素描教学新识
摘要
《素描教学新识》主要有四大部分组成。全文有其内在的逻辑：
1.素描教学的任务
对素描教学的总的看法：素描教学的模式仍然未脱离开传统教学模式，表现在：1.艺术观念的不断更新使这种教学模式显出弊端；2. 反思传统教学实践的结果对我们的思维和创造意识的有效性。我对现行素描教学所要解决的问题有一些新的看法，我认为：素描重在思维，与其说它是一种很强的技术性训练，不如说是一种关于绘画最基本思维方式和观察方式的训练，是对未来艺术家基本素质的训练。
2. 素描教学的核心——造形意识
具体阐释了理解艺术的关键是造形意识，这一素描教学中贯穿始终的思想。造形意识是人脑创造图形，并运用图形自觉思维的思维方式。
2.1 建立造形意识首先取决于观察方法
首先更正我们的观察方法，锻炼学生看到事物的本质，具体表现在画面上的手段则是通过意象线和抽象线将“绘画之眼”所看到的本质表达出来。
2.2理解造形意识的重要手段——简化
简化是抓住事物本质造形的认识方法和有效手段 。它不仅仅是手段，更是一种用思维提炼的结果；简化体现的是艺术中整体的力量；它不仅包括将物体删减，他还包括夸张与变形，是简化尖锐性的典型体现；它的目的就是要创造自己的艺术符号语言。
2.3 形要具有强烈的生命力必须具有动与势的性质
主要阐释建立形与形之间的关系依赖的是形的趋向。
3. 素描的两个基本问题的新解和研究
2.1空间不只是立体的，它是真实存在的立体关系
三维空间的真实并非真实。艺术空间都是虚幻的，是艺术的空间，而二维性是接近艺术本质的。
2.2调子不只是塑造形体
对与它的认识是学生选择其艺术方向的，对艺术理解和认识的重要途径。
重新认识构图
阐释构图本身就是纯艺术作品，形式就是艺术作品的内容。并重新认识构图的组织原则和方法：节奏韵律、秩序等，构图的规律无非变化统一，节奏是创造出丰富变化的命脉，秩序是构成画面统一的命脉。
结论：训练思维，训练眼力是素描教学的宗旨。
研究方法：比较分析法、分论法
The article is divided into four main parts.
1.The purpose of Drawing Education .Part Ⅰserves as a general overview of the proceeding Drawing Education way of present day. This part is discussions about its shortcoming from the two aspects: the modern art idea and the effective of its result to our consciousness and creativity. According to the analysis mentioned above, I point out my view: Drawing Education should put importance to our art consciousness. Drawing Education is an important skill training much as the training about the most basic thinking way and the observation way, which is the basic quality of the artist in the future.
2.The main idea of Drawing Education-the consciousness of shape-making. Part Ⅱis a thorough analysis of the main idea-consciousness of shape-making. Its definition is that man creates and thinks shapes\patterns in deep mind conscientiously. In the opening chapter I stress the way of observation. We should study to see the innate character of objective things and build this “art eyes”. Chapter 2 poses one important way to understand the consciousness-Simplify. It is a cognitive means and an effective medium. It is still a result of consciousness; It express the whole quality of art; the purpose of simplify is that artist can create artistic symbols to express his affection; simplify concludes not only cutting out the superfluous but also artistic exaggeration and distortion. Chapter 3 considers that the life relationship among shapes depends on inclination and tendency.
3.New illustration and study of the two problem in drawing .Part Ⅲ covers the two dimensional media and tone.Chapter1 argue that the reality
of three dimensional media is not the essence. Art space is insubstantial, but it is real art quality. Therefore, the two dimensionality is access to art feild. Chapter 2 argues that tone in drawing will not be the servant of describing the outline shapes of objects. New knowledge about it can direct us to choose correct direction of art, and also can be the path to understand and appreciation painting.
