The national A volume has a perfect score of 800 words.
Art has never had a "standard answer"
Facing the beautiful scenery on the same side, different people will naturally have different emotional and aesthetic projections: some people's tentacles will open, and for a time, "we are both lofty to distant thoughts"; Some people are good at expressing their feelings by borrowing scenery and expressing their feelings; Of course, some people just think that the scene before them is bland and completely "cold".
In a dream of red mansions, Jia Zheng took a group of followers to visit the Grand View Garden and examined Baoyu by the way, which is such a classic scene. Everyone wants to nominate the plaque of the pavilion on the bridge in the garden. Some people directly use Ouyang Xiu's Preface to Drunk Pavilion to imply the word "Yiran". Jia Zheng adopted the method of reference and advocated that the word "Xie" should be selected from "Xie comes from between two peaks"; Jia Baoyu thinks that the word "Qin Fang" is more elegant, which not only points out the beautiful scenery of flowers and trees pouring water, but also accords with the matter of relatives in Yuan Fei Province.
In fact, appreciating beautiful scenery is never just the scenery itself. What you see in front of you is more like a magical mirror, reflecting the collection of everyone's experience, knowledge, personality, aesthetics and purport. It is this kind of humanistic and artistic expression with different levels and perspectives that constitutes an elegant collection of rich and diverse interests. This variety of beauty is inseparable from an inclusive and open artistic expression space.
Just like poetry has a delicate and beautiful beauty, there is also a tempered and diluted beauty. Art has never had a "standard answer". The ideal humanities and art education should also encourage children to be brave in exploration and expression, instead of treading on thin ice like Jia Baoyu and answering irrelevant questions like an exam.
Anyone familiar with A Dream of Red Mansions knows that Jia Zheng adopted a typical "repressive education" for Jia Baoyu. Take this garden as an example. As a father, Jia Zheng has only a few restrained praises for many ingenious ideas of Baoyu. More often, it is not surprising that Jia Zheng either sneers at his son's "sometimes not" or accuses him of merely copying the works of his predecessors. Many readers will feel wronged for Jia Baoyu when they see this. After all, Jia Baoyu's thinking is more novel and agile than Jia Zheng's "old-fashioned" but somewhat dull artistic expression.
At the critical stage of the formation of humanistic and artistic sensibility, if you always deny your own views, children's precious curiosity will be stifled constantly, and they will not dare to express their true inner thoughts bravely. Jia Baoyu always "runs away" when he sees his father, and he has never been able to have in-depth emotional communication with his father. This is an example.
Of course, artistic expression can be divided into implicit and plain, fresh and refined, and conventional. When children appreciate art, it is inevitable that they will be naive and biased. However, for humanities and art education, it is more important to respect, understand and encourage, cherish the germination of every green seedling of thinking and create an inclusive and open artistic atmosphere for children. If we blindly use the "authority" of elders to suppress and criticize, humanities and art will become single and boring.
This reminds me of another collection of literati's works more than 0/000 years ago. On March 3rd, there will be Lanting Yaji, near the mountains and waters. When the glass flowed to her, young Wang Xianzhi was not taken care of by the Muse. If you can't write poetry, you will be punished three times according to the rules. If Wang Xizhi makes a fuss about this at this time, asking his son to write a poem, or satirizing him like Jia Zheng that "sometimes he can't", I am afraid it will not only hurt the confidence of children, but also ruin the joy of "talking about love" in this elegant collection.
The national A-volume full score composition is 800 words.
The beauty created by art is more expensive than originality.
In A Dream of Red Mansions, the Grand View Garden was tested before it got to the point. Everyone wrote a plaque on the pavilion on the bridge in the garden, or simply took "wing nature" from the pavilion, or turned it into "jade removal" from between the two peaks. Jia Zheng appreciated Baoyu's original "fragrance" and thought it was unconventional, subtle and thoughtful.
I think the beauty of artistic creation lies in its originality. For example, Fuxi looked up at the sky, looked down at the ground and drew hexagrams, creating a unique way. His amazing move is mysterious, simple and ancient, which opens a door to culture. Eight diagrams and sixty-four hexagrams, even the later sage Confucius was impressed by his fists and feet. Wei made up three unique verses, happily supplemented by ten wings, and later became the Confucian Yi Zhuan. At this point, Zhouyi stands proudly at the top of the group classics, from simplicity to spirituality to exquisiteness. Even today, scholars at Harvard University still lament its magnificence and mystery. This is an outstanding and unique representative of China culture.
