointly develop design projects. Thirdly, integrate many factors in the curriculum structure, such as ideas, texts, teachers, students, media, etc., to form a huge network and form various cultural links outside the curriculum. Finally, we aim to seek different curriculum structure schemes, and the relationship and connection between our college and different colleges. Online design. China

5. Design of learning activities

Eisner thinks that learning activities are the center of the curriculum. There are two inspirations for current design education: D·w· Oliver's critical postmodern curriculum theory holds that the curriculum and teaching of philosophy based on Whitehead's "process" are all oriented to new things, and teachers and students exist constantly in the process of events, and the main driving force of teachers' plan is to imagine the possibility of realizing certain events in any environment. [5] In other words, the design of learning activities should be based on students' practice, and teachers should guide, evaluate and motivate students in the teaching process, forming a new teaching mode of students' cognition-experience-creation and teachers' participation-guidance. Second, establish a diversified cooperation model in Industry-University-Research. For example, Taiwan Province Lingdong Institute of Technology has established educational cooperation with China Image Research and Development Association and Taiwan Province Image Strategic Alliance. The main content of cooperation is to hire professionals of the association to take up teaching posts or cooperative teaching, introduce enterprise cases for practical teaching, provide employment opportunities for graduates, and help students set up design studios or companies in order to improve the quality of design education. [6]