4.New understanding to composition of a picture. Part Ⅳ will explain that composition is just the last image of one work and form is just the content. Understanding form (line, shape, color, tone, texture, etc.) is also the path appreciating the twentieth-century works of art. And at this part, I also have new cognition on function of rhythm and order to the solid construction of its composition.
Conclusion: to sum up, training our consciousness and our discernment is the purpose of Drawing Education.
Means of study: compare and analysis; discuss one by one
1.素描教学的任务
对素描教学的总的看法：素描教学的模式仍然未脱离开传统教学模式，表现在：1.艺术观念的不断更新使这种教学模式显出弊端；2. 反思传统教学实践的结果对我们的思维和创造意识的有效性。我对现行素描教学所要解决的问题有一些新的看法，我认为：素描重在思维，与其说它是一种很强的技术性训练，不如说是一种关于绘画最基本思维方式和观察方式的训练，是对未来艺术家基本素质的训练。
2. 素描教学的核心——造形意识
具体阐释了理解艺术的关键是造形意识，这一素描教学中贯穿始终的思想。造形意识是人脑创造图形，并运用图形自觉思维的思维方式。
2.1 建立造形意识首先取决于观察方法
首先更正我们的观察方法，锻炼学生看到事物的本质，具体表现在画面上的手段则是通过意象线和抽象线将“绘画之眼”所看到的本质表达出来。
2.2理解造形意识的重要手段——简化
简化是抓住事物本质造形的认识方法和有效手段 。它不仅仅是手段，更是一种用思维提炼的结果；简化体现的是艺术中整体的力量；它不仅包括将物体删减，他还包括夸张与变形，是简化尖锐性的典型体现；它的目的就是要创造自己的艺术符号语言。
2.3 形要具有强烈的生命力必须具有动与势的性质
主要阐释建立形与形之间的关系依赖的是形的趋向。
3. 素描的两个基本问题的新解和研究
2.1空间不只是立体的，它是真实存在的立体关系
三维空间的真实并非真实。艺术空间都是虚幻的，是艺术的空间，而二维性是接近艺术本质的。
2.2调子不只是塑造形体
对与它的认识是学生选择其艺术方向的，对艺术理解和认识的重要途径。
重新认识构图
阐释构图本身就是纯艺术作品，形式就是艺术作品的内容。并重新认识构图的组织原则和方法：节奏韵律、秩序等，构图的规律无非变化统一，节奏是创造出丰富变化的命脉，秩序是构成画面统一的命脉。
结论：训练思维，训练眼力是素描教学的宗旨。
研究方法：比较分析法、分论法
The article is divided into four main parts.
1.The purpose of Drawing Education .Part Ⅰserves as a general overview of the proceeding Drawing Education way of present day. This part is discussions about its shortcoming from the two aspects: the modern art idea and the effective of its result to our consciousness and creativity. According to the analysis mentioned above, I point out my view: Drawing Education should put importance to our art consciousness. Drawing Education is an important skill training much as the training about the most basic thinking way and the observation way, which is the basic quality of the artist in the future.
2.The main idea of Drawing Education-the consciousness of shape-making. Part Ⅱis a thorough analysis of the main idea-consciousness of shape-making. Its definition is that man creates and thinks shapes\patterns in deep mind conscientiously. In the opening chapter I stress the way of observation. We should study to see the innate character of objective things and build this “art eyes”. Chapter 2 poses one important way to understand the consciousness-Simplify. It is a cognitive means and an effective medium. It is still a result of consciousness; It express the whole quality of art; the purpose of simplify is that artist can create artistic symbols to express his affection; simplify concludes not only cutting out the superfluous but also artistic exaggeration and distortion. Chapter 3 considers that the life relationship among shapes depends on inclination and tendency.
