Ninth grade art lesson plans

The courseware should provide at-a-glance teaching objectives, teaching steps and methods of operation. The following is the courseware I provide for you on the ninth grade art book, which is as follows:

I. Teaching material analysis_Long River Walk

The subject "Long River Walk" expresses the intention of the editors. This unit according to the "art curriculum standards" on the "appreciation - comment" learning area requirements, through the colored pottery, bronze, terracotta warriors and ancient paintings of the appreciation of the long river walk guide students to a preliminary understanding of the development of China's history in different periods of the representative of the phenomenon of art, the historical origins of the aesthetic characteristics, in the "walk". In the "walk" to learn the comprehensive use of a variety of knowledge appreciation of works of art method, to obtain preliminary aesthetic experience and appreciation ability; long river walk to cultivate students on the Chinese art aesthetic characteristics of the interest in exploration, love of the motherland's excellent traditional culture, enhance the spirit of patriotism.

The textbook lists the representative works of art of each historical period; while taking into account different categories and different forms. Painted pottery part of the proposed relationship between early mankind and nature, through the analysis of painted pottery patterns, to help students reveal the origins of art and the primitive society of production and life of all kinds of links; bronze and terracotta warriors of the introduction of the symbolic and realistic different styles of artistic expression of the social presented, mobilizing the students to comprehensive use of historical and cultural knowledge of the aesthetic experience; Ancient paintings part of the selection of as far as possible, in different forms, Ancient paintings are selected as much as possible from different forms and subjects, including figures, landscapes, birds and flowers, brushwork, brushwork, custom paintings and literati paintings, etc. Through these works, the visual aesthetics are enhanced. Through these works in the visual aesthetic sense of their distinctive features, enrich the students' aesthetic experience, but also for the choice of teaching content to provide different entry points.

1. The connection between colored pottery patterns and bronze decorations

The contents of colored pottery patterns are related to the real life or witchcraft rituals of different clans, such as the pig pattern, the bird pattern of the Hemudu people, the fish pattern, the human face pattern of the Semipo people. Painted pottery patterns have realistic and abstract patterns, there is a close link between the two, most of the abstract patterns are the result of changes in realistic patterns; bronze patterns of taotie, kui, dragons, phoenixes, etc. for the imaginary gods and animals, these patterns are more decorative, often symmetrically arranged, textbooks on the bird and phoenix can be seen on the pattern of this change. Bronzes also have the same geometric patterns as the colored pottery patterns, such as cloud thunder pattern, circular vortex pattern, back to the pattern, as well as the square grid, triangular and other decorations, often as a companion to the underlying pattern.

2. Comparison of the symbolic decoration of painted pottery and bronze with the realistic style of Terracotta Warriors

The symbolic and decorative decorations of painted pottery and bronze, firstly, the decorations are all attached to the objects, or are the shapes of the objects themselves. A more important reason is the ideology of different societies. Painted pottery patterns are related to the real life of different clans or witchcraft rituals with a mysterious color, showing the reverence and worship of natural deities. Bronze decoration as a sacrificial "ritual weapon", most of them are offered to the ancestors or remember their own victory of force conquest, these decorations have both historical inheritance, but also has the characteristics of the times. On the one hand, they are the embodiment of terror, and on the other hand, they are deities of protection. The Terracotta Warriors and Horses of the Qin Mausoleum are different in that they do not resort to sorcery ghosts and gods, but are realistically molded through powerful military formations to show the eloquence of a generation of kings.

3. Characteristics of ancient paintings in which line is the main modeling tool and the aesthetic principle of vividness

In the paintings presented in the textbook, the characteristics of the use of line are different. For example, the roundness and steadiness of "Chao Yuan", the fineness and delicacy of "Hibiscus and Golden Cockerel", and the fluidity of "Lotus and Waterfowl". Help students compare the styles of different works, appreciate the temperament and rhythm, and deepen their understanding of the use of lines in traditional painting. Junior High School Art Lesson Plan Grade 9: 01 Lesson A Walk on the Long River

4. Symbolism in Ancient Paintings

The dragons and phoenixes in the "Figures Dragon and Phoenix Painting on Palm" guide the souls of the dead to life in heaven. The Hibiscus and Rooster painting symbolizes the "five virtues" with the colorful rooster and promotes the feudal ethical ideology. The "white-eyed bird" in Lotus and Waterfowl clearly conveys the artist's proud and cynical character. Two Horses" is an allegorical approach to attack the irrational phenomenon of society.

