把石膏雕像放倒画素描,是比较容易的事,国外也屡见不鲜。可实际作起来我还真有个认识过程。多年来基础素描教学方式已经顺理成章了,众多的画家们在回顾自己成长的道路时,都怀着感激的心情谈到希腊、罗马辉煌的艺术成就给予自己哺育和影响。历史上的优秀绘画大师们更怀着虔诚的态度,对那些高超的古代雕刻进行模仿,很少想到改动或当作工具去研究使用。于是形成了某种习惯的看法:石膏像写生如画人而不是画物,应了解对象的精神、身世、历史背景等,而只有几何形体和静物才是物的研究。石膏雕像写生中也大都是三停五眼、耳目口鼻。讲形也是限于一定角度的比例动势、明暗转折。学生们就在雕像上努力追寻“人”的的形象,解剖的精确。当然这种学习方式也是必要 Placing statues of plaster statues is a relatively easy task, and foreign countries are not uncommon. Actually, I really have a cognitive process. It has been a matter of course for many years that basic sketch teaching methods are well organized. Many painters, when gazing at their own growth path, talked gratefully about Greece and Rome for their splendid artistic achievements. Historically outstanding masters of painting, even with their devout attitude, imitated those superb ancient carvings, and rarely thought of alteration or use as a tool to study and use. So the formation of a habitual view: plaster like picturesque people rather than paintings, objects should understand the spirit, life experience, historical background, etc., and only the geometry and still life is the study of things. Plaster statues sketches are mostly three stop five eyes and ears. Lecture is also limited to a certain angle of the proportion of moving, turning light and dark. Students in the statue on the pursuit of “human” image, accurate anatomy. Of course, this learning is also necessary