3.New illustration and study of the two problem in drawing .Part Ⅲ covers the two dimensional media and tone.Chapter1 argue that the reality
of three dimensional media is not the essence. Art space is insubstantial, but it is real art quality. Therefore, the two dimensionality is access to art feild. Chapter 2 argues that tone in drawing will not be the servant of describing the outline shapes of objects. New knowledge about it can direct us to choose correct direction of art, and also can be the path to understand and appreciation painting.
4.New understanding to composition of a picture. Part Ⅳ will explain that composition is just the last image of one work and form is just the content. Understanding form (line, shape, color, tone, texture, etc.) is also the path appreciating the twentieth-century works of art. And at this part, I also have new cognition on function of rhythm and order to the solid construction of its composition.
Conclusion: to sum up, training our consciousness and our discernment is the purpose of Drawing Education.
Means of study: compare and analysis; discuss one by one
引文
[1] 丁一林 胡明哲，论造形意识[J]，造形艺术研究[J]1993.3：5-9
[2] 冯能保，眼睛的潜力[M]，江苏教育出版社 1990.6：5-15
[3] （美）鲁道夫·阿恩海姆，艺术与视知觉[M]，藤守尧、朱疆源译
四川美术出版社1998.3：111
[4] 孙焕昌、李雄，契斯洽柯夫教学体系与素描教学[J]，造形艺术研究[J]1992.11：25-30
[5] （英）杰克·德·弗拉姆，马蒂斯论艺术[M]，欧阳英译 1987：25
[6] 司有仑，当代西方美学新范畴辞典[M]，中国人民大学出版
1997.8：140-144
[7] （美）鲁道夫·阿恩海姆，艺术与视知觉[M]，藤守尧、朱疆源译，四川美术出版社1998.3：85-87
[8] 王菊生，造型艺术原理[M]，黑龙江美术出版社，2000.3：204-346
[9] （英）杰克·德·弗拉姆，马蒂斯论艺术[M]，欧阳英译 1987：136-140
[10] 苏珊·朗格，艺术问题[M], 藤守尧、朱疆源译,北京中国社会的科学出版社，1983：108-120
[11] 钟涵，塞尚这个难题[J]，造形艺术研究，世界美术 1991.4:80-87
[12] NIKOS STANGOS，现代艺术观念[M]，侯翰如、邵大箴，四川美术出版社 1988.12：5-76；181-219
[13] （英）杰克·德·弗拉姆，马蒂斯论艺术[M]，欧阳英译 1987：109-112
[14] 赵经寰，形式美学入门[M]，辽宁美术出版社 1998.5：48-50
[15] Jack A·Hobbs, Art in context[M], third edition, Harcourt Brace Jovanovich,Inc.1985
Meaning is not the only thing we can get from a work of art .we can also derive satisfaction from an appreciation of its form: its colors, its lines and textures, and the ways in which these things are combined. …In fact, there are many who place an enormous value on responding to
art in this way. And some art –especially certain kinds of twentieth-twentieth century abstract art-seems intend to be appreciated only in this way.