Moreover, Zhuangzi takes the sky as a curtain, the ground as a mat, dances like a butterfly and is like a fairy, perches in an empty land, lingers on its side, nests in the depths of the forest, and thinks out of the dust. His wife died. She didn't know sadness, but she sang in a drum basin. People don't know why, thinking that "life and death are also great." Zhuangzi said that life and death are just common things in life. Let nature take its course and we will get what we want. Its behavior is natural and unique, and its shape is charming. "Tail-dragging" is a pleasure, so what can it be? Foolish thought that Lao Tzu's so-called "Junko", who gave up Zhuangzi? Some scholars later called Zhuangzi "the first poet". I am vague.
If Li Bai also. In Li Datang Bai, Mr. Wang tried to teach Li Bai to write poetry in various ways, but Bai didn't want to perfunctory. His mistress is clever and stealing clouds. The child is gifted, so don't teach him for nothing. Actually, it is. Isn't this what He Zhangzhi said about "fallen immortals"? It is "floating in the air and thinking of no group", "writing a pen to shock the wind and rain, poetry into tears." I think Bai Shujian fell, and his life was full of passion. When frustrated, he wandered around and sent ships to sea. He was a born poet. Therefore, it is difficult for future generations to follow in its footsteps. Although there are many people who cover the law, if it is not white, it is in line with the beauty of nature.
This is not only ancient art, but also modern science. Recently, I read Tu Zipei's Big Data and learned that people of insight from all walks of life in Europe and America are scrambling to explore big data, hoping to open up to each other in order to boost the economy and achieve economic benefits. Big data is rich in information. Reasoning with numbers or data at first, and then presenting with graphics. When researchers read data, such as pictures, complexity becomes simple and intuitive, abstraction becomes concrete, invisibility becomes tangible, and boredom becomes interesting. This is also the result of scientists' ingenuity and constant innovation.
I am a teacher. Stupidly, isn't the art of education sui generis? The Analects of Confucius said, "The ambition is in the Tao, the virtue is in the virtue, the benevolence is in the benevolence, and you are wandering in the art." The so-called "wandering in the art" is not limited to all skills, but also transcends all skills and ingenuity.
If everyone thinks so, then cultural self-confidence and national rejuvenation are promising.
800 words and three words in the national A-volume composition.
The Triple Realm of "Takeism"
Today, the topic of Chinese composition in the national college entrance examination was released, which triggered a hot discussion on the whole network. Among them, the composition materials of the national volume A are as follows: In the section of "Trial Allocation of Grand View Garden" in A Dream of Red Mansions, people give names to the plaques, or lend them directly, or create them according to the situation, which produces different artistic effects.
From the perspective of progress, these three situations are more interesting: they are not mature enough at first, so they adopt "takenism" and use it directly; After a certain accumulation, it began to "extract" and use it; With deeper accumulation, you can "get it by accident" according to the situation. We might as well sum up the three situations into the triple realm of "takenism". Young cadres who have just entered the grassroots are bound to lack grassroots experience and overall vision. If we follow it and gradually improve it, it will be a "shortcut" to quickly change roles and integrate into the grassroots.
Only by concentrating on accumulation can we "get" something.
"There is no specialization in reason, and there is no end to learning, but can you ask less?" Learning and asking questions is the first step for a director to start a business. The essence of learning and asking questions is actually to "bring" other people's theoretical achievements and empirical methods and enrich their "knowledge base". If you don't have enough knowledge, experience and skills to do grass-roots work, you can easily get lost in the busy. We should read more classics, read more classics, browse more news media, find problems with magnifying glasses and dissect problems with microscopes. How to develop, how to manage and how to do the work, we must sweep the bottom, bend down, go out of the circle, pester the predecessors to ask questions, go deep into the masses, jump out of the region to have a look, start from all aspects, and "introduce" the hard truth, old experience, indigenous methods and new ideas in the spirit of accommodating all rivers, so as to effectively update the knowledge "reservoir"
Only by careful carving can we "get" it properly.
