Several problems in sketch teaching of sculpture department

For a long time, I have accumulated some experience and found some problems in sketch teaching in sculpture department. The teaching task of sketch in Academy of Fine Arts is to let students establish a three-dimensional view of structure and fully express objective things as a whole. It is very important to emphasize the expression of the physical structure of objects in space. Whether a painting is good or not depends first on how you look at it and how you observe it. Only when students see, observe and feel can they express it with their hands. In the final analysis, it is observation that trains students. Sketch is the foundation of all modeling majors, and the sketch of sculpture major is particularly important. If the sketch is well mastered, the three-dimensional modeling will be well mastered, and sculptures with good modeling and space will be made. When the concept of body space is deeply rooted in your mind, you can draw good sketches and make good sculptures. It's just a plane, a solid. How to establish a holistic and rational way of understanding and a structured concept of three-dimensional thinking requires a set of correct and complete training methods and a more reasonable curriculum arrangement. There are several reasons why the sketch of sculpture department is difficult to do well. Take sculpture art as an example to talk about some problems. 1) The total number of sketch courses is less than in the past. 2) The number of students has increased several times than in the past. There used to be a few people in a class, but now there are dozens of people, and the teacher's guidance to individuals has declined. 3) Due to the large enrollment scale, the admission criteria need to be lowered, and the student base is not good enough. 4) Teaching AIDS are extremely limited. Students don't have a good classical plaster statue as a reference. 5) Setting up classes is unreasonable. There are too many short-term assignments and insufficient long-term assignments, and there is no process of in-depth study of the drawing. 6) There is no definite teaching system as the direction, and there is no strict standard to measure whether students' homework is up to standard. The first three points are basically needless to say, because the reality is like this and cannot be reversed. I mainly talk about the last three points. 1) Lack of teaching AIDS When I was in primary school, there was a text about an old man in the Eighth Route who was transporting textbooks to the liberated areas. On the way, I met the heroic sacrifice of the enemy, and clung to the bundle of textbooks before I died. Later, every time the children in the liberated areas opened a book that was dyed red with blood, they would think of the old soldier. Textbooks are too important for students. At that time, there were no conditions. The veterans exchanged their lives for a bundle of textbooks. Look at the teaching AIDS in our Academy of Fine Arts today. They are extremely poor. Now it's almost the same as when I came to the Academy of Fine Arts in 1994. Maybe it's not as good as that time, because the teaching assistant department moved a number of excellent teaching assistants and smashed them when building a comprehensive teaching building. In my memory, Yang Xiaobo, a classmate of the first class I taught, brought back a discus thrower with a broken trunk and more than half of his head. That plaster is really good, almost the same as the original one. Later, for a period of time, the teaching assistants kept copying some teaching assistants, and the more they copied, the more deformed they became. For example, The Dying Slave is as deformed as a second-year sculpture student's inferior homework, which is far from the original. I think this can also be used as a teaching aid? Michaelis will feel sad in the spirit of heaven. When we were at school (Lu Xun Academy of Fine Arts), there were many excellent classical plaster statues with good teaching AIDS, such as David, Moliere, Moses, laocoon, caracalla, Apollo, Brudas, Voltaire, Venus, fighter, discus thrower, bound slave, dying slave, Roman lady, Greek elephant trunk and river god (Greek cross). Later, I went to the Central Academy of Fine Arts and found that. Such a good teaching aid is displayed there, and students can always find corresponding references where they can't understand or do it. How can they not make progress? Academic sketch education is carried out on the basis of inheriting tradition. The two most important elements in sketch are structure and anatomy. Frame the body with structure and enrich the body with anatomy. Structure is invisible, it trains students' metaphysical thinking, and anatomy is visible, which needs to be summarized by observing the whole. Then copying the classical plaster statue is the only way to solve these two factors. These plaster statues are the crystallization of wisdom injected by masters of all ages and their masterpieces. It is more convenient for students to explain the relationship between body structure, anatomy and perspective. Especially in the absence of color interference, it is most convenient to observe, know and understand the basic laws of "five tones". Moreover, it is beneficial to consciously arrange more paintings of classic plaster statues in the first grade. Therefore, if our Academy of Fine Arts wants students to make real progress in sketching and clay sculpture, it is very necessary to purchase a large number of plaster statues of classical masterpieces. 2) Unreasonable curriculum In our student days, the teaching content was relatively simple, and only basic training was emphasized. Sketch from grade one to grade three. But now the teaching content is rich, which shortens the sketch class. Now the sculpture and sketch class will be over by the end of the second day of junior high school, one year less than us. In the limited two-year training, we should consider setting up courses reasonably, otherwise we will never achieve good training results. But I found that there was a problem in the process of carving art from the beginning. Here is an example of the comparison between the sculpture course (sketch content) and our sketch course at that time. Teaching hours of Chuanmei Sculpture Sketch: * * Grade 4 14 hours: skull 6 plaster head 12 figure head 18 classical human plaster 18 oriental classical Buddha statue 18 female body sketch 18 bust/kloc-0. 