First of all, teachers don't know enough about Tian Zige.
To put it simply, Tian Zige is a template to standardize the writing of Chinese characters in regular script, and Tian Zige is used to practice regular script (some students in some schools practice running script in Gerry, Tian Zi). Regular script requires horizontal and vertical, but it is not absolutely straight. The horizontal and vertical centerline of Tian Zige is the horizontal and vertical baseline, and the standard Tian Zige is1.2cm×1.2cm. For example, after writing, there are three kinds of skimming: flat skimming, oblique skimming and vertical skimming, which are distinguished according to the different angles formed by these three kinds of skimming and the vertical centerline. In addition, horizontal and vertical composite strokes composed of single strokes can find reference lines or reference points in Tian Zige. As long as the positioning problem is solved, Tian Zige's stroke writing will be smooth.
Tian Zige also promoted the arrangement of regular script structure. The area divided by the four sides, horizontal and vertical midline of Tian Zige provides a basic positioning reference for the composition of strokes and characters of all Chinese characters. The vertical midline can imply the left-right or left-middle-right structure, and can also be used as the' central axis' of the left-right ambigrams in simplex characters or surrounding structures; The transverse midline can imply the upper and lower or upper, middle and lower structures. For characters with other structures, reference lines can also be found in horizontal and vertical midlines and their partitions. In addition, the two basic principles in the aesthetics of regular script, "tightening up and loosening down" and "tightening up inside and loosening up outside", can also be expressed through the role of the horizontal and vertical midline. The center of Tian Zige is also an important reference point to determine the writing center.
The primary school period, especially the lower grades, is a critical period for learning Chinese characters, and it is a transitional period from Tian Zige writing in the lower grades to blank grid writing in the upper grades. Therefore, teachers should study Tian Zige, guide students to practice writing in Tian Zige, and lay the foundation for students to get rid of Tian Zige's writing style or the auxiliary line. Our teacher must guide students to correctly standardize the lattice in Tian Zi lattice window of grade 1~2, and pay attention to the importance, inclination and echo of points.
Second, there is no requirement to consolidate curriculum standards in stages.
Put forward questions
1. What is the problem that students can't arrange the order of strokes when writing? It is not excluded that individual Chinese teachers are not fluent in writing on the blackboard.
2. What's the problem with scribbling on the paper?
3. What is the problem with many typos?
4. What's the problem if you don't copy famous books?
Look at how the curriculum standard is required. As long as you sit in the right place one by one, you can find the crux. "In the first stage, we should master the basic strokes and common radicals of Chinese characters, write with a hard pen according to the rules of stroke order, and pay attention to the structure of bookshelves. Feel the beauty of Chinese characters. In the second stage, you can skillfully write block letters with hard pen, so as to be standardized, correct and tidy. Copy block letters with a brush. In the third stage, you can write regular script with a brush and experience the beauty of Chinese characters in writing. In the fourth period, I copied the famous calligraphy works and experienced the aesthetic value of calligraphy. " It can be seen that the curriculum standard requires students to learn calligraphy well from an early age, and writing should start with dolls. However, most of our teachers put more effort into literacy and less effort into writing. The writing requirements of the curriculum standard have not been implemented, and the poor writing of students has diluted the literacy effect. Wang Meng said: "The foundation of China culture is China's writing." In fact, if our teacher studies the teaching of writing well, we can find a lot of fun by organically combining literacy with writing. First, lead students to feel the beauty of Chinese characters. Infiltrating simple hieroglyphics in the teaching process of letter combination can not only cultivate students' imagination (images will appear in students' minds), but also increase classroom interest. Many of our teachers don't have enough research on China's writing, so there are some difficulties in teaching. As far as the primary school writing instruction course is concerned, I think the third grade can let students go back to study their own handwriting and re-examine the teaching effect of low-level writing; In the fourth grade, I studied the evolution of Chinese characters and the history of China calligraphy, and investigated the copying and copying of regular script. The fifth and sixth grades are integrated into Wandering in the Kingdom of Chinese Characters, and teachers and students add regular script creation and performance to the activity class to form a series of courses. The thinness of our reading and writing classes is gone forever, and there can't be such a situation that wolves live like charcoal at the foot of the mountain and it rains like thunder in the fields. Writing teaching is difficult and should not be underestimated. Many of our teachers often put this task after class so that students can finish it independently. The author thinks that this may be the main reason for the problems in students' writing today, and it does not rule out independent painting.
