观察与思维的转换——在中国画教学中培养和建构学生的意象审美  

The TransformationBetween Observation and Thinking——Cultivating and Constructing Students AestheticPerception of Imagery in Chinese Painting Teaching

作　　者：盛丽 SHENG Li(School of Fine Arts,Anhui University of Arts,Hefei 230011,China)

机构地区：[1]安徽艺术学院美术学院,安徽合肥230011

出　　处：《南昌师范学院学报》2023年第4期130-134,共5页Journal of Nanchang Normal University

基　　金：安徽省高等学校质量工程教学研究项目“在艺术设计教学中构建学生交叉型知识结构研究”(2018tjyxm2009)。

摘　　要：中国画的意象审美根植于先秦《周易》、老子和庄子的哲学思想基础,展现了“道”的本体所蕴含的丰富内涵。在“意象”审美思想的引领下,中国画形成了独特的形式语言和墨韵情趣。中国画作品不仅展示了美感,更凸显了艺术家的艺术修养和造诣。然而,近百年来,西方审美观念、教育理念以及教学模式的引入对中国画的“意象”审美造成了冲击和影响,导致中国画的意象美育被忽视。这种情况不利于中国画艺术精髓的传承和发展。在中国画教学中,研究中国传统绘画中的审美“意象”,培养和构建学生的意象审美,对于中国画的传承、发展和创新具有重要的意义。The aesthetic perception of imagery in Chinese painting is rooted in the philosophical foundations of“Zhouyi”,Laozi,and Zhuangzi,showcasing the rich connotations of the essence of“Dao”.Guided by the aesthetic ideology of“imagery”,Chinese painting has formed a unique formal language and ink charm.Chinese paintings not only display beauty but also highlight the artistic cultivation and accomplishments of the artists.However,in the past century,the introduction of Western aesthetic concepts,educational philosophies,and teaching models has impacted and influenced the aesthetic perception of imagery in Chinese painting,leading to the neglect and absence of aesthetic education in Chinese painting.This will be detrimental to the inheritance and development of the essence of Chinese painting.Therefore,in the teaching of Chinese painting,it is of great significance to study the aesthetic“imagery”in traditional Chinese painting,cultivate and construct students aesthetic perception of imagery,for the inheritance,development,and innovation of Chinese painting.

关 键 词：高校 中国画教学 意象 意象审美 培养与建构 

分 类 号：J2[艺术—美术]