[16] （美）鲁道夫·阿恩海姆，艺术与视知觉[M]，藤守尧、朱疆源译
四川美术出版社1998.3：609-613
[17]（俄）瓦·康定斯基,论艺术的精神[M],中国社会科学出版社：1987.7:104-201
[18] 罗世平,情感与符号——康定斯基与抽象主义绘画[M],人民美术出版社：1989.6:30-51
参 考 文 献
1.丁一林 胡明哲，论造形意识[J]，造形艺术研究[J]1993
2.冯能保，眼睛的潜力[M]，江苏教育出版社 1990.6
3.（美）鲁道夫·阿恩海姆，艺术与视知觉[M]，藤守尧、朱疆源译
四川美术出版社1998
3. 孙焕昌、李雄，契斯洽柯夫教学体系与素描教学[J]，造形艺术研[J]
1992.11
4.（英）杰克·德·弗拉姆，马蒂斯论艺术[M]，欧阳英译 1987
5.王菊生，造型艺术原理[M]，黑龙江美术出版社，2000.3
6.司有仑，当代西方美学新范畴辞典[M]，中国人民大学出版社 1997.8
7.苏珊·朗格，艺术问题[M]，藤守尧、朱疆源译,北京中国社会的科学出版社，1983
8.钟涵，塞尚这个难题[J]，造形艺术研究，世界美术 1991.4
9. NIKOS STANGOS，现代艺术观念[M]，侯翰如、邵大箴，四川美术出版社 1988.12
10.赵经寰，形式美学入门[M]，辽宁美术出版社 1998.5
11.罗世平,情感与符号——康定斯基与抽象主义绘画[M],人民美术出版社：1989.6
12.（俄）瓦·康定斯基,论艺术的精神[M],中国社会科学出版社：1987.7
13.（美）H·G·布洛克,现代艺术哲学[M],藤守尧译,四川人民出版社 1998
14.（法）尼古拉·第弗利,19世纪艺术[M],怀宇译,吉林美术出版社2002.7
15.（法）埃蒂娜·贝尔纳,现代艺术[M],黄正平译,吉林美术出
版社2002.7
16.何政广,凡高[M],河北教育出版社 1998.7
17.何政广,蒙德里安[M],河北教育出版社 1998.7
18.何政广,马蒂斯[M],河北教育出版社 1998.7
19.何政广,康定斯基[M],主编 河北教育出版社 1998.7
20.何政广,毕加索[M],河北教育出版社 1998.7
21.萧声,巴尔蒂斯[M],上海人民出版社 1995.1
22.HARLOLD OSBORNE,20世纪艺术中的抽象和技巧[M],闫嘉、黄欣译，四川美术出版社
23.瞿墨、王瑞延,毕加索论艺[M],云雪梅, 人民美术出版社 2002.3
24.魏永利、贺建国等，透视、色彩、构图、解剖[M] 高等教育出版社，1989.7
25.[法]丹纳，艺术哲学[M]，安徽文艺出版社
26.贡布里希，艺术发展史[M] 天津人民美术出版社 1992.4
27.（德）希勒布雷希特，现代派艺术心理[M]，陈钰鹏译，上海文艺出版社 1989.12
28.（德）沃纳·霍夫曼，现代艺术的激变[M]，薛华译，广西师范大学出版社 2002.1
29.徐沛军 蒙德里安论艺术 [M] 北京人民美术出版社2002
30.邓福星 程明太 美术教育学[M] 黑龙江美术出版社 2000.3
31.约翰·基西克 理解艺术[M] 水平、朱军译 海南出版社 2003.4
32.JackA·hobbs, Art in context[M], third edition, Harcourt Brace Jovanovich,Inc.1985
33.Albert E·Elsen, Purposes of art[M], holt, Rinehart and Winston, inc. 1972
34.H.H.ARNASON ，MORERN ART[M], thames and Hudson ltd,.London,1997
35.FEREMY KINGSTON ，ARTS AND ARTISTS[M]， Bloomsbury books London
36.HUGH HONOUR . JOHN FLIMING ，A WORLD HISTORY OF ART[M]，macimillan reference books in the united kingdom, 1982
37. Peter silz ，ART IN OUR TIMES， pub. by N. Abrams, incorporated, new york , 1981
[2] 冯能保，眼睛的潜力[M]，江苏教育出版社 1990.6：5-15
[3] （美）鲁道夫·阿恩海姆，艺术与视知觉[M]，藤守尧、朱疆源译
四川美术出版社1998.3：111
[4] 孙焕昌、李雄，契斯洽柯夫教学体系与素描教学[J]，造形艺术研究[J]1992.11：25-30