18 Grade 2: male body 36 female body 36 female body 18 scene sketch 18 gypsum body combination 36 female doubles 36 We set up classes when sketching in Lu Mei: Grade 1: David 72 Moliere 72 laocoon 72 body structure training 18 slave 108 female. Level 2: female body, male body, male body, female body and sketch level 3: gypsum combined with human body 108 1. Judging from the sketch outline of carving art, the fourth assignment is David. And it is the only long-term assignment in sketch teaching for two years, with 54 class hours. When we were students, the sketch class lasted until the third grade, but the first painting was David. At present, the sketch of sculpture art is only in the second grade, but the fourth assignment is "David statue", which has been shortened a lot. Why put it in such a backward position? We had so much time at that time, why were we in such a hurry to put such a difficult homework in the first place? David is like a classic. After drawing, the contrast of head and neck shape, sense of mass, overall structural relationship and density is basically solved. Even three years is not a long time to learn sketch. Putting the plaster statue of David in the first place is to make students born with calves study hard and take a big step forward. Students can't start simply on the grounds of poor foundation, because there is no time. If we can start with simplicity step by step, then why is the sketch class cut off a lot? Therefore, in the limited time, we must make reasonable arrangements. The plaster statue of David must be set in the first assignment, and students have the ability to complete it. 2. Lack of setting a classic chest patch or chest patch as a transition to human sketch. Our second task at that time was laocoon, whose head, neck and chest were obviously interspersed. Because of its big movements and full muscles, the cross-sectional surfaces of various parts of the body are very clear, and the inner contour and the outer contour are intertwined. For beginners, it is very beneficial to know the shape. 3. Lack of one or two long-term human operation training settings. We can see that in the whole two-year course of sculpture art sketch, there are many human body arrangements, but almost no long-term ones. Let them do an in-depth study anyway. This in-depth study usually takes more than four weeks, or at least four weeks. Many things are not done as much as possible, but must be done thoroughly. One thing is done thoroughly, and so are other things. Otherwise, it will always be superficial. 4. Sketch is very important. It is necessary to develop the habit of sketching, but after class, not in class. Because there are too few total class hours. 3) There is no reasonable sketch education system. Since the founding of the People's Republic of China, the sketch teaching system of the Academy of Fine Arts is almost equal to Xu Beihong School+the sketch system of the former Soviet Union = the foundation of modern and contemporary art education in China. The sketch knowledge and teaching methods brought back by a generation of art educators represented by Xu Beihong after studying abroad have had a far-reaching impact on sketch teaching in China. Mr. Xu Beihong has profound attainments in human body sketch. He combined the European sketch expression technique with the spirit of China's traditional Chinese painting, and put forward the "new seven methods" theory of sketch modeling, namely 1, proper position (composition), 2, correct proportion (proportion), 3, black and white (color), 4, dynamic and natural (dynamic), 5, light and heavy harmony (harmony). It also points out that painting should be square and not round, dirty and not clean, opposes greasy and luxurious pictures, and advocates actively and rationally shaping and analyzing characters, which has a pioneering and leading role in the formation of China's modern sketch national style. The Soviet tradition mainly inherited the sketch teaching system of Che Shakov. He emphasized the strict procedural and systematic nature of basic sketch training, inherited the light and shade method initiated by Baroque art, and put forward the perspective modeling rules of three-dimensional space in view of the outline lines and light and shade sketch formatting of European college parties at that time. It is considered that "sketch is not a line, but a shape, which is a volume contained between two lines." Understand the organic connection of these volumes from the physical structure. It is emphasized that students should not only master the regularity of the object, but also respect the objective accuracy in the description. Painters pay attention to layout, proportion and simplicity. They tried hard to overcome the shortcomings of classical academic sketch, made sketch based on the strict and correct description of "shape", insisted on the study of natural and objective laws, and developed the realistic tradition advocated since the Renaissance. Although Che Shakov's sketch teaching system was flawed and did not pay enough attention to the development of students' visual memory, sketch, dictation and image imagination, it laid a solid modeling foundation for Russian realistic painters at that time. Su's sketch system occupies an important position in the history of world sketch. It is on a par with France and Germany. Cheshire's "sketch teaching system" is the only one in Russia. Sketch teaching in Repin Academy of Fine Arts begins with copying classical works, and then carries out plaster sketch. The basic sketch class describes the portraits carved in ancient Greece and Rome. Such as Zeus, Homer, Lux, David, Germanic, discus thrower, La Looks, etc. Finally, enter the figure sketch, the order is: head, portrait, human body, double human body, with the emphasis on long-term work. In addition, there are anatomy, perspective, composition and creation. The first is the objective object of nature, and the second is to adapt to the structure of our eyes and the relationship between objects and images, that is, what is perceived by subjective consciousness. Although Qi's sketch system was denied for a period of time after the Cultural Revolution because of his rebellious mentality, it was considered to have stifled artistic individuality. However, after a period of practice and re-understanding, this educational system was full of vitality, which proved that its core content was scientific. Its rigorous spirit of studying the essence of object space modeling step by step, calmly and meticulously is the cornerstone of plastic arts. Our academy of fine arts is poor in this strict and systematic training, and has not established an overall observation method. Personally, I think that the sketch teaching of sculpture department should inherit Qi's tradition and pay attention to his teaching methods, which is very helpful to understand the sculpture form. There is no more scientific training method in the field of real training for the time being. Repin Academy of Fine Arts has a century-old tradition of realism and is unique in the world. Its sculpture department has more than 1000 hours of sketching, while our sculpture department only has more than 400 hours of sketching, which is incomparable in terms of foundation and class hours. But even so, we must make sure that it is our main teaching system, otherwise the expected training purpose will not be achieved at all. My alma mater, Lu Xun Academy of Fine Arts, basically continues the tradition of Qi, and the solid foundation of the graduates has nothing to do with Qi's teaching. It is scientific and rigorous, and can improve students' observation ability in a limited time. Finally, I want to explain that the relationship between realistic sketch foundation and contemporary art should be firmly established. Personally, I don't think the two are necessarily related, that is, there is no direct relationship. A good contemporary artist may not have studied painting, and students with good realistic foundation may not be able to become contemporary artists. This problem is very complicated, which cannot be explained clearly in a few words. But we can't lower the requirements for sketch teaching for any reason. Learning sketch well will make great progress in understanding shape and space and grasping things as a whole.