Art Appreciation Essay Excellent Sample

Art appreciation activity is a special complex mental activity, is the students in the process of recognizing art works through contact, appreciation, produce joy, love process. The following is what I have organized for you about art appreciation essay excellent sample content, welcome to read reference!

Fine Arts Appreciation Essay 1

High school art appreciation

Abstract Chinese landscape painting is the most reflective of the state of mind of the Chinese people and the art of thinking, in the long tradition of landscape painting, accompanied by the man and the nature of "looking at each other" this eternal theme, the poetic landscape painting is a long time along with the spirit of landscape painting, the spirit of the landscape painting. In the long tradition of landscape painting, along with the eternal theme of man and nature "looking at each other", the poetic spirit of landscape painting has long accompanied the development of landscape painting. How can contemporary high school students appreciate this long-standing cultural spirit? It seems difficult for modern students to understand the mind of the ancients in the context of modern civilization. We need to cross the river of history, to explore the ancient poetic spirit of landscape.

Keywords: Origin of Landscape Painting, Wei Jin, Landscape Poetry, "Poetry in Painting", "Poetry on Painting", "Personification of Nature, Personification of Nature"

Origin of Landscape Painting.

The history of landscape painting in China has a long history. Independent landscape painting formally appeared in the Wei Jin and North and South Dynasties. Chinese landscape painting is at least 1,000 years older than Western landscape painting. Its pictorial meaning is actually a history of Chinese thought. From the point of view of the subject matter of Chinese painting, the earliest to appear was figure painting, initially depicting mountains and rivers as a complementary scene to figure painting, and later developed into an independent painting discipline? Later, it developed into a separate genre, landscape painting. From the Eastern Jin Dynasty painter Gu Kaizhi in the "On Painting" in the cloud: "All paintings, people are the most difficult, followed by landscapes, followed by dogs and horses, ?". This shows that at this time the landscape painting has been compared with the figure painting, and has been initially independent from the accompaniment of figure painting.

We can now see the earliest landscape painting is the Sui Dynasty Zhan Ziqi's "Spring Tour". This picture depicts people traveling in spring in February when the peaches and apricots are in full bloom in the south of the Yangtze River, and elevates the lyricism of landscape painting to almost the same level as that of figure painting and bird and flower painting. It was from here that landscape painting formally embarked on the road to prosperity.

The birth or invention of Chinese landscape painting was inspired by landscape poetry, and the authors were literati who were well versed in poetry and literature. The period of Wei, Jin and North-South Dynasties was the most turbulent time in Chinese history, with social conflicts intensifying, people living in extreme instability. In addition, Buddhism and Taoism were prevalent during this period, and the idea of leaving the world grew. Those scholars have gone into the mountains and forests, express their feelings and aspirations to obtain a life of tranquility, in order to achieve psychological and emotional peace. "Return to nature" has become the highest state of people's culture and spirit, natural objects have become the people deliberately pursued, repeatedly looking at the object of life.

People expressed the content of this life with art, that is, landscape poetry, landscape painting. So this period in the history of Chinese literature produced landscape poetry, the history of painting produced landscape painting. Landscape painting began to detach itself from the background of figure painting, and pure landscape painting began to appear. As a result, landscape poetry and landscape painting became popular, and the aspiring scholars put their personal grudges, patriotic fervor, sadness and helplessness in the landscape, seeking relief in the landscape. In that special era, it took root and blossomed with a different color. The relationship between man and nature.

Seeing nature as a place of infinite knowledge and meaning, feeling nature and capturing beauty in its interaction. The relationship between landscape painting and poetry is very consistent. The method of expression of landscape poetry itself is very much in line with the law of thought of human life itself. The poetic nature of poetry has a very deep origin in the expression of landscape painting. Poetry has a great influence on landscape painting in terms of time and space. For example, to a natural scene is beneficial to their own scene compared to this "than", to their inner feelings of chance and natural scenery from this "Xing", I think this is very consistent with the expression of landscape painting sentiment.

Xie Ling Yun is the first person in the history of poetry to consciously use landscape into poetry. Xie Ling Yun traveled for a long time to famous mountains and wrote a lot of landscape

poems. "Mountains and waters contain clear light, and clear light can entertain people" (Xie Lingyun's "Shibi Jing She Returns to the Lake"). In many of his poems, Xie Ling Yun took the initiative to portray the beautiful scenery of nature, giving people a sense of freshness. Tao Yuanming's idyllic poems opened up a new realm for classical Chinese poetry, skillfully combining love, scenery and reason to describe rural scenery and idyllic life, with a fresh, natural, and delicate poetic style, and a strong artistic charm.

