本文選題：城市山水 + 中國畫教學��； 參考：《廣西師范學院》2017年碩士論文

【摘要】：對于改革開放后的學生來說,可能絕大部分學生都生在城市、長在城市,并且對于城市文化有著很強烈的歸屬感。比起傳統(tǒng)山水畫中林泉高致的思想境界和對大自然的美好向往,會更能接受鋼筋混凝土的都市情懷與現(xiàn)代科技所帶來的城市文化。所以,我認為城市山水這一題材更能激發(fā)起學生在中國畫領(lǐng)域中的創(chuàng)作欲望。本文不僅以中國畫城市山水題材概念的確立與發(fā)展為出發(fā)點,分析城市題材山水畫的發(fā)展歷史及內(nèi)在特征。還會在文中列舉不同時期的城市山水畫家的代表作品的介紹以及風格特點的講解來作為本文的理論支撐。從唐宋時期的傳統(tǒng)城市山水畫作,到新時代的城市山水畫百花齊放與中國畫的城市山水教學一一展示并論述。還有我本人從事城市山水創(chuàng)作以及教學實踐的過程中所產(chǎn)生的一些感悟進行表述。力求大眾對中國畫城市山水題材有個更直觀的了解,并在城市山水畫教學中提供一定的理論支撐。本文一共分四個部分,分別對城市山水創(chuàng)作的教學體會及方法做出了闡述。首先,在第一章中的主要內(nèi)容為:由于城市山水是一個伴隨工業(yè)化城市而生長出來的非常新穎的一個題材,所以我認為非常有必要相對詳細的介紹一下城市山水的前身以及發(fā)展過程和發(fā)展現(xiàn)狀。并且通過對城市山水發(fā)展原因的分析,以便找出對城市山水教學的合理切入口。在第二部分,我開始對城市山水畫在教學過程中的探究與創(chuàng)新進行闡述。由于城市山水畫發(fā)展于全球化的社會背景中,所以,在創(chuàng)作過程和教學過程當中就避免不了外來文化所帶來的沖擊與影響。而且,當代的學生也更容易接受全球化與現(xiàn)代化所帶來的文化影響,那么,作為中國畫的教師就應(yīng)該將城市山水畫向一個相對合適的方向去與其它文化進行結(jié)合。第三部分,是對城市山水具體創(chuàng)作能力的培養(yǎng)。學生想創(chuàng)作一幅不錯的城市山水作品是相對容易的,因為只要素材好,技術(shù)夠完善,基本就可以是一幅不錯的城市山水作品。但是,想要培養(yǎng)一個學生成為一個優(yōu)秀的城市山水創(chuàng)作者或畫家卻是一個漫長而又曲折的過程。因為城市山水畫到目前為止還沒有一幅經(jīng)過歷史和時間的檢驗,所以也就沒有真正意義的經(jīng)典范本,也沒有可以支撐城市山水畫的理論著作和審美體系。這也就導致了在教學過程當中意識上的迷茫與困惑,教師和學生其實都是在摸著石頭過河。但是,本文通過實踐與觀察,找到學生的一些具體問題,再通過問題進行分析,對癥下藥,提升學生的創(chuàng)作能力,使學生成為一個優(yōu)秀的城市山水畫的創(chuàng)作者。第四部分,是我從事城市山水畫創(chuàng)作以來的一些教學上的感想與對城市山水未來發(fā)展前景的展望與分析。
[Abstract]:For the students after the reform and opening up, it is possible that most of the students are born in the city, growing up in the city, and have a strong sense of belonging to the city culture. Compared with the traditional landscape painting, Lin Quan's high ideological state and beautiful yearning for nature will be more acceptable to the urban feelings of reinforced concrete and the city culture brought by modern science and technology. Therefore, I think the theme of urban landscape can stimulate students in the field of Chinese painting creative desire. This paper not only takes the establishment and development of the concept of urban landscape theme as the starting point, but also analyzes the development history and internal characteristics of urban landscape painting. In this paper, the representative works of urban landscape painters in different periods and the explanation of style characteristics will be listed as the theoretical support of this paper. From the traditional urban landscape painting in Tang and Song dynasties to the city landscape painting in the new era and the city landscape teaching of traditional Chinese painting one by one. I also engaged in urban landscape creation and teaching practice in the process of some feelings to express. To strive for a more intuitive understanding of the subject matter of Chinese landscape painting, and to provide certain theoretical support in the teaching of urban landscape painting. This paper is divided into four parts, respectively, the teaching experience and methods of urban landscape creation are expounded. First of all, in the first chapter, the main content is: because the city landscape is a very new theme growing with the industrialized city. So I think it is very necessary to introduce the predecessor of the city landscape and the development process and current situation in relative detail. And through the analysis of the reasons of urban landscape development, in order to find out the reasonable entrance to the city landscape teaching. In the second part, I begin to explain the exploration and innovation of urban landscape painting in the teaching process. Due to the development of urban landscape painting in the social background of globalization, it can not avoid the impact and influence of foreign culture in the process of creation and teaching. Moreover, contemporary students are more likely to accept the cultural impact of globalization and modernization. Therefore, teachers of Chinese painting should combine urban landscape painting with other cultures in a relatively suitable direction. The third part is the cultivation of the city landscape specific creative ability. It is relatively easy for students to create a good urban landscape work, as long as the material is good and the technology is good enough, it can be a good urban landscape work. However, it is a long and tortuous process to train a student to become an excellent city landscape creator or painter. Because the city landscape painting has not been tested by history and time so far, there is no classic model of real meaning, and there is no theoretical work and aesthetic system that can support the city landscape painting. This also leads to confusion and confusion in the process of teaching, teachers and students are actually touching the stones across the river. However, through practice and observation, this paper finds some specific problems of students, and then through the analysis of the problems, to improve the creative ability of students, so that students become an excellent urban landscape painting creator. The fourth part, I engaged in urban landscape painting since the creation of some of the teaching feelings and the prospect of the future development of urban landscape outlook and analysis.
【學位授予單位】：廣西師范學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212-4

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本文編號：2001704