Teaching plan template of high school art "China ancient landscape painting"

Generally speaking, complicated and simplified lesson plans are written by experienced teachers, while new teachers write them in detail. The following is the lesson plan template of China Ancient Landscape Painting, a high school art selected for everyone. I hope everyone can help you! Stay tuned for more exciting lesson plans!

Teaching plan template of high school art "China ancient landscape painting"

Teaching purpose:

Through the teaching of this course, students can understand nature, painting methods, various artistic styles and unique artistic traditions, broaden their horizons, increase their knowledge, cultivate their sentiment, cultivate healthy aesthetic taste, understand and feel the beauty of art, improve their artistic appreciation ability and establish a correct aesthetic point of view.

Teaching focus:

Guide students to understand the unique artistic tradition.

Teaching difficulties:

How to understand "artistic conception" and pursue the creation of artistic conception is not only one of the important artistic traditions, but also an important aspect of China's ancient aesthetic thought.

Teaching time: 1 class hour

Preparation of teaching AIDS: pictures, video materials and self-made courseware.

Teaching process:

First, the organization of teaching: (routine)

2. Introduce new courses:

Learn lesson 10 today. (Show the topic and start using the courseware)

The content of this lesson is appreciation. Through the appreciation of typical masterpieces, we can understand nature, painting methods, various artistic styles and unique artistic traditions.

The properties of 1 And its important position in China ancient painting;

We have learned in the last two classes that the painting habits in ancient China are traditionally divided into three painting themes: figures, landscapes and flowers and birds. The main object of description is natural scenery. It not only shows colorful natural beauty, but also embodies the natural view and social aesthetic consciousness of ancient people in China, and even indirectly reflects social life from the side.

China's landscape painting, as an independent painting of Kobe figure painting, has made outstanding development in the history of painting in China, and formed a variety of painting methods and artistic styles in the long-term development. Mainly include: green landscape, ink landscape, light crimson landscape, small green landscape, boneless landscape and so on.

Green landscape-green refers to the azurite and stone green in Chinese painting pigments, and the landscape painting with this pigment as the main color is called "green landscape". Among them are large turquoise and small turquoise. The former is mostly sketching, with less pens and heavy coloring, such as "A Thousand Miles of Rivers and Mountains", while the latter is slightly turquoise on the basis of light ink painting, such as "You Chuntu".

Pale crimson landscape-On the basis of ink painting, spread a pale landscape painting with ochre as the main tone.

Ink landscape-mainly rendering, concise and unrestrained pen, emphasizing the play of ink effect.

1. Noun explanation:

"Nature is made by foreign teachers, and the source of mind comes from China"-"Nature" refers to nature, and "source of mind" refers to spiritual feelings. The general idea of "learning from nature, learning from nature" is that landscape painters should not only learn from nature, but also benefit from their own feelings about nature. It correctly pointed out the basic principles of China's landscape painting creation, and had a far-reaching impact on the development of Chinese painting in later generations.

"Southern School and Northern School" —— Dong Qichang, a painter in Ming Dynasty, divided it into two schools by borrowing Zen in Tang Dynasty to explain the development of painting from Tang Dynasty to Ming Dynasty for hundreds of years. He divided the landscape painting after the Tang Dynasty into two schools according to the creative method of painting and the identity of the painter, compared the ink literati painter to the "South School" and regarded the green professional painter as the "North School". For example, Wang Wei and Li Sixun in the Tang Dynasty were later called "Southern and Northern Schools".

The landscape paintings of the Northern Song Dynasty depict natural scenery, although they contain the painter's feelings and ideals about these scenery, but they mainly describe natural objects objectively. Representative figures are Fan Kuan, Guo and Wang Ximeng.

Fan Kuan's trip to Xishan Silk Ink

The first thing you see is the main peak that occupies about two-thirds of the picture and stands in the middle, with the deep valley waterfall on the right and the short side peak on the other side. The middle scene and the main mountain are blocked by clouds, which sets off the unattainable momentum of the main mountain. The composition of this painting is not complicated, but the details are described in detail, which shows that the painter's observation is very high and his works are realistic. The description technique is also extremely vivid and natural, which conforms to the laws of nature. Fan Kuan used dark ink and twisted and trembling strokes to outline the outline and lines of the rock, and then divided the blocks of the rock. Then he brushed away the short lines and raindrops with different shades against the direction of stone organization, creating a three-dimensional sense of light and shadow, strengthening the dynamic trend of rock guided by lines and giving it strong vitality.

In The Journey to the West, the position of mountains far exceeds that of figures, which shows China's traditional worldview: nature is endless and eternal, while human beings are just like passers-by in the mountains.

Wang Ximeng's "A Thousand Miles of Rivers and Mountains"

The landscape paintings in the Southern Song Dynasty are obviously different from those in the Northern Song Dynasty, especially in the pursuit of poetic artistic conception. Many landscape paintings in the Southern Song Dynasty have poetic themes, such as fishing alone in the cold river and returning to the boat after the storm. Famous landscape painters are Ma Yuan and Xia Gui.

As can be seen from the above works, ancient Chinese painters are good at using the artistic technique of blank space, which is called "taking white as black". Although the theme, scenes and pictures of landscape paintings in the Southern Song Dynasty are much smaller, the artistic conception of the works is more intense and vivid because of the pursuit of poetic artistic conception, bold artistic generalization and the artistic technique of winning more with less, which shows the important characteristics of the Chinese aesthetic tradition.

Landscape painting in Yuan Dynasty emphasizes subjective expression and personal style creation in artistic conception creation. Representative painters include Ni Zan and Wang Meng.

(2) Secondly, in dealing with space, we adopt the methods of "seeing the big from the small" and "seeing the big from the small".

Is to regard the landscape painter himself as a giant, facing nature, just like people looking at bonsai. In this way, you can also get a panoramic view of the mountains and rivers, or show them in the form of long scrolls, such as 1 1 meter-long Map of Mountains and Rivers, or draw very complicated mountains with lofty and unique composition methods of Chinese paintings, such as The Journey to the West, Early Spring, Qingbian Seclusion and so on. Its spatial treatment highlights the unique composition method of China landscape painting. This unique artistic technique of dealing with spatial relations not only embodies the unique method of China painters to observe nature, but also contains the aesthetic psychology of China people and embodies the natural view of China people.

(Video screening)

(3) In addition, in the long-term development, China landscape painting has formed many effective performance schemes.

For example, various rocks have various expressions, such as Pima, raindrops, lotus leaves and so on. In the application of these expression programs, we advocate flexible use and continuous development. In the brush and ink techniques of landscape painting, it is also more diverse. For example, the brushwork includes various painting methods and painting methods of the above-mentioned rocks; In ink painting, wet is "dyeing" and dry is "wiping", as well as "breaking ink" and "accumulating ink" and so on. Obviously, it has also formed its own unique artistic tradition and system.

(Video screening)

Three. Summary (courseware used)