Traditional art theory is an important part of the appreciation teaching process. The content material of the textbook is presented in historical clues, but always with the expression of symbolism and mood, the main means of line modeling and chiaroscuro throughout. Ancient painting theories are used to prompt and summarize the aesthetic characteristics of traditional art so that students can better understand and recognize them. A brief introduction to the "Six Methods of Painting" will enable the students' perceptual knowledge to rise to a superficial theoretical level.

Teaching activities are set up to focus on each of them: Activity 1 starts with the differentiation of graphics and composition methods, and aims to enhance students' experience and feelings about patterns through the study of details. Activity two is a comprehensive use of formal language, thoughts and feelings, political attitudes and writing skills. On the basis of analyzing and studying the details of specific shapes, connecting with real life, sublimating thoughts and feelings, and cultivating students' multifaceted literacy in aesthetics, criticism and cultural cognition.

Evaluation suggestions section sets up the evaluation content about short essay writing, which gives hints on the writing focus.

The textbook introduces the "Six Methods of Xiehe" and the painter Zhu Da in the Library section, providing clues and references for further study.

The Learning Space section expands the scope of understanding traditional Chinese art and inspires students to use their learning to learn more about traditional culture.

The study of this unit focuses on the general mastery of appreciation methods, and seeks to enable students to make short comments on art works and art phenomena, and boldly articulate their own views and understandings, so as to stimulate their love for the excellent traditional culture of the motherland.

The objectives of the teaching materials

* Preliminary understanding of the historical development of China's historical sources and flows, the phenomenon of art in different periods as well as the aesthetic characteristics of the works of art and art phenomena can be briefly commented;

*Through the appreciation of the activities, the sense of the Chinese national characteristics of the modelling of the sense of aesthetics, to stimulate the interest of students to explore the aesthetic characteristics of Chinese art. characteristics of Chinese art, stimulate students' interest in exploring the aesthetic characteristics of Chinese art, make them love the excellent traditional culture of the motherland, and enhance the spirit of patriotism.

Three: Teaching Ideas

1. Determination of Teaching Content

The teaching of the "Appreciation-Review" learning area should be based on students' knowledge and life experience. According to the textbook contains substantial knowledge and skills to learn the two aspects of analysis, understanding the intent of the textbook, grasp and control the difficulty, is the basic guarantee to achieve the teaching objectives.

The content material of the textbook material, spanning a wide range, and a read-along is bound to drag. Therefore, it is very necessary to select the material to deal with. This link can start from two aspects:

1) along the historical development of the clues into, emphasize the relationship between the origins of different eras, the evolution of the style of expression of the work as well as the social utility to make a judgment. The textbook in the colored pottery, bronze and terracotta warriors part of the more obvious embodiment of this clue, teaching should be considered in the content of: pottery and the development of productive forces in primitive society; colored pottery patterns contained in the relationship between early mankind and nature, social life; colored pottery patterns and bronze decoration in the stylized expression of similarities and differences; symbolism of the schema and the realistic performance of the social significance of the reflections, and so on.

2) from the stylistic expression of the characteristics of the inquiry, to seize the traditional art to line as the main means of modeling, pay attention to the characteristics of the rhythm of vivid, different forms of expression and the theme of the works of the work of appreciation, through the specific works of the traditional art of the aesthetic characteristics of the senses. The section on ancient paintings in the textbook presents a wide range of materials, which should be emphasized and related to others. It is desirable to focus on a single theme and to include multiple works.

Teaching content dominated by historical clues is compatible with the characteristics of stylistic expression, so that students can understand the evolution and development of traditional art; teaching the theme of stylistic expression characteristics should also clarify the historical background, to help students understand the link between art and social development, both of which constitute a complete teaching content.

2. Preparation for teaching

Preparation for teaching begins with a careful study of the content of the teaching, a lot of access to information, in addition to familiarizing themselves with the content of the work, but also to select those who can stimulate the interest of students to learn the historical information and knowledge. The full estimation of students' knowledge level and understanding of students' needs are the guarantee for the smooth running of teaching activities.

3. Teaching strategy

Determine the focus of teaching, straighten out the clues, according to the content of the materials presented and the way, from the historical development of the clues and modeling characteristics of the performance of the two aspects of the beginning, divided into two parts of the colored pottery, bronze, terracotta warriors and ancient paintings. Painted pottery, bronzes, terracotta warriors part around the theme of art and society, the appreciation of graphics, research and historical development, change closely linked to a lively discussion. To this end, a number of topics should be carefully designed before the class, and the content of the selected topics should be close to the teaching objectives step by step to bring learning into depth. Ancient painting part of the modeling characteristics of traditional art, on the one hand, the textbook material for comparison, summarize and generalize its **** the same characteristics; on the other hand, the extraction of key appreciation of the works of study, to point to bring the surface, to explore the spiritual qualities of traditional painting.

