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中国大半个世纪以来的油画专业教学中,风景画始终占着一个小小的角落,但她却是个美丽的角落,油画专业教学通常不像中国画那样开辟一个单独的山水专业,以培养专门的山水(风景)画家,油画专业出身的学生中少数人成了风景画家,也多因个人的素质与取向所致。油画教学似乎天然是以人物为绝对的主体研究对象及高层次的教学内容,风景写生仅作为低年级一年一度不可缺少也不可再多的基础教学内容,这似乎已经成为一种恒定的框架模式。近若干年来由于外出教学经费的拮据,商品大潮猛烈冲击下教师敬业精神的日趋珍贵以及不少教师教学本身不甚得法,使有限的外出写生其教学效果亦多不理想,因而风景画这个小小的美丽角落也逐渐销减了应有的光华。一个值得重新思考的教学命题是在油
For more than half a century of oil painting teaching in China, landscapes always occupy a small corner, but she is a beautiful corner. Teaching in oil painting usually does not open up a separate landscape specialty like Chinese painting so as to cultivate specialized landscapes (Landscape) painters, a small number of oil painting students became landscape painters, but also due to personal qualities and orientation. Oil painting teaching seems to be natural as the main subject of the absolute object of study and high-level teaching content, landscape painting only as an annual junior high school can not be indispensable and can not be more basic teaching content, which seems to have become a constant framework model . In recent years, due to the shortage of funds for out-of-school teaching, the increasing dedication of teachers’ professionalism under the tide of commodity tide and the lack of teaching by many teachers make the teaching of limited exodus more unsatisfactory and the landscape is so small The beauty of the corner has gradually reduced the amount of Guanghua. A teaching proposition worth rethinking is in oil