Theory And Practice Of Teacher Professional Development Based On Collaboration

During the last decade, Chinese watercolor has seen great development. Meantime, thecontroversy about the trend of watercolor is becoming more heated, followed with theformation of ontology and experimentalism. By dealing with the definition of watercolor, thehistory of watercolor, the ontic language of watercolor, the richness of watercolor language,the thesis points out the nature of fault of ontology and reveals its negative influences inpractice in the hope of further prosper and development in watercolor in China.Firstly, starting from the definition of watercolor, the thesis displays its inner meaningand extension, making it clear that the extensive watercolor is water soluble painting.Furthermore, it points out that the definition of watercolor is fairly extensive, providing broadspace for the expansion of watercolor language.Secondly, by surveying the history of watercolor both in China and western countries,the thesis treats the ontic language in a historic and developmental view. It stresses that artshould conform to the era, that transparency, freshness and easy flowing are not the onlyfeatures and why art is called art just lies in its characteristic and creation. The splendidachievements our forefathers made were the contribution to their age. From history, we couldget to know innovation is the life of art and the history of watercolor is one of innovation.Thirdly, the thesis tries to nail down the definition of ontology. The ontology advocatorsregard the blending of water and color, transparent fluency, delightful freshness andbrightness the ultimate and constant languages and authentic to watercolor. The nature of itsfault is to take the phenomenon in certain stages as the essence of watercolor, and the part ofontic language as the whole, the impression coming first as the inherent concept.Fourthly, from the changes of ideas, the innovation and development of materials andmethods, the new situation of watercolor, the argument of the richness of watercolor languageis presented. Watercolor, in its process of development, has great compatibility. The opinionthat watercolor noumenon remains unchanging will never hold in history.Fifthly, the thesis analyses and argues the negative influences of ontology. It indicatesthat, in practice, the negative influences are mainly embodied in the conservative leaningsdirectly caused by this opinion, which results in the wide existence of mimetism, similarityand impression of sketch. In teaching process, they are mainly embodied in incorrectlyrelaying an erroneous information, putting emphasis on techniques while lacking the ability ofbasic formative technique, the simplicity and similarity of language and the singleconstitution of courses.The language of watercolor is intensive and the expressive force is extremely rich. Anopen, general, experimental exploration in watercolor language will certainly endowwatercolor with more vigorous vitality and holds greatly important realistic meaning to thedevelopment of watercolor in China.