"The second basis is the disadvantages brought by the indoctrination method adopted by teachers in the long-term art appreciation education for preschool children. The direct expression of indoctrination method is that teachers are self-centered and unconditionally instill their knowledge about art works into children. Children identify with teachers and their knowledge, without their own perception and experience, that is, without direct dialogue with works of art, thus losing the ability of self-feeling, self-processing information and self-initiative, which eventually leads to the decline of aesthetic quality. However, the way of dialogue is different. In the process of dialogue, the relationship between teachers and children, teachers and students, and works of art is no longer an indoctrination and indoctrination, but an equal and conversational two-way communication relationship. Because children's body and mind have been completely liberated, their learning is no longer passive acceptance, but a dialogue-type active participation and feeling, and their potential is reborn and grown in constant collision. In such an atmosphere, teachers and children actively communicate and discuss works of art, because works of art are open, and after the dialogue, there may be ambiguity.
First, the characteristics of dialogue method
Dialogue method emphasizes that dialogue is first and foremost the mutual communication between two subjects. Dialogue is different from information transmission, which is one-way and asymmetric, with one party as the subject and the other as the object. The party receiving information in the object position only passively accepts and understands the information sent by the subject. Dialogue, on the other hand, is symmetrical in many directions, and both sides of the interaction are subjects, so they all have a dynamic role. As Gardiner said, "this kind of communication is carried out through the symbolic object created by the first subject, and the second subject can understand, reflect or appreciate it in some way." In artistic activities, the artist has a "desire to pour out his deep feelings or strong impressions to people close to him", and he regards the roles and recipients of his works as subjects with psychological affinity; For the appreciator, he has a unique dialogue with artists and works from his inner world-people reject didactic works of art because the authors of such works deny the subject status of the appreciator. It can be seen that the purpose of dialogue between appreciators and works of art is to communicate with each other, that is, works of art speak to appreciators and appreciators speak to works of art. "In art, I associate with artists and figures living in other places and at that time, because artistic communication develops in imagination, which frees people from the shackles of space and time ... and art liberates people from the control of contingency, so that everyone is in an infinite art world.
Choose your friends freely. Through the dialogue between the subject and the subject, with aesthetic expectation as the intermediary, the viewer's current horizon (referring to the starting point, angle and possible prospect of understanding) is integrated with the historical horizon contained in the artistic work itself. The result is a new vision, which will become the starting point for understanding new works of art.
The communication between appreciators and works of art is more non-verbal information exchange through aesthetic experience and sentiment. Generally speaking, verbal communication expresses people's logical reasoning process, but non-verbal communication embodies what we mean by "infinity". It goes beyond the scope of language and becomes unfathomable feelings and feelings, which is not easy to describe in language. The dialogue between the appreciator and the artistic text is a multi-channel mutual communication based on the appreciator's aesthetic psychological experience, which transcends the practical and utilitarian one-dimensional emotion, keeps a proper distance from the aesthetic object, mobilizes various aesthetic psychological functions to work together, and disperses and integrates the artist's feelings and aesthetic creation in the deep heart, thus achieving a potential spiritual exchange and internal self-exchange. Vygotsky vividly described this appreciation dialogue in Psychology of Art: "The reader observes tragedy from two aspects: on the one hand, he sees everything through Hamlet's eyes; On the other hand, he looked at Hamlet with his own eyes, so every audience was both Hamlet and his observer. " It is the great initiative and creativity of this process that brings unique experience and rich and profound aesthetic pleasure to art appreciators, which makes the dialogue in art appreciation different from the general realistic dialogue.
Dialogue in art appreciation is the overall intuition of the psychological function of the appreciation subject. In the dialogue, the subjective psychological factors such as perception, imagination, emotion, thinking, inspiration and unconsciousness play a compound role in the mutual penetration, supplement, synthesis and intersection of the whole. Susan Langer believes that art conveys the emotion and artistic meaning of life through fantasy, and it activates people's psychological motivation in the process of intuition, making it rich, substantial and orderly.
Second, the implementation of the dialogue law.
The basic structure of dialogue is to ask and answer questions. In the dialogue of art appreciation, the first question is to ask questions. Gadamer said in Truth and Method: "Indeed, one text is different from another. Those of us who try to understand must let the text speak for ourselves. However, we found that this kind of understanding, that is,' let the text speak', is not an arbitrary method we take the initiative to take, but a question related to the answer we expect to find in the text. " In other words, when the viewer faces a work of art, he will first ask a question, "What does this work of art want to tell me?" However, preschool children, as appreciators, are due to their psychological development, life experience and artistic experience. , which determines that their vision can not be quickly and effectively integrated with the historical vision of artistic works as texts. Therefore, teachers are needed as intermediaries to guide and help them to ask and answer questions with works of art.
In the process of implementing dialogue method in preschool children's art appreciation education, teachers should pay attention to the following points:
1. The relationship between the two sides of the dialogue should be equal. Teachers should not force children to accept an authoritative conclusion or their own views on works of art, but should let children have their own exploration. Equal dialogue is the condition of dialogue and the premise for children to be willing to talk. Teachers, as an intermediary to guide the dialogue between children and works of art, should not suppress children with their own authority, but should admit that both teachers and students have the right to speak in front of works of art as texts. Because art works are open as art texts, and everyone's artistic experience is limited, there are always various gaps between the author's initial vision and the viewer's current vision, and this historical gap cannot be eliminated by any viewer, that is to say, individuals cannot fully understand the full meaning of art texts. Although teachers
Before guiding children to appreciate works of art, there are expectations for the meaning of the works, but this does not mean that preschool children must unconditionally accept the expectations of teachers, and children can still have their own understanding. And as a teacher, we must encourage children not to stick to the teacher's explanation, or even the creator's original creative intention. But through dialogue, according to their own experience and understanding of the information conveyed by the works, give full play to their imagination and creativity, express their opinions, realize the integration of two horizons, and give birth to new things that are unexpected to both sides of the dialogue. In art appreciation, children often feel what teachers don't feel and say what teachers don't expect, which is enough to prove that they have their own unique vision. Therefore, every dialogue with artistic texts is a process of meaning generation. The possibility of artistic text meaning is infinite, so there is no right or wrong understanding of artistic text, only different understanding. In understanding, the essence of the problem is its own uncertainty. Understanding is always a kind of dialogue and communication, and it is a kind of constant exploration and inquiry.