"Learning without thinking is useless, and thinking without learning is dangerous." Let go of your hands and feet to "take", if it is only the essence and dross, and there is no knowledgeable "extraction" process, you will fall into the trap of "cramming" "Choose good and follow it, change evil and follow it." The key to evaluating "good" and "bad" is not whether the experience itself is good or bad, but whether it meets your own needs. For example, it is obviously "casting pearls before swine" to publicize the experience of Internet development in a region without Internet access. We should always "answer questions", do "cold thinking", base ourselves on local conditions and vary from person to person, and "extract" "used" from our brains. At the same time, in the spirit of "ripe cow", we should analyze the available experience of "extraction" and patiently extract its main idea, so as to better guide practice, promote work and ensure the appropriateness and value of "extraction"
Only by practicing attentively can we "get" the effect.
"I think it's an armchair strategist. I don't know if it should be done." Although "taking" with moderation and content has achieved "small gains", it is difficult to achieve "great cause" if you are only satisfied with this. We must realize that the ultimate goal of "taking" is to accumulate the power of generate in practice. Just like writing a paper, I started from a small incision and absorbed the "stones from other mountains" constantly. After repeated calculations and word-for-word research, I finally made a "big breakthrough". The same is true of grass-roots work. We should not only learn to absorb experience and knowledge, but also carry forward the fine style of combining knowledge with practice, summon up the willpower of "dripping water wears away the stone", and scrutinize it repeatedly in the fiery grass-roots practice, from which we can enlighten wisdom, divergent thinking, sum up the universal law behind experience, understand "uniqueness" in "universality" and breed brand-new experience methods. Only in this way can we ensure the effectiveness and usefulness of "taking"
National A Volume Full Score Composition 800 Words Four
Art is the carrier of emotion, the national aspiration of a nation through the artist's personal hands, and a powerful spiritual force that unites and leads a country and a nation to triumph. We must closely follow the pulse of the times, stick to the people's position, improve our ability to perform our duties, and continue to sprint towards the broad road of realizing the Chinese nation's great rejuvenation of the Chinese dream.
Keep close to the pulse of the times and build the ideological foundation of "loyalty to the party". Art is a kind of belief and a kind of values, which stems from the love of the motherland and the persistence of ideals and beliefs. The key to China's success lies in the Party. The Communist Party of China (CPC) is the backbone of the people of China and the guide of the Chinese nation. Under the correct leadership of China * * * Production Party, we have overcome one difficulty after another, won one victory after another and created one miracle after another. The Chinese nation has made a great leap from standing up, becoming rich and becoming strong. Only with faith can we go far. We should keep close to the pulse of the times and constantly supplement "spiritual nutrients" with firm ideals and beliefs. We should always keep in mind our identity, recognize our responsibilities, put ourselves in a correct position, do our own thing well, constantly build the ideological foundation of "loyalty to the Party", and resolutely do not be a two-faced person who is "duplicitous in appearance and duplicity", or a two-faced person who "says one thing in mouth and does another in action" and does not say "deceives the upper and hides the lower". We must always strengthen our political beliefs, stand firm in our political position and direction, and sharpen our sincere heart of absolute loyalty to the party and the people.
Adhere to the people's position and practice the ruling concept of "people first". Art comes from life, art comes from the people and art serves the people. Our party comes from the people, lives for the people, thrives on the people, and serves the people once it is established. We should strive to practice the "people-oriented" ruling philosophy, adhere to the people's stand, take the mass line well, always put the people in the highest position in our hearts, take the benefit of the people as the most important political achievement, and constantly improve the people's sense of gain, happiness and security. People's expectations, political aspirations. Whether it is doing practical things for the masses, making practical moves and seeking practical results, the masses see it in their eyes and keep it in mind. We must always adhere to the principle of coming from the masses and going among them, carefully record their opinions and suggestions, and always regard the dissatisfaction of the masses and the high degree of dissatisfaction as an important criterion for testing the effectiveness of the work. We should bend down, put down our airs, stride forward, throw off our arms, go deep into the grassroots, be good at listening to people's voices, feeling the truth, solving people's worries and difficulties, really care about the safety and warmth of the people, solve their urgent needs and hopes with heart, and do our best for the people and benefit them.