[5] （英）杰克·德·弗拉姆，马蒂斯论艺术[M]，欧阳英译 1987：25
[6] 司有仑，当代西方美学新范畴辞典[M]，中国人民大学出版
1997.8：140-144
[7] （美）鲁道夫·阿恩海姆，艺术与视知觉[M]，藤守尧、朱疆源译，四川美术出版社1998.3：85-87
[8] 王菊生，造型艺术原理[M]，黑龙江美术出版社，2000.3：204-346
[9] （英）杰克·德·弗拉姆，马蒂斯论艺术[M]，欧阳英译 1987：136-140
[10] 苏珊·朗格，艺术问题[M], 藤守尧、朱疆源译,北京中国社会的科学出版社，1983：108-120
[11] 钟涵，塞尚这个难题[J]，造形艺术研究，世界美术 1991.4:80-87
[12] NIKOS STANGOS，现代艺术观念[M]，侯翰如、邵大箴，四川美术出版社 1988.12：5-76；181-219
[13] （英）杰克·德·弗拉姆，马蒂斯论艺术[M]，欧阳英译 1987：109-112
[14] 赵经寰，形式美学入门[M]，辽宁美术出版社 1998.5：48-50
[15] Jack A·Hobbs, Art in context[M], third edition, Harcourt Brace Jovanovich,Inc.1985
Meaning is not the only thing we can get from a work of art .we can also derive satisfaction from an appreciation of its form: its colors, its lines and textures, and the ways in which these things are combined. …In fact, there are many who place an enormous value on responding to
art in this way. And some art –especially certain kinds of twentieth-twentieth century abstract art-seems intend to be appreciated only in this way.
[16] （美）鲁道夫·阿恩海姆，艺术与视知觉[M]，藤守尧、朱疆源译
四川美术出版社1998.3：609-613
[17]（俄）瓦·康定斯基,论艺术的精神[M],中国社会科学出版社：1987.7:104-201
[18] 罗世平,情感与符号——康定斯基与抽象主义绘画[M],人民美术出版社：1989.6:30-51
参 考 文 献
1.丁一林 胡明哲，论造形意识[J]，造形艺术研究[J]1993
2.冯能保，眼睛的潜力[M]，江苏教育出版社 1990.6
3.（美）鲁道夫·阿恩海姆，艺术与视知觉[M]，藤守尧、朱疆源译
四川美术出版社1998
3. 孙焕昌、李雄，契斯洽柯夫教学体系与素描教学[J]，造形艺术研[J]
1992.11
4.（英）杰克·德·弗拉姆，马蒂斯论艺术[M]，欧阳英译 1987
5.王菊生，造型艺术原理[M]，黑龙江美术出版社，2000.3
6.司有仑，当代西方美学新范畴辞典[M]，中国人民大学出版社 1997.8
7.苏珊·朗格，艺术问题[M]，藤守尧、朱疆源译,北京中国社会的科学出版社，1983
8.钟涵，塞尚这个难题[J]，造形艺术研究，世界美术 1991.4
9. NIKOS STANGOS，现代艺术观念[M]，侯翰如、邵大箴，四川美术出版社 1988.12
10.赵经寰，形式美学入门[M]，辽宁美术出版社 1998.5
11.罗世平,情感与符号——康定斯基与抽象主义绘画[M],人民美术出版社：1989.6
12.（俄）瓦·康定斯基,论艺术的精神[M],中国社会科学出版社：1987.7
13.（美）H·G·布洛克,现代艺术哲学[M],藤守尧译,四川人民出版社 1998
14.（法）尼古拉·第弗利,19世纪艺术[M],怀宇译,吉林美术出版社2002.7
15.（法）埃蒂娜·贝尔纳,现代艺术[M],黄正平译,吉林美术出
版社2002.7
16.何政广,凡高[M],河北教育出版社 1998.7
17.何政广,蒙德里安[M],河北教育出版社 1998.7
18.何政广,马蒂斯[M],河北教育出版社 1998.7
19.何政广,康定斯基[M],主编 河北教育出版社 1998.7
20.何政广,毕加索[M],河北教育出版社 1998.7
21.萧声,巴尔蒂斯[M],上海人民出版社 1995.1
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