Chinese painting has a history of more than two thousand years. Chinese painting has gone through dynasties and many changes, and finally formed schools of various regions or styles. Today, it is the treasure of China's 5,000-year civilization. Compared with the ancient society, the contemporary society in China has undergone earth-shaking changes, and the aesthetic form has also changed. For Chinese painting education, it is faced with both the opportunity to inherit the valuable experience of predecessors and the challenge to absorb new ideas and creative ideas. Nowadays, the change of social environment has put forward many new topics for landscape painting teaching, which requires us landscape educators to innovate constantly on the basis of inheriting the outstanding achievements of predecessors to meet the requirements of the new era. This is also the main idea of this article.
Keywords:: Comparative Study of Chinese Painting; Influence of Landscape Painting Teaching on Innovation
Chinese painting is an important part of China's traditional culture, and its unique artistic form and painting concept have attracted countless literati to indulge in it. Landscape painting, as the most perfect painting discipline in China's painting system, has always been loved by scholars in previous dynasties, and has formed its own unique aesthetic system and individual language under the careful study of the sages in previous dynasties, and has made brilliant achievements. For our later scholars, the achievements of landscape painting not only attracted us to learn, but also brought great difficulties to our future innovation.
The research on this issue has the following two important meanings: consciously providing some valuable experience and learning methods for the current landscape painting professional education in colleges and universities; Second, through research, we can find its own development law and explore a feasible direction for our future innovation.
First, the historical form of traditional landscape painting teaching
China's landscape painting has a history of thousands of years. Opening the album History of Landscape Painting in China, we can clearly see a main line of the development of landscape painting: the landscape painting in Wei and Jin Dynasties was only in its infancy, and the figure painting at that time was the main body of Chinese painting. During the Southern and Northern Dynasties, due to the war, some literati "enjoyed themselves all day by the mountains and forests, drawing pictures and writing the thoughts of misty clouds and beautiful flowers." This period just promoted the development of landscape painting, which was completely independent from this period. During the Sui and Tang Dynasties, especially in the prosperous Tang Dynasty, China's paintings developed in an all-round way, and landscape paintings developed rapidly, basically forming its own unique language. History has entered the period of Five Dynasties and Ten Kingdoms. Although this period is very short, there is an important change in painting, that is, in the Southern Tang Dynasty, the rulers all loved literature and art, opened the Hanlin Painting Academy, and gathered famous painters from all over the world. This is the earliest prototype of the Palace Painting Academy.
Second, the teaching of modern Chinese painting
China's landscape painting is an important part of the artistic language of Chinese painting. The appearance of landscape painting makes students pay great attention to the emotional expression and artistic expression of natural scenery. Landscape painting occupies a very important position in the teaching of art colleges, which is not only reflected in the theoretical teaching of teachers, but also emphasizes the feelings and performances of students, and ultimately improves the comprehensive ability of students, thus achieving the purpose of education and teaching.
At present, in the teaching of normal colleges, the courses offered by landscape painting teaching include landscape painting copying, sketching and creation. According to the actual situation of each school, talent training objectives and teaching tasks, copying, sketching and creation have different roles in teaching. Copying landscape painting is mainly to cultivate students' understanding and mastery of the overall style and expression of works, while sketching landscape painting focuses on cultivating and expressing students' aesthetic orientation to objective scenery, and creating landscape painting focuses on cultivating students' personality. No matter from the teaching or from the law of painting, there are inevitable connections and internal differences between landscape painting copying, sketching and creation, which influence and restrict each other. This constitutes the image language of China's landscape painting art, which is gradually implemented and improved in teaching.
(A) the cultivation of students' aesthetic ability in the basic theory teaching of China landscape painting.
In college education and teaching, art theory is an indispensable teaching link in art activities and plays a very important guiding role in art practice. Every student is an individual, and his aesthetic consciousness is very different. At the same time, we should also see that students' aesthetic feelings are limited by the environment and age to varying degrees. Therefore, classroom teaching is particularly important. Create a good environment through the classroom teaching process, so that students can be infected and edified in this good atmosphere, thus gaining more theoretical knowledge. The cultivation of students' aesthetic consciousness is limited and influenced by the environment. In addition to classroom teaching, there are family environment, social environment and natural environment. The role of school education and teaching environment is very important. Teachers should make full use of classroom teaching to mobilize students' enthusiasm and subjective initiative, let students participate in teaching, and let classroom teaching no longer appear in the traditional way, but let the student-centered teaching model appear. The teaching of the basic theory of Chinese painting is aimed at students' active participation. Teachers create situational teaching to improve students' thinking and aesthetic ability, and creating a good situation for students will have an important impact on the formation and development of students' aesthetic consciousness.
(B) the basic theory of China's landscape painting teaching, to cultivate students' expressive ability.
In the creation of China's landscape painting, the expression of emotion has always played an important role as the teaching of basic theory. "Emotion is a special form of people's reflection on objective reality, and it is also a form of psychological reaction to whether objective things meet their own needs and purposes. This kind of reflection and reaction is subjective in form. " The expression of Chinese painting comes from perceptual knowledge and rational analysis. In the teaching of the basic theory of landscape painting, it is very important to cultivate students' objective understanding of nature and subjective emotional expression. For the performance of China's landscape painting, it is not simply to reproduce the natural scenery, but the objective scenery needs artistic generalization and artistic choice. We should express natural objects subjectively, and here we have our own feelings and unique artistic expression methods. If we simply reproduce the scenery, we will have no painting art at all. Art comes from life and is higher than life. We should respect objective laws, but we can't copy them. If we simply describe the natural scenery, then we can't talk about the embodiment and expression of emotions, and our feelings will be restricted and bound. The feelings of China's landscape paintings mainly come from our observation, understanding, life experience and real feelings. The purpose of landscape painting is not to require every student to complete the same picture, but to fully express their feelings on the basis of the objective laws of landscape painting. Therefore, in the teaching of landscape painting, we should strengthen the cultivation of students' emotion and sensibility, and stimulate students' emotional expression of nature through the training of landscape painting.
