【摘要】：在美術(shù)教育領(lǐng)域的新課改要求下,將本土文化及美術(shù)資源與中小學(xué)美術(shù)大綱相結(jié)合已成為美術(shù)教育發(fā)展的大趨勢(shì)。成都市龍泉驛區(qū)有著很豐富的客家文化資源優(yōu)勢(shì),所以學(xué)校應(yīng)廣泛吸收本土優(yōu)秀的客家文化,創(chuàng)建出既具有地方特色又不與美術(shù)教學(xué)大綱相違背的課程資源,以促進(jìn)美術(shù)課程的繁榮和師生的發(fā)展,并滿足學(xué)生個(gè)體發(fā)展的需要和適應(yīng)本土地方經(jīng)濟(jì)文化發(fā)展的特殊性。優(yōu)秀的地域文化是我們中華民族寶貴的文化遺產(chǎn),但是在社會(huì)快速發(fā)展和變遷的今天,地域文化的淡化與消失屢見(jiàn)不鮮,已成為我國(guó)現(xiàn)代化發(fā)展進(jìn)程中的突出問(wèn)題。對(duì)于地域文化的保護(hù),單單靠社會(huì)精英層面的力量還遠(yuǎn)遠(yuǎn)不夠,保護(hù)的速度還趕不上消失的速度。文化的傳播和繼承要靠教育,我們應(yīng)該把地域文化根植于現(xiàn)代化教育當(dāng)中,補(bǔ)充新鮮的地域性資源到美術(shù)課程中,以豐富的地域美術(shù)課程感染學(xué)生,使學(xué)生主動(dòng)參與加強(qiáng)文化的交流與傳播,成為地域文化保護(hù)的中堅(jiān)力量。龍泉百合的草編工藝源于客家民間藝術(shù),有著濃厚的地域性特征。我們應(yīng)當(dāng)順應(yīng)美術(shù)新課改的趨勢(shì),把具有濃厚的本土特色的客家民間藝術(shù)融入我們的美術(shù)教程,在欣賞與動(dòng)手的師生互動(dòng)過(guò)程中,有意識(shí)的融入客家文化,使我們優(yōu)秀的民間藝術(shù)能夠代代傳承下去。本文從美術(shù)教育學(xué)的角度對(duì)柏合鎮(zhèn)草編文化加以探究、開(kāi)發(fā)和利用,采取實(shí)踐研究的方法,通過(guò)理論與實(shí)踐的結(jié)合,并從多學(xué)科的交融中,尋找如何將草編文化資源應(yīng)用到美術(shù)教育領(lǐng)域的新途徑,以做到將現(xiàn)代與傳統(tǒng)融合,將社會(huì)需求與地方特色相融合,將科學(xué)性與學(xué)科性相融合。本課題結(jié)合草編課程的教學(xué)案例,并對(duì)教師、課程和學(xué)生等多方面作一個(gè)科學(xué)性的評(píng)價(jià)和反饋。
[Abstract]:Under the requirements of the new curriculum reform in the field of art education, the combination of local culture and fine arts resources with the art syllabus of primary and secondary schools has become a major trend in the development of art education. The Longquanyi District of Chengdu has abundant Hakka cultural resources, so the school should absorb the excellent Hakka culture extensively and create curriculum resources which have local characteristics and are not contrary to the art teaching syllabus. In order to promote the prosperity of art courses and the development of teachers and students, and to meet the needs of individual development of students and adapt to the particularity of local economic and cultural development. Excellent regional culture is the precious cultural heritage of the Chinese nation, but with the rapid development and change of our society, the desalination and disappearance of regional culture is common, which has become a prominent problem in the process of modernization development of our country. For the protection of regional culture, relying on the strength of the social elite level is far from enough, the speed of protection can not keep up with the speed of disappearance. The dissemination and inheritance of culture depends on education. We should root regional culture in modern education, supplement fresh regional resources to art courses, and infect students with rich regional art courses. So that students take the initiative to strengthen the exchange and dissemination of culture, become the backbone of the protection of regional culture. Longquan lily straw weaving process originated from Hakka folk art, has a strong regional characteristics. We should conform to the trend of the new curriculum reform of fine arts, integrate the Hakka folk art with strong local characteristics into our art course, and consciously integrate the Hakka culture into the process of appreciation and hands-on interaction between teachers and students. So that our excellent folk art can be passed on from generation to generation. From the angle of art pedagogy, this paper explores, develops and uses the straw culture of Bahe Town, adopts the method of practical research, combines theory with practice, and combines various disciplines. To find a new way to apply cursive cultural resources to the field of art education in order to integrate modern and traditional, social needs and local characteristics, science and discipline. This subject combines the teaching cases of cursive curriculum, and makes a scientific evaluation and feedback to teachers, curriculum and students.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：G633.955

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本文編號(hào)：2414599