High school students learn about the origins of landscape painting, understanding of the Wei and Jin societies, and the social conditions of the Wei and Jin led to landscape poetry in the spiritual appearance of landscape painting. This led to the formal origin of independent landscape painting. Follow this vein to understand the poetic spirit of landscape painting, and eventually learn to appreciate the poetic spirit of landscape painting.

The poetic spirit of landscape painting is also manifested in a kind of "poetry in painting", which is typified by Wang Wei. There is no poem inscribed on the painting, but the painting is used directly to provide a poetic visual effect for the viewer to savor. One is the "poetry on painting", which was commonly adopted after the popularization of literati painting, which directly combines literary forms and inscribes poems on paintings for the viewers to read.

In ancient landscape paintings, the "poetry in the painting" landscape paintings prevailed in the Five Dynasties and the Song Dynasty. Writing intervened in the painting, increasing its spontaneity. The material basis for the expression of "mood" was weakened and had to be supplemented by direct poetic inscriptions. At the same time, the literati painters also discovered the difference between poetry and painting, not all poems can be put into paintings, and not all poetic meanings (e.g., the beauty of sound) can be embodied in painted images. For example, Li Cheng's most representative <<Cold Woods>> reflects the Taoist's realization of the life of nature and human beings themselves. The cold forest is not a dead tree, but also has the strength to fight against the season of depression, which is more vital than the trees in spring and summer. From this, we can link it to the personality of the worldly nobleman, who is at ease in spite of his bleak situation, and therefore has been loved by the literati throughout the ages. It is unique in the art of painting. Another example is Guo Xi's "Early Spring" eulogizes the beauty of nature.

"Poetry on the painting" is often not a restatement of the image and visual effects already in the painting, but rather to supplement the painting or can not be expressed in the painting image of the abstract spirit of the strong things. They are closer to literature itself. For this reason, Western scholars have noted the specificity of such inscriptions in Chinese paintings, considering them to be like literary readings. This constitutes the most important feature of Chinese painting. For example, Xu Wei's ink grapes poem: Half a lifetime of despondency has become a man, independent study whistling the evening wind. There is no place to sell the pearls under the brush, but I throw them into the wild vines. Very "mood", their own unrecognized talent a lifetime of frustration, suffering from the emotions of loss, are exposed.

High school students in the appreciation of different paintings at the same time to experience different periods, different styles of landscape painting works. Thus, in the picture to feel, so you can be more direct, figurative appreciation of landscape painting. So that the poetic spirit of landscape painting can be directly experienced, different historical periods, different humanities culture led to different styles, can let students learn to experience one by one.

Four "can be given to nature to personify, can also be given to the personality to naturalize"

Landscape painting since ancient times, nature as a whole of life, landscape painting is the implementation of the spirit of materialization to the point of view of the realm of the birth of the "can be given to nature to personify, can also be given to the naturalization of the In terms of the development of realm, "nature can be personalized and personality can be naturalized". It is to learn for the literary heart, a kind of tolerance and introversion of the spirit, through the poetry and painting language materialization of landscape to see through the personality of the weather. For example, the kind of Mount Tai and the small world of the temperament, into Mount Lu to get the sentiment of the Lei Lu, these feelings are the natural creation to stimulate the subject associations and creative methods in the life of the presentation of the scene, is the author of the physical and mental unity of a kind of experience.

This is due to the implied different historical and cultural connotations of the landscape triggered by different emotional associations, but also why the generations of literati and landscape painters, these have a strong humanistic color and the famous mountains and rivers have a long-lasting passion for the reason. For modern high school students, this point is the most difficult to understand, need to constantly through their own cultivation to experience, accumulation of literary knowledge, continuous learning, in order to improve their ability to appreciate. In ancient times, even if the author of landscape painting is not a recluse, but also has a "chronic disease of smoke and haze, spring and gypsum" addiction, unlimited love of nature, the face of the landscape will be like the face of a lover as poetic, there is a spring-like "mood" source. They are not painting landscapes for painting landscapes, but the landscapes as a tool for spiritual support, the function and writing poetry is no different.

