论文部分内容阅读
早在80年代初,鲁迅美院的全显光工作室就对素描教学实施变异,比如将石膏像翻倒、打碎或者采取特殊的角度赋以新的视觉效果;此间,有代表性的对一统天下的契斯恰可夫素描体系进行补充的,还有1985年吴华先译著《设计素描》,以及大量的欧洲经典素描被介绍到中国。差不多在同一时期,中国美院的王中义、许江也开始研究素描教学的创新问题,并在1992年出版《从素描走向设计》,素描教学由此逐渐向多元化方向发展。一、从定势思维中反叛,重新审视素描什么是素描?朴素的描绘就是素描。因此,它的外延宽阔,而且内涵丰富。但从50年代始中国高等艺术教育中,苏式契斯恰可夫素描体系全面铺开后,却使素捕走上一条单一的、
As early as the early 1980s, Lu Xun Academy of Fine Arts all-visual studio on the implementation of variant teaching sketch, such as the plaster upside down, smashing or take a special perspective with new visual effects; here, a representative of the Chesciakov dominated the world sketch system to be supplemented, as well as Wu Hua first translated in 1985, “Design Sketch”, and a large number of European classic sketches were introduced to China. Almost at the same time, Wang Zhongyi and Xu Jiang of the Chinese Academy of Fine Arts started to study the innovation of sketch teaching. In 1992, they published “From Sketch to Design,” and sketch teaching gradually developed toward diversification. First, rebel from the fixed thinking, re-examine the sketch What is a sketch? Simple sketch is a sketch. Therefore, its extension is broad and rich in connotation. However, beginning from the 1950s, China’s higher arts education, Soviet-style Che Siqiew sketch system fully rolled out, it Su Su capture onto a single,