当知道有一次改变素描教学的实验性课程的时候, 第一感觉是跃跃欲试的兴奋,但冷静下来之后的是心里没底的不安和无序感。习惯了执行式教学和习惯性传授的课程突然可以“无法无天”的时候,一下子失去了所有的约束和框框,对于执行者和参与者来说,同时也失去了所有的既定道路。这对有些人来说如鱼得水,虎入山林。但对有些人来说却是釜底抽薪,不知所措。大学素描所要解决的不是基础训练问题,这应该是十分清楚的共识。但在实践过程中,事实是,大部分的精力被最简单、最基础的基本功训练消化掉了,虽然学生在素描课结束时都会有不同程度的水平提高,但这种停留在基础训练,或者说带有应试素描痕迹的素描教学对于专业的创作起不到很大的帮助,也没有使学生真正找到他们自己的创作兴奋点和专业风格,甚至直接导致了学习热情的下降。后果是素描与专业脱节,课程的开设似乎可有可无。 When you know that there is an experimental course that changes sketch teaching at a time, the first feeling is eager to get excited, but after calm down, there is no feeling of unease and disorder in heart. Courses accustomed to executive instruction and customary teaching can suddenly become “lawless,” losing all their constraints and framing at once, and at the same time losing all established paths to performers and participants. For some people it is like a duck, tiger into the mountains. But for some people, it is overwhelming and overwhelmed. It is not a basic training issue to be solved by university sketches, which should be a very clear consensus. In practice, however, the fact is that most of the energy was digested by the simplest, most basic basic skills, and although students had varying degrees of proficiency at the end of their sketches, they stayed with basic training or It is said that the sketch teaching with traces of the test sketch can not help much for the professional creation, nor does it make the students really find their own creative excitement and professional style, or even directly lead to the decline of enthusiasm for learning. The consequence is the sketch and professional out of touch, the course of the establishment seems dispensable.