Therefore, high school students in the study of poetry into the appreciation of landscape paintings, in the appreciation of landscape paintings to read the mood of poetry to understand and feelings. To understand the aesthetic interests of the ancients with the thoughts of modern people, the words seem to be easy to let the human mind across the distance of time, helping students to appreciate the ancient plot of the ancients, and to appreciate the subtleties of landscape paintings.

References

[1] Gu Kaizhi's "On Painting"

[2] Zong Bing's "Preface to Painting Landscapes"

[3] Wang Wei's "Narrative of Painting"

Fine Arts Appreciation Essay Outstanding Sample Essay 2

Analysis of Secondary School Art Appreciation

Abstract: Aesthetic education is an indispensable part of the education of the students' comprehensive development. Rockwell Kent once said: "The highest purpose of art is to make people understand life more y, and then love life more.

Keywords: high school art; aesthetic education; modern art; Rodin; Van Gogh; Picasso

Marx once quoted a vivid analogy envisioned by Hegel to illustrate the pleasure that mankind realizes its essential power to produce in its creative activities: a little boy, who threw a stone into the water, saw that the ripples of the water were getting bigger and bigger, and appreciated his own creation, from which he got immense pleasure. delight? And to the junior high school stage, aesthetic education shows more in the quality of education, this time the students from the original happy, unrestrained, innocent and lively become silent, shy and serious, they want to find a new way suitable for the expression of self-consciousness, at this critical moment, if we instill in them a kind of telepathic role of the ideological education --- aesthetic education, can let the students in the enjoyment of the beautiful The students can be educated in the enjoyment of beauty and unconsciously receive noble, healthy thoughts and feelings of inculcation.

The special effect of this kind of education is that it is difficult to reach the general moral preaching. And to the high school stage, students in the physiological, psychological has been close to the heat, is ready to move towards the independent life of the moment, their self-confidence, self-esteem are increasing, they have their own independent thinking ability, and the contact surface is also more extensive, they have a strong desire to learn, the knowledge imparted by the school teacher can not satisfy their needs, they are eager to receive from a variety of channels to accept the new concepts, to accept the new knowledge. At this time, the aesthetic education can play its unique role, its distinctive image and strong emotion is precisely on the feelings of sincere exuberance, image of strong thinking of the role of young people is the biggest.

Under the influence of this concept, art also seems to be strange and bizarre. For example, the modernist art, there into said is a kind of head and feet upside down art. A psychologist once humorously summarized the fundamental difference between modern art and traditional art in vivid terms. He said, "Today's young generation is no different from ours. They too are coming to understand things, they too are leaving home, they too are having children. It's just in reverse order." Indeed, with modernist and postmodernist artists, art has a much broader meaning, encompassing both the beautiful and the ugly: both the good and the evil; both the material and the spiritual: both the purely physical and the purely formal and purely mathematical.

In fact, China's scientific backwardness over the past hundred years is not equal to the backwardness of art, Chinese painting as a unique style of art has long been with Western painting and sit side by side, become the world's most important two painting system.

First, Chinese painting has a long history and unique style. According to records, as early as the late Spring and Autumn Period, the Zhou Dynasty capital of the political building "Hall of Light", painted "Yao Shun's face, Jie Zhou's image, 'as well as the Duke of Zhou holding the young King Cheng to accept the vassal worship murals. Unfortunately, these murals because of the destruction of the building have not survived, but from the two pieces of silk paintings unearthed in 1949 of the Warring States line drawings of figures, slightly colorful painting techniques, China has reached a certain level of art at least two dry years ago.

After the Warring States period, with the development of Chinese society, ancient Chinese painting is also constantly improving and enriching its art forms, methods of expression, artistic style and various painting genres, painters will be the structure of calligraphy, the use of the brush applied to painting. Painters applied the structure of calligraphy and the use of brush to paintings in order to strengthen the expressive power and artistic interest of paintings, which formed a strong national style and distinctive characteristics of the times. It is not only the basis for the development of modern painting art in modern China, but also has an important influence on some neighboring countries in China. Nakamura Fusetsu, an old Japanese painter, pointed out in his book "The History of Chinese Painting" that "Chinese painting is the mother of Japanese painting, and it is an unreasonable request to study Japanese painting without understanding Chinese painting. I think it is most appropriate to use the analogy of a long, unending stream to describe Chinese painting."

And European painting should be recognized early on in terms of time, with the Paleolithic era, when the world's earliest fine art was found in southwestern and central Europe. Although archaeology is an evolving discipline, no new evidence has so far been able to shake the above view.