(C) The cultivation of students' innovative ability in the basic theory teaching of China landscape painting.
The conception of artistic creation is an aesthetic cognitive activity, and all cognitive activities should start from practice and feeling. The artistic practice of China's landscape painting is an important link in artistic creation. By observing, understanding and feeling nature, we can appreciate the beauty of nature. In the process of artistic practice, we should constantly explore the real aesthetic feeling in life to show the appearance characteristics of the scenery. The basic training of China's landscape painting should not only be limited to simple teaching and copying in class, but also guide students to observe the laws of things in nature and their relationships, so as to improve students' real feelings about real landscapes. Sketching in nature provides a good platform for students' creation, because sketching is the right of students.
Further understanding of nature is also an important part of collecting creative materials, which can not only improve students' ability to perceive, summarize and create nature, but also strengthen their understanding of pen and ink. In the process of sketching, different expression techniques are used, so as to train students to use different styles of artistic language, guide students out of simple classroom learning, and improve and stimulate their initiative and enthusiasm in learning nature.
In the process of artistic expression, we should strengthen the purpose of learning, guide students to master the language of artistic creation, as well as the application and expression rules of pen and ink, and let students actively try to use different artistic expression styles, so as to better cultivate students' aesthetic ability and artistic creation ability and improve their comprehensive artistic quality.
Third, the drawbacks of Chinese painting teaching and painting
Today, Chinese painting has gradually formed a systematic art through the blending of various nationalities and the efforts and development of painters of various schools. Contemporary Chinese painting is facing a completely different social and cultural context from ancient society, and the educational method has also changed from ancient "mentoring" to academic system teaching method. On the one hand, the people in front of us have left us valuable painting experience. On the other hand, the painting techniques and ideological connotations of Chinese painting are also seeking physical changes due to the influence of western culture and painting. Its shortcomings are highlighted in the following aspects:
1. Theoretical Research on Paying Attention to Professional Skills and Lighting Professional Skills
2. Students pay more attention to copying than practicing.
3. Break away from the traditional culture of China.
Fourth, how to correctly educate and guide students' painting direction.
At the crossroads of Chinese painting going left or right, China national painters are cautious every step forward, and the problems faced by Chinese painting education are closely related to the existing situation of Chinese painting in China. How to guide Chinese painting education to develop healthily in the period of blending Chinese and western arts, the author thinks that there are the following points:
1. Strengthen students' study of China's classical culture and improve their humanistic quality.
In contemporary society, utilitarianism is eroding the art market all the time, and students are easily tempted by material desires and stifle artistic life. On the other hand, the poor creative style of students in recent years has also become a witness to the failure of Chinese painting education. Based on this, the author thinks that students majoring in Chinese painting urgently need to learn the traditional culture of China. Chinese painting embodies the ancients' understanding of nature, society, politics, philosophy, religion, morality, literature and art in content and artistic creation. Only by understanding the classical culture of China can we truly understand the spirit of Chinese painting, thus deepening the philosophy of Chinese painting. It is the only way to deeply understand Chinese painting to study China's classical culture from its roots and improve humanistic accomplishment.
2. Strengthen students' study of Chinese painting theory.
In a teaching process, the author once asked students whether they had read Shi Tao's painting quotations, but none of the more than 20 students answered. China's painting theory was summarized by many painters in ancient times, from which we can see that the method of painting is very important. Chinese painting, as the product of China's traditional culture accumulation, should be paid more attention by contemporary educators to guide students to strengthen their study of Chinese painting theory. On the other hand, however, I feel sorry for this. China has many modern painting theories, especially the discussion of composition and pen and ink techniques by modern schools. Of course, there are many insightful books, but every painter has his own understanding of Chinese painting, and it is inevitable that there will be deviations, which will affect students' learning. Therefore, the school should choose a more reasonable bibliography for students' reference and introduce the teaching of ancient painting theory to deepen students' understanding of the laws of Chinese painting.
3. Guide students to learn western painting correctly.
Whether it is necessary to strengthen students' study of western painting has caused a lot of controversy when the author communicates with colleagues in the same department. Because students have been studying western painting before entering the university, they should have a certain understanding of western painting and laid a certain foundation for western painting. Is it necessary to study western painting after entering the Chinese painting department? The author believes that learning western painting is of great benefit to the students of Chinese painting department in our college. First, as an examination subject in the entrance examination, the painting that students learned before entering the school is actually very different from western painting, which has become a kind of "China's exam-oriented western painting". In order to get into a college, most students make a surprise study and "crash training" on western painting techniques. How can we make them have a deeper study of western painting? Secondly, the composition, shape and color of western paintings are very different from those of Chinese paintings. Only by going deep into it can students feel the difference between brushwork and painting concept, and then they can have more in-depth thinking in their future creation. In the teaching of basic courses, giving full play to students' creativity and individuality, stimulating students' imagination and creative thinking, and cultivating students' comprehensive quality, creative consciousness and comprehensive ability are important topics in the teaching reform of landscape painting in China.
References:
1 Xie yuanguan on the tradition and innovation of landscape painting teaching in China science and education park, No.8, 2009.
2 Gombrich, Art and Illusion M. Hunan People's Publishing House, 1988 Edition Beijing: Journal of Nanjing Art Institute, Higher Education Press.
3 Yangjia 'an. Introduction to Aesthetics M Jilin University Press 1995 Edition.
4 Chen Chuanxi. History of China Landscape Painting M Jiangsu Fine Arts Publishing House 1988 Edition.