Application Of Shu Painting Art In The School Based Curriculum Of Primary School In Nanchong

In recent years, along with the deepening of reform of basic education and continued improvements of educational pattern, the increasing importance of curriculum resource’s development becomes conspicuous. Folk culture and folk art with local features have the characteristics of extensiveness and richness, and provide strong support to the development of curriculum resource. Nanchong, which is located in the Jialing River drainage basin, has rich resources of civil and folk culture.The Shu painting, in particular, is a symbolic culture of this “Millennium Silk Capital”, which contains rich connotations such as color, shape, crafts and culture. It is an excellent carrier for the development of curriculum resources in the locality.The Shu painting in Nanchong, which enjoys the equal reputation with “Shu embroidery” and “Shu brocade”, is one of the three most famous intangible cultural heritage of textiles. Special high temperature fixation of the pigments is used to make the color soft and smooth. The Shu painting varies a lot in drawing materials and internalizes the ideas of traditional Chinese painting, applying the inheritance of technique with creativity. The pattern, color, handicraft and folk culture of Shu painting are filled with regionalism, complexity and openness of cultural inheritance,providing unparalleled resources to the development of local art curriculum. Thus, in order to carry forward the values of cultural knowledge, artistry, innovation &practice,I focus on the teaching material design and teaching design, trying to develop the local art curriculum of Shu painting and providing intellectual support to teaching activities and research. I hope that I can make a contribution to the inheritance of Shu painting’s pluralistic integration, and foster the students’ local consciousness while enriching the local art curriculum. In addition, I hope that I can help form the students’ creative spirit and practical capability, and promote their over-all and coordinative personality development in cognition, emotion and volition as well. Last but not least, I hope this can make them love their hometown more and strive for it in the future.Under the guidance of “New Curriculum Standards”, this paper combines the theory and practice of fine arts education for elementary and middle schools. It also analyzes various kinds of factors that affecting the Shu painting in classroom teaching,and provides suggestions to in-class teaching, as well as after-class activities. I divide the textbook of Shu painting into four lessons: “The Familiar Strangers”, “The Innovative Shu Painting”, “I Say, You Draw”, “My Little Dream”. On this basis,the teaching design comes down to four modules, according to students’ learning activity: Enjoy & Comment, Model & Express, Design & Apply, Synthesize &Explore. The design ideas will be integrated into various cases, so that other teachers may refer to and create new ones.Currently, Shu painting, along with most other intangible cultural heritage, is facing a severe problem of audience reduction, market slump, inheritance fault and bottleneck in creativity. The gradually fading local awareness is also a crisis in Chinese folk consciousness. In "From the Soil", Xiaotong Fei said "We are constructing more and more houses, but losing more and more homes." To help rectify this paradoxical situation, this paper firstly applies Shu painting to art teaching in primary and secondary schools, and conveys a sense of mission of the times.Above all, this paper is only to throw out a minnow to catch a whale. I hope that I can take this opportunity to help the local primary and secondary schools appreciate the art-teaching at an even profounder level. All the comments from Shu painting art criticism, scholars and educators are appreciated and I hope we can work together to make a contribution to folk arts and art-teaching.