Study Of Chinese Painting Teaching In The Dynasties Of Wei, Jin, North &South

In this paper, choose the Dynasties of Wei, Jin, North & South specific historical stage, to study the teaching of Chinese painting. And convenience are important aspect of this historical period of the development of Chinese painting is an important period for the first time in the great painters, the first time a painting theory has spread. The researchers easy access to the China teaching source of the paintings, Chinese paintings exploring memory of the magic weapon is undoubtedly beneficial. At the same time, the researchers also presented a challenge. At that time, the challenge comes from the ideas and the theory of painting Mining, and from the education of ancient and modern Chinese painting contact the correct understanding. Therefore, the author of the paper can do is only to try to explore some of them live, applied to the teaching of modern Chinese painting.Papers chapeau is a brief historical background statement. It is a "universal-collapsing" the long era of Confucian thinking once lost the dominance of the field for a richer discussion provided an opportunity. In the performance of the functions of painting, "Recognition of progress, and exhorted the people not to lag behind ", with more emphasis " People feel happy, and character cultivation." Such an era of education, including painting teaching, can not be limited by the official commitment to the school, a family during this period the main form of teaching.Then I try to enter the history of the Dynasties of Wei, Jin, North & South, and strive to explore the essence of Chinese painting the existence of education. Deal with the need for traditional firmly, which is the guarantee of Chinese painting the basis of a long memory. In the process of teaching and learning, teacher and student abilities, " Firm convictions and assiduous study," the spirit is a reliable guarantee of the quality of teaching. Family form of teaching is to teach based apprenticeship mode of instruction, while here there is a clear advantage on the younger generation is the guiding master, the most outstanding disciples often can obtain the masters'Real know-how. On home teaching the classics is a direct "Yan's family", which attaches importance to and properly handle natural father, master dual role is left to us is extremely important content. The Dynasties of Wei, Jin, North & South Chinese painting teaching thinking mainly from two aspects. One is Gu Kaizhi, Zhang sengyou, Zong Bing, and other artists. Gu Kaizhi this period as the most important painter, painting of three left to us, " The famous painter works of Wei Jin Dynasties", "On Painting," "Painting YuntaiMountains mind." In his paintings of the clearly stated, " the shape as spirit" painting depicting the image is used to express the spirit of performance where to work combine shape and spirit. Zhang sengyou is the pioneers of"Model Zhang", his work is a very deep impression vivid. Zong Bing is "Landscape Painting sequence," the author of the article's "Appreciation to raise spirits through the cultivation" perspective, but also through the painting to express the feelings and creative spirit of the meaning. Thus, at the time " the shape as spirit " has become a common understanding of the artist at that time. The second is the "Six Ways." On "Six Ways" is a study of the achievements, because "Six Ways" for Chinese painting really important. In fact, education and teaching of Chinese painting is it not, the author simple aware, "Six Ways" by the "write-shift mode," "of pictographic" to achieve " Screen contents vivid" means " the shape as spirit " Another kind of interpretation. Therefore, I think that this is the teaching of Chinese painting the important thinking.The author of the paper in the latter part, to come before the teaching of Chinese painting understanding of the basis of taking into account contemporary Chinese painting teaching in some of the problems raised by the four teaching Chinese painting: First, see: look at art school; see teachers paint; look at the life of King, and materials. This method is carrying forward the tradition needs, but also meet the principles of visual teaching. Second, ask: questions and answers, will enable students found positive thinking, direct and effective solution to the learning process and the difficulties encountered problems, teachers can also learn the secrets of summing up years of experience. Through a constant exchange between teachers and students to achieve a mutual understanding in order to further the abilities to create conditions. Third, practice: "frozen overnight cold day," no matter how good the methods are not a substitute for solid practice, practice in the process of savvy to the role. This method is ancient " Firm convictions and assiduous study" for the concrete implementation. 4, setting: a considerable accumulation, they can not be boxed in by the various outdated restrictions have both artistic style of performance, but also to the Chinese paintings constant innovation, and seek the release of personal style, the key to be successful. The motherland's traditional medicine "look, smell, ask, cutting" four Methods, and now the author on the Teaching of Chinese Painting "see, ask, practice and setting" four Methods, there is no direct correlation. To find the similarities between that TCM diagnosis of the "four" with the teaching of Chinese painting four Methods is a whole, not divide and scholars. Full and complete control of the four, can play four of the best results.Teaching Chinese painting is a very difficult area of research, hard thinking in the teaching of ancient mining and innovative teaching methods also test many wise. The author in the process of writing paper with deep feelings. Get in-depth, to learn and to think of many. Sincerely hope that the teachers and students have criticized the correction.