What are some of Prof. Yang Jingzhi's writings on children's art?

Yang Jingzhi, female, Manchu, born in September 1940, is a native of Tianjin, China. she graduated from the Oil Painting Department of the Beijing Art Teacher Training College in 1960, and studied for five years under the tutelage of Mr. Wei Tianlin and Mr. Wu Guanzhong. Since he has been engaged in art education for 42 years, he has devoted himself to the study of basic art education in China, combining the world's advanced education ideas with Chinese reality, and summarizing a set of art education theories and methods with Chinese characteristics in practice. He advocates emphasizing the development of children's own potential ability, focusing on the development of creative thinking ability, and making art an important means of quality education. He advocated aesthetic education through intuition, and played a pioneering role in promoting children's sketching and creative teaching.

1, as the position:

① Capital Normal University Children's Literature and Art Research and Development Center, deputy director

② China Artists Association of Children's Arts Committee, secretary-general

③ China's Children's Plastic Arts Society, vice-president

④ China's Education and Art Research Association, director

⑤ China's children and young people, director of the plastic arts training center

⑥ China's children and youth plastic arts training center.

6 Served as a judge and director of major international and domestic children's painting competitions

2. Main Achievements:

①

Took charge of the key project of the National Education Science Ninth Five-Year Plan, "Research on the Practices of Art Education in Schools", and published the book "Art Education and Human Development", which was awarded by the Beijing Municipal Government in 2000, and was published as a book on "Art Education and Human Development".

In 2000, he was awarded the second prize of the Sixth Outstanding Achievements in Philosophy and Social Sciences of Beijing Municipality issued by the Beijing Municipal Government.

② Editor-in-chief of the nine years of compulsory education National Education Commission approved textbooks for elementary school art textbook, published by the People's Fine Arts Publishing House in 1991. It was awarded the First Prize of "Teaching Materials Writing, Publishing and Distribution" by the State Publishing Administration.

3 Editor-in-chief of the nine-year compulsory education full-time elementary school art video teaching materials, published by China Electronic Audio and Video Publishing House in 1994.

④ Editor-in-chief of the art textbook for young children "Children's Big Drawing Room", published by Guangzhou Publishing House in 2002.

5 Participated in the editing of "Nine-year Compulsory Education National Education Committee Audited Textbook of Secondary School Art Textbook", published by People's Fine Arts Publishing House in 1993.

6 Publication of the book "Chinese Contemporary Children's Painting Explanation and Tutorial", 1997 was awarded the third prize by the State Education Commission of the "1996 National Teachers' College Basic Education Reform Experimental Research Project Outstanding Achievements".

7

Other works include: Children's Painting and Intellectual Enlightenment, Children's Sketch, Basic Sketch Teaching, Children's Heart? Children's Painting", "Children's Picking Sketch Collection", "Selected Award-winning Excellent Art Works of Beijing Primary and Middle School Students", and more than 10 other works. In addition, a large number of articles have been published.

⑧ Holding lectures at CCTV, Beijing TV and Beijing Radio, and more than 50 lectures and academic reports for teachers and students of teacher training colleges, middle schools, elementary school, kindergartens and parents in various provinces and cities across the country.

Theoretical Basis

.... .1. "Drawing Potential" Theory. American art educator Victor? Roenfeld's research found that children before the age of 10, his ability to draw is the child's potential ability to develop in tandem with intellectual and cognitive abilities. People have the potential to create a visual language symbols to express the image of the mind, painting is not a minority of "genius" unique ability, the ability to paint with the human cognitive and perceptual development of the natural forward development, indeed, not by learning to improve the painting skills.

2. "Discovery learning" theory. The famous American contemporary psychologist Bruner (J?S?Bruner) that the learning process of the learner is not only the process of active access to the sensory things for selection, conversion, storage and application, but also active learning, adaptation and transformation of the environment. Thus, it seems that children are also discoverers and have the ability to learn spontaneously.

3. "Inspired education" theory. According to Prof. Yang Jingzhi, inspiration is the catalyst to cultivate children's ability. In the process of teaching children to learn to draw, we constantly ask questions to guide children to pay attention to and think about the problem, and then they will figure out how to solve the problem on their own.

Every child has the potential to draw and paint, if left to develop naturally, it will stagnate, if you ignore the laws of development, to instill drawing skills, but hinder the child's development. Based on the three theories mentioned above, Enlighten Children's Painting emphasizes the spontaneity and initiative of the child's own existence, and uses an activating method to enlighten the child's art activities through active discovery and active exploration, thus cultivating the child's creative thinking, developing his or her personality, and improving his or her aesthetic qualities.

The theoretical breakthroughs of Prof. Yang Jingzhi, a pioneer of children's art education in China

1. Discovering that children's painting development peaks at the age of 5 or 6

In the years when China's doors were first opened, it was difficult for her to find a copy of a foreign book on children's art research. Once, she found a book on children's art education published in Hong Kong at a book fair, which said that children's drawing and children's intellectual growth are synchronized. In order to confirm this assertion, she carefully observed and studied the developmental rules of children's painting from actual investigation, and explored the relationship between Chinese children's intellectual development and their painting ability through experimental teaching of children's painting. She found that previous survey reports were usually kindergarten censuses for statistics and characterized different stages of development according to children's modeling skills. Such a measurement creates problems because it does not truly reflect the natural developmental patterns of children's growth, which include the factors that art education influences on children's development. Children who grow up under the influence of different educational environments and teaching levels show uneven levels of art skills. Especially in China's family education, where only children live surrounded by two generations of elders, they appear to be precocious in all aspects of knowledge and precocious in skill training. Obviously, foreign research results do not match the actual situation in China. In addition, observing children's mental development solely from the level of skills also creates the illusion that learning just a little bit of drawing skills will lead to an improvement in children's quality. However, the reality is the opposite: learning to draw by copying alone will only depress children's creative abilities. By observing the development of children's creative drawing, she found that the peak of children's drawing development is not at the age of 8, but at the age of 5 or 6. Because children's cognitive development in this period is not constrained by real life, no matter in terms of modeling, color application or spatial representation of the picture, children paint according to their own subjective understanding. Therefore, their paintings often show extraordinary creativity and rich imagination.