Secondly, in the process of guiding students to copy famous works, teachers will deepen their understanding of traditional culture (perhaps individual Chinese teachers have never copied famous works), and students will also learn from the appreciation of copying, so as to inherit the tradition, get out of the tradition, and perhaps get married. Guiding students to re-create is a challenge in itself, which requires both skill and emotion. In the process of creation, students need to mobilize what they have learned, shape images in their minds, infect readers, express their emotional feelings, and their unique feelings about language and characters and the ups and downs of their thoughts and feelings. Its function is not only to write, but also to practice Chinese characters well. Students must be good students, and the words are as they are!
Third, three postures (pen holding posture, sitting posture, writing posture) are not emphasized in place.
Students' writing habits are getting worse and worse. Many students hold pens incorrectly, sit stagger, and write in different postures. The evaluation suggestion part of the new curriculum standard requires paying attention to the correctness, correctness and neatness of writing, and on this basis, it is gradually required to write fluently; The evaluation of writing in all stages of compulsory education should pay attention to students' writing posture and habits, and guide students to improve their writing quality. Today, it seems that we are not strict with students in this respect, and the guidance is not enough.
Fourth, the research knowledge is not solid, and teachers demonstrate less.
It is found that most schools arrange calligraphy practice classes, but too many tasks are arranged and the effect is too poor. Send a few red copybooks, without guidance, even if you finish the task, you will turn a blind eye to the wrong stroke order. Painting in red is the best way to copy glyphs. Many of our teachers didn't really understand its function, nor did they study how to guide students to paint red. They even think that painting red is the simplest form of calligraphy practice, and it is the easiest to cope with school inspections. In recent years, students' handwriting has become worse and worse, which shows that the effect of tracing red is not good. When practicing calligraphy, there must be layout, proper guidance and demonstration to infect students. As we all know, students' writing from primary school to junior high school is becoming more and more unsatisfactory. On the one hand, it is because of the popularity of computers, and more importantly, the writing style of teachers is getting worse and worse. There are fewer and fewer teachers practicing calligraphy, and teachers are unable to work hard, and even fewer teachers can lead students into the door. Teachers don't practice calligraphy, how to guide students to practice calligraphy? Students can't judge the problems in the process of practicing Chinese characters, let alone correct them. Individual teachers don't copy posts, but guide students to write by feeling. Habit is too heavy, it is difficult to achieve "the master should get in the door". The evaluation suggestion part of the new curriculum standard requires that the evaluation should be conducive to stimulating students' interest in reading and writing. How can we stimulate students' interest?
Solution strategy:
First of all, we must improve our ideological understanding. Chinese teachers in primary and secondary schools are the inheritors and carriers of China's traditional culture, and they have great responsibilities. Curriculum standards require that in the teaching of literacy and writing, Chinese teachers should completely change the concept of Chinese character education, and realize that learning Chinese characters is not only to enable students to master reading tools and writing skills, but also to enhance their love for Chinese language and culture, improve their aesthetic perception, and also to enhance their normative awareness and develop good habits and personality. Chinese teachers should become part-time calligraphy teachers (outline of calligraphy education in primary and secondary schools). If many of our teachers understand this problem from this height, they will have a greater sense of responsibility and motivation to guide students' writing.
Secondly, we should strengthen the standardized education of writing class. Curriculum standards require primary school students to work hard on writing habits and norms (strokes, stroke order, copying and creation), and attach great importance to them and persevere. According to the curriculum standard, writing teaching in primary school must put more energy into it, so as to ensure that Chinese class has a certain time (Chinese class 10 minutes, and practice under the guidance of teachers every day), and writing instructors should learn writing skills. Instructors must strengthen the copying of classic inscriptions, practice their internal skills step by step according to the requirements of the curriculum standard, and integrate into the running script pattern on the basis of mastering the running script pattern, so that the sixth grade can infiltrate the teaching of running script pattern and improve the writing speed of students.
Third, we should strengthen personal cultivation. Calligraphy is cultivated through study. The majority of Chinese teachers must read more, be good at reading and strengthen their cultural accomplishment. "Reading is like eating your ears, a good scholar is full of spirit, and a bad scholar is full of phlegm." (Yuan Mei's Poems with the Garden) "Morality nurtures the heart, skill nurtures the hands, and knowledge nurtures the eyes (teaching one, self-supporting two, integrating three, reaching four)." Calligraphy is a difficult course to inherit, and it is even more difficult to innovate. Our ancestors took it to the extreme. Without classic nourishment, it is impossible to get rid of vulgarity. Our Chinese teacher should be the representative of the traditional literati in China.
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