The setting of learning activities needs to be rationally arranged according to the learning situation. The goal orientation of Activity 1 is to help students understand the form of composition of patterns through the analysis of details, to appreciate the meanings embedded in them, and to gain an appreciation of the methodology and eyesight in the learning process. According to the knowledge level of junior students, we can consider adding the analysis and study of the significance of graphics, so that the teaching activities tend to be complete. Activity two focuses on the comprehensive application of knowledge, due to time constraints, the writing part can be arranged after class, the classroom through the form of discussion and exchange, focusing on helping students to clarify the ideas and master the appreciation of the writing method of the short review essay.

Teaching evaluation is interspersed in each teaching session, for students to answer the questions and discussions, should be summarized in a timely manner and give evaluation. For positive ideas and understanding, should help them to improve and give affirmation. For students who are less able to express themselves, they should be guided by prompts and given enthusiastic encouragement.

IV. Teaching Options

The arrangement of teaching hours can be discretionary, divided into two- or three-lesson arrangement. Arrangement of two hours with reference to reference to the lesson plan; three hours of the arrangement of the appropriate addition of colored pottery and bronze content, divided into 1. colored pottery; 2. bronzes and terracotta warriors; 3. traditional Chinese painting.

Teaching organization is based on discussion and analysis, and the indicators are adjusted appropriately according to the students' situation. Use teaching tips to guide and regulate the discussion, focusing on the cultivation of students' independent learning ability. Make full use of local cultural resources, such as museums, historical sites; make full use of Internet resources to develop the ability to collect and process information.

V. Teaching and Learning Suggestions

1. Suggestions on the handling of teaching materials

Appropriate addition of colored pottery and bronzes to make up for the shortcomings of the teaching materials brought about by the limitations of the layout. The addition and deletion of content should grasp the intent of the textbook presentation, seize the key point of understanding the aesthetic characteristics of traditional Chinese art, relate to the context of the times and historical development clues, and select representative materials.

Teaching content can be categorized and arranged in groups, so that the theme of the teaching stage is clear and the main and secondary. Such as the origin of art; art and society; Chinese painting to line as the main modeling tools; the symbolism of art works and so on.

2. Suggestions on the creation of teaching situations

Based on students' knowledge and life experience, focusing on the content of the teaching of the characteristics of the times, so that students can fully feel the social and cultural connotations embodied in the works of art, art and nature, and the connection between life, giving them a basis for analysis and space for association. Such as: imagine the life of primitive mankind; clan tribal mergers and wars; mysterious ritual activities; ancient myths and legends; the construction of huge projects during the period of low productivity levels, and so on.

3. Suggestions on the flexible use of teaching methods

Classroom discussion should be closely linked to the teaching objectives, and should not stray from the content of the teaching to become superfluous. Choose topics of interest to students, mobilize their interest in learning. Generally speaking, the topic of entry can be close to life, natural and shallow, and then, layer by layer in-depth; can also open the door, straight to the teaching objectives. At the same time to play a guiding role in teaching tips, the knowledge to be summarized, summarized, systematized, so that the focus is prominent.

Works analyzing and researching combined with hands-on training, through trying and experiencing can get a more profound feeling. This type of work includes methodological analysis and copying, such as the textbook on the composition of the pattern analysis.

4. on the teaching media and teaching means of optimal use of the recommendations

Before the class to do a good job of preparation and careful organization, pay attention to the pictures and text clear and concise, accurate; demonstration of the contents of the content and the content of the explanation of the consistency of the demonstration of the timing of the demonstration, and the content of the progress of the choice, and the content of the progress of the appropriate; demonstration of the speed of the appropriate, and so on.

5. on the adoption of different forms of teaching organization

In addition to the discussion, analysis-based teaching organization, according to local conditions, make full use of resources inside and outside the school, such as museums, historical sites, the Internet, etc.; hold small exhibitions and lectures, selecting the theme of the compilation of illustrated anthology of the art of the campus network to provide a certain scale, a certain number of pictures of written materials for students to browse and so on. The school will provide a certain scale and number of pictures and text on the campus network for students to browse, and so on.

6. Suggestions for study guides and study tips

To make the whole process of appreciation clear and organized, so that students can understand, grasp and remember.