Improve the ability to perform their duties and carry forward the spirit of the times of "keeping integrity and innovation". Innovation is the soul of a nation's progress and an inexhaustible motive force for a country's prosperity. We must vigorously carry forward the spirit of the times of "keeping integrity and innovation" and always persist in pioneering and enterprising, bringing forth the old and bringing forth the new, eliminating the rough and selecting the fine, and eliminating the false and preserving the true. The Chinese dream of the great rejuvenation of the Chinese nation needs our unremitting struggle and long-term efforts to realize. Dare to be the first, bravely stand on the forefront, do not be a "porter" or "copy paper", always insist on walking ahead and setting an example; It is necessary to highlight the "real" effect, refrain from "empty work", advocate hard work and reject empty thinking, be good at grasping key points, overcome difficulties, open up blocking points, make up breakpoints, form bright spots, and create achievements that can stand the test of history and the people with practical measures. We should learn to explore in practice, innovate in exploration, develop in innovation, and truly be free from fantasy, vanity, ruthlessness and complacency. With the tenacity of "sticking to the green hills and not relaxing" and the enterprising spirit of "newborn calves are not afraid of tigers", we should constantly improve our ability to perform their duties in actual combat and strive to carry the "banner" of national rejuvenation.
The national A volume has a perfect score of 800 words and five words.
Friends discuss art appreciation together, and their views are quite different. In my conversation, I mentioned that ancient works of art have great charm, but several friends disagreed. They jokingly called me a "retro school". Although this is an occasional quarrel between familiar friends, I am always unconvinced.
Am I really retro? I don't believe it myself. In the history of our country, it goes without saying that the artistic level of epigraphy works in Yin, Zhou, Qin and Han Dynasties is high, and even all kinds of artworks around the Six Dynasties, Sui and Tang Dynasties are indeed inexhaustible. I think I'm not the only one who feels this way. There must be many people studying ancient art, and I feel the same way. We should seriously study and inherit the historical tradition of China's art.
When we see Gu Kaizhi's paintings of women's history and Luo Shen's poems in the Eastern Jin Dynasty, we will always study them carefully and linger. Seeing the relief of six horses in Zhaoling in Tang Dynasty, I can't help but marvel at the superb skills of ancient sculpture art, which many people have probably experienced. The figures and horses carved by ancient masters seem to be much more vivid than similar works later. What is the reason? Will predecessors be better than future generations?
To answer this question, we might as well repeat a passage in Marx's Critique of Political Economy. Marx said: "As for art, as we all know, some of its prosperous periods are incompatible with the general development of society, so it is also incompatible with the social material foundation that can be said to be the pillar of social organizations. For example, the comparison between Greeks and modern people, or the comparison between Shakespeare and modern people. ..... In the field of art itself, some forms of great significance are only possible at a relatively low stage of artistic development. "
Why do great artistic achievements come into being at the lower stage of artistic development? Marx then explained: "The charm of Greek art in front of us is not in contradiction with the underdeveloped social stage of its growth. On the contrary, it is the result of this underdeveloped social stage. "
This is a very profound theoretical analysis of historical materialism. That's true. As we know, most of the great works of many ancient artists were produced in the rising stage of their social development. Their description of objective things is entirely the result of their direct and careful observation. They must also independently create new artistic expressions at that time to reflect objective things. Because they often have no predecessors' creations as blueprints. When we see ancient works of art, we often feel that they are lifelike and show great vitality, their shapes, outlines, lines and so on. They are all simple and clumsy, even a little clumsy to some extent, which is why.
However, you can't say that everything is fine just because of this. Good or bad depends on the achievements of art itself. Generally speaking, it is right that the latecomers should catch up. The new works of art should be better than the old ones and shine on you better than the blue ones. However, it is wrong to say these things in absolute terms and think that things must be like this. For example, the new artistic creation techniques often sum up the various techniques of predecessors into several essentials. On the one hand, they are beneficial and represent progress; On the other hand, it is easy to produce a set of formulaic technology, and the result may not be very good, and it may fall into the mud pit of formalism. Therefore, when summing up the practical experience of art, we must make a comprehensive analysis and summary.
Imagine if every painter painted chickens, shrimps, crabs and so on. , are rigidly imitate qi Baishi's fixed strokes, no development and change. What's the point? This kind of painting is skillful, but it's a pity that the taste is not enough. Therefore, the real great painter is really ingenious and brave in innovation. Just like ancient artists, there is no fixed technique at all, so they are not bound by anything and can be flexible. Do you think this is their shortcoming? I said that this is exactly what artistic creation should have. If you say that the ancients were naive, I will say that it is because they look naive that they look innocent and lovely.
From this perspective, Marx was right: "An adult can't become a child again unless he becomes naive." But can't a child's innocence make him happy? Shouldn't he try to recreate his true nature at a higher stage? Isn't the inherent feature of every era resurrected without affectation in children's nature? Why shouldn't the childhood of human society become a stage of no return in the most beautiful place, showing us immortal charm? "
I hope that friends who study art will gradually understand Marx's wisdom.
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