After the Middle Ages, this era is called the "Dark Ages" in the history of painting, because ___ became the spiritual pillar of the ruling state. Until the Renaissance, the emerging bourgeoisie in order to clear the obstacles in the future, need to be very persuasive ideological weapons, he finally found from the treasure trove of weapons of the ancients, full of the spirit of realism and scientific rationality of the ancient Greek and Roman ideological and cultural, and thus played the banner of the Renaissance, as Engels said: "Byzantium rescued at the time of the fall of the codexes, the ruins of the Roman excavations of ancient statues, in amazement of the Western world. Ancient statues, show a new world before the astonished West,------ Greek antiquity: before its glorious images, Italy saw an unprecedented boom in art." Thus, European painting was at times vast and at times dry, unlike Chinese painting, which had a long history.

Second, Western culture is a "God"-centered culture. They attribute human development to God's creation. In them, "God" and "man" are separate. Therefore, they used to confront man with nature, man with society, subject and object. They explored the logical relations between the vertical and vertical in each field, differentiated their levels on the basis of species and classes, and tried to conform to the objective order of these relations.

They belong to philosophical aesthetics, narrative poetics, pictorialism.

The focal perspective of their realistic paintings, like a Cyclops looking at the world through a lockhole, can only honestly paint what is visible and block out what is invisible. Their Angel can only fly with a pair of real wings, and the message of love has to be conveyed with the help of a tangible bow and arrow.

The Chinese culture is centered on "people". It takes the "clue" of brush and ink as the fundamental requirement for shaping the image of consciousness, and integrates poetry into painting, so that the painting's mood, layout, brush and ink, and color are completely poetic and become "silent poems". He is not only an important foundation for the development of modern and contemporary Chinese painting, but also an important influence on the paintings of some neighboring countries. Therefore, Chinese painting belongs to the aesthetics of art, lyric poetry, and pictorialism.

Chinese painting is a multi-point perspective, seeing the world in motion, not only painting what the naked eye sees, but also painting what the mind sees. The mountains, the houses, the Yangtze River, the flowers of the four seasons can all be included in the picture at the same time.

Our flying sky to fly, do not need to install heavy wings can be "by the heaven and earth of the right, and the defense of the six qi, in order to swim infinite", and its love of the message of communication, although "the body does not have colorful phoenix fly wings", but can "heart have a little bit of a rhinoceros".

One is "wingless and flying", one is "winged and flying", which is higher?

No wonder Picasso asked rhetorically, "When it comes to art in this world, the first one is that you Chinese have art; the second one is that Japanese have art, and of course, Japanese art is originated from China; the third one is that Africans have art. Apart from the two, the white people do not have any art at all. I am most puzzled why so many Chinese and Oriental people have to come to Paris to learn art".

Moreover, some experts believe that Chinese painting is a hotbed of postmodernism. Into the 1990s, with the development of consumption, the boom of modernism in China quickly cooled down, and a kind of break with the tradition and the new trend, art and non-art, elegance and vulgarity of the post-modernism to play the posture of the quiet emergence of a stronger compatibility, where the exclusion of the classical art and have their own position, and is a game of posture outlook: Venus put on jeans: the Mona Lisa was wearing a pair of Venus in jeans, Mona Lisa in a pair of eyeglasses, Maitreya Buddha carrying a billboard, and so on. Here, the art maintains its own "style and elegance", but at the same time becomes more popular.

Modernism emphasized the visible form, postmodernism emphasized the unclear state, he drew information from the Oriental mysticism, and advocated the "unity of man and nature" China has long had a "mysterious and esoteric, the secrets of the heavens can not be divulged," said. These are regarded by some scholars as backward and even superstitious Chinese ancient culture that can not be quantitatively characterized by precise values, there may be latent areas that scientism fails to recognize and fail to decipher the information.

Just as ancient Greece's slavery was too perfect, so its feudal society was underdeveloped. China's perfect feudal society determined that perfect capitalism could not emerge, while it could fully develop and prosper in a post-industrial social form. China has a certain rejection of modernist art and an innate affinity for postmodernism.

Students will have a new understanding of art through a variety of understanding, and while appreciating the beauty, they will consciously receive both ideological education and new ideas.

Summary: The above are a few superficial insights into the appreciation of high school art. It should be said that this is a long-term process, as to how the effect is still unknown.

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