2. Teachers themselves should first be able to have a dialogue with artistic texts and do a good job of "aesthetic expectation" between children and artistic texts. Gadamer said: "... our understanding of the texts handed down is based on the expectation of meaning, which is obtained from our own prior contact with the theme." In preschool children's art education, "meaning expectation" means that teachers design a meaning for art works in advance before educating preschool children on art appreciation. This meaning is the teacher's personal explanation of art works, and at the same time, it is constantly revised in the process of guiding children to appreciate. 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 and improve their present appreciation. Gadamer said in Truth and Method: "It is not our judgment, but our prejudice that constitutes our existence ... The historicity of our existence has produced prejudice. Prejudice actually constitutes the initial directness of all our empirical abilities. Prejudice is our tendency to open to the world. " In other words, everyone has a certain way of life in history. This determines that people can never get rid of the historicity of understanding, and the recognition of the historicity of understanding actually recognizes the rationality of the interpreter's prejudice and prejudice. This prejudice constitutes the basis and premise of understanding, and it is the special vision of the appreciator. Therefore, teachers should provide children with many opportunities to appreciate and broaden their horizons. This kind of appreciation can be not only the appreciation of artistic works, but also the appreciation of natural scenery and surrounding environment. Preschool children should also be properly taught some basic artistic language and the principle of formal beauty in artistic appreciation, so that they can first understand the author's historical vision in artistic appreciation and help them further deepen their emotional experience of the works. To this end, teachers
& gt We should choose corresponding art appreciation materials, give children enough time to feel and experience repeatedly, and describe them in plain language at the same time, so that children can truly understand the connotation of these basic artistic languages and the principle of formal beauty. Visual formal language has a unique significance in art. No matter how different their appearance forms are, they all use the above basic elements. These elements are combined in different ways in two-dimensional plane and three-dimensional space to form different "psychological force" styles, which arouse people's inner feelings and feelings.
Therefore, this abstract formal language not only serves abstract art, but also has universal significance. In concrete realistic works, these abstract elements also play a role by hiding in the reproduced things. Gardner also believes: "Only when people have a proper understanding of these aspects will their emotional life be affected. With the maturity of appreciation, he became familiar with more experiences, so he had better feelings.
Only in this way can he resonate with the interest and significance of the creator. It can be seen that formal analysis is the only way to deepen aesthetic experience, improve aesthetic comprehension ability and finally improve children's appreciation ability. At the same time, we think that the interest in form appreciation itself should also be one of the goals of preschool children's art appreciation.
Preschool children's understanding of basic artistic language and the principle of formal beauty of artistic appreciation can also be obtained through artistic creation. For example, learn the changes of lines, let children experiment with different dynamic lines (straight lines, curves, spirals, intermittent lines, continuous lines and overlapping lines), and then let them appreciate how the lines used in Van Gogh's Starry Night move. Another example: To learn the arrangement of geometric figures, children can first cut and paste various geometric figures with colored paper, and then let them enjoy the later works of mondriaan, an abstract master. This appreciation experience gained through self-operation is very helpful for preschool children to understand the principles of artistic language and formal beauty.
4. Teachers should give children time to fully experience through various channels. Teaching adaptation should first give children a certain time for independent appreciation, try to let them feel with their various senses, mainly visual organs, don't rush into it, don't talk too much, let children speak freely and try not to interrupt their statements. We should give full play to their observation, artistic imagination and expressive ability. Only when children need help can teachers use clues to inspire, ask questions and guide children to observe, experience and imagine. For example, Seurat's feelings and experiences in Sunday in Big Bowl Island. 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 characters in the painting, and then imagine with what the teacher said, "I'm lying on this green grass ... my body is relaxed ... there are some people around me, and they make a weak voice ... there are all kinds of people ... but here they all easily step on the same beat ... Everyone feels the existence of others ... sunshine ..."
This is a wonderful rest ... I want to stay here ... "Through this feeling, children can understand the meaning of the work.
Teachers should not only learn to ask questions themselves, but also teach children to ask questions. Gadamer said in Truth and Method, "A text does not speak to us like another person. Those of us who try to understand must let the text speak for ourselves. However, we found that this kind of understanding, that is,' let the text speak', is not an arbitrary method we take the initiative to take, but a question related to the answer we expect to find in the text. " Therefore, the key step in art appreciation dialogue is not to learn to ask questions. The teacher can ask the child, "What do you see in the picture?"
problem Taking Sunday in Big Bowl Island as an example, regarding the description of the content of the work, we can ask: What do you see in the painting? What are these people doing? What kind of gestures do they have? What else is there in the picture besides people? Can you guess where they are? Can you see what time it is from the picture? Besides these, what else did you see? On the analysis of the form of the work, we can ask the following questions about Sunday in Big Bowl Island: Please look. What lines are there on the screen? In which direction do these lines extend? How does it look and feel? Who are the characters in the picture? What are they doing? Can you perform? What color did the painter use when painting this picture? How are these colors arranged on the screen? Colors of characters and backgrounds