VI. Teaching Materials

Dance Pattern Basin Majiayao Culture Majiayao Type

Unearthed from the Majiayao culture site of Shangsunjiazhai, Datong County, Qinghai. Inside the basin, there are three teams of dancers in groups of five dancing with their hands and feet in a lively atmosphere. The figures are all wearing headdresses and tailpieces, indicating that they are performing some kind of primitive ritual activity.

Fish Pot with Human Face, Yangshao Culture, Half-slope Type

As a symbol of the ancient fertility worship of the Chinese people, the fish is one of the most frequent images in Yangshao culture pottery paintings. The "Fish Pot with Human Face" uses the structural lines of the pattern as the basis for its grip. Some people see it as a witchcraft totem of the half-slope people, symbolizing the prosperity of their clans.

Taotie pattern

Shang and Zhou bronzes on the decorative motifs, to the animal-faced bull head as the main body, left and right symmetrical expansion of the kui dragons or kui phoenix pattern, the image of the fierce and horrible, is used to "identify the god of treachery" of the totemic symbols.

Kui

Ancient legend of a strange animal, such as a dragon with one foot.

Terracotta Warriors of the Qin Mausoleum

Figures, landscapes, flowers and birds

Ancient Chinese figure paintings have always followed the principle of "writing God in shape", the Warring States period, the theory of "the shape of the gods", the Eastern Jin Dynasty, Gu Kaizhi's "writing God in shape", "writing God in shape", "writing God in shape", "writing God in shape", "writing God in shape", "writing God in shape". In the Warring States period, the theory of "writing God with form", Gu Kaizhi's theory of "writing God with form" in the Eastern Jin Dynasty, and Xie He's theory of "six methods" in character painting in the Southern Qi Dynasty, which puts the character's "vividness" in the first place and as the highest criterion, therefore, the most important thing to be revealed in the figure paintings in China is that the figure painting is the most important thing in the world. Therefore, in Chinese figure painting, what is highlighted is the inner world of the character and the temperament of the character.

Ancient Chinese landscape painting mainly depicts natural mountains and rivers and humanistic landscapes as the object of expression, but it is by no means a simple reproduction of these scenes. With its excellent artistic tradition and unique aesthetic value, Chinese landscape painting has become a treasure in the history of world art. As early as in the budding stage of landscape painting, people emphasized that the creation of landscape painting is attributed to "divine thought", i.e., the artist's imaginative activities in the face of nature are emphasized to carry out the creation of "the best feelings" and "mood", and to pursue the creation of "scenic harmony". That is to say, it emphasizes the artist's imaginative activities in the face of nature to create "the most affectionate" and "mood", and pursues the artistic realm of "blending of scenes" and "unity of heaven and mankind", so as to achieve the purpose of "free expression of the spirit". This aesthetic characteristic has been throughout the generations of landscape painting works, but also become a landscape painter consciously follow the aesthetic principles.

The development of Chinese landscape painting, from the history of painting and physical data to confirm, has gone through the following stages: Wei, Jin, North and South Dynasties for the budding of landscape painting; Sui and Tang for the independent development of landscape painting; Song and Yuan for the peak of the maturity of landscape painting; Ming and Qing dynasty for the consolidation of the ink and brush program for the perfect period of landscape painting.

The depiction of Chinese bird and flower painting, not only refers to flowers and birds, but also refers to a variety of plants and animals, including flowers, bamboo and stone, fruits and vegetables, plumes, fish, insects, animals, Bogu and other categories. Depicting all kinds of plants and animals is not only to let people understand their appearance and biological features, but also through these entities with vitality, to reveal the aesthetic isomorphism of psychological factors between humans and natural organisms, and to convey people's aspirations and ideals through the expression of emotions. In the development of Chinese bird and flower paintings, the relationship between the "object" and the "lyric" is complementary to each other.

"Two Horses" painting after the inscription: "I officials, the occasional picture of fat and barren two horses, fat bones of the right to Qi, haunted by a rope and stood steep slopes, although there is anorexia ruminants and beans of the glory, rather than sheep's intestines prostrate the problem of the fall down. Barren skin and hair flaking, rodent withered grass and wind and frost, although there is a lifelong denunciation of the situation, but not the morning and night feed the labor. Even more, the situation is not like this. The world's scholars and scholars of cheap and abusive different and barren system. If they can fertilize a person but not a country, they will not lose their integrity; if they fertilize a person but not ten thousand people, will they not be disgraced and disgraced? If you follow the map, will you not be ashamed of your heart?"