水墨人物画,俗称写意人物,是中国绘画艺术中的重要组成部分,也是世界艺术大花园中的一枝奇葩。魏晋以前,山水、花鸟只作为人物画的配景出现,之后,山水、花鸟、人物逐渐明确分支。千百年来,通过各时期艺术家们的探求、变革,逐步完善成为一门独立的学科,尤其是通过八十年代后的东西大融合,水墨人物画又出现了前所未有的活跃局面。在我国各艺术院校的教学中,人物画处于重要位置,在历次综合性美术展览中也占有最高比重。然而在我从事多年来的师专美术教学中,却发现每届学生的毕业创作以水墨人物画形式出现的却寥寥无几。学生在校学习两年,只几个周的水墨人物画课程,远不能解决有关造型、笔墨诸方面的基本问题,更谈不上创新与发展,这不能不引起作为一个本课程教师的慎重思考。我注意观察学生对待整个艺术门类认识的思想动向和学习态度、师专教育体制的特点及社会因素和教学的关系,谈点粗浅体会,或许能对水墨人物画教学起到一点推动作用。 Ink painting, commonly known as the freehand character, is an important part of Chinese painting art and a wonderful work in the world’s art garden. Before the Wei and Jin Dynasties, landscapes and flowers and birds only appeared as portraits of portraits. Later, landscapes, flowers and birds and figures gradually became clear branches. For thousands of years, through the exploration and transformation of artists in various periods, it has gradually become an independent discipline. Especially through the integration of Eastern and Western cultures after the 1980s, there has been an unprecedented upsurge in the development of Chinese ink painting figures. In the art teaching in our country, figure painting is in an important position and occupies the highest proportion in all the comprehensive art exhibitions. However, in my art teaching for many years, I found that there are only a few students whose graduation creations appear in the form of ink figures. Students studying in school for two years, only a few weeks of ink figure painting course, far can not solve the modeling, pen and ink aspects of the basic problems, let alone innovation and development, which can not but lead to a thought as a teacher of this course . I pay attention to observing students’ ideological trends and learning attitudes toward the recognition of the entire art genre, the characteristics of teacher education system and the relationship between social factors and teaching, as well as their superficial understanding. It may be helpful for the teaching of ink and wash painting characters.