1.Development and Application of Chinese Traditional Excellent Art Culture Course Resources
Profile of the Speeker:
Xu Jun, teaching at Huzhou Wuxing Experimental Middle School, is senior special teacher, master tutor, leading talent in South Taihu education. He has won the first prize of the first prize of the national fine art class. He is also special tutor of the Academy of Fine Arts of East China Normal University, Instructor of famous teacher studio at Nanjing Normal University, host of Xu Jun special teacher studio in Zhejiang Province. He is Member of the editorial board of the high school art textbooks "Painting" and "Design" published by People's Fine Arts Publishing House.
Introduction of the Lecture:
The natural mountains and rivers that cannot be bypassed, the cultural normality that cannot be avoided. So, how do we tap the high-quality resources of culture and let students approach the cultural field and explore secrets? Mr. Xu Jun analyzed the curriculum resources and teaching of Chinese traditional fine arts and culture, basing on his own research and practice on traditional culture teaching for many years, and combining with "Moving Colors on Books" (book binding) and "Cutting skill" ( Ming-style furniture), ""Brush of Huzhou is best of the world (Brush of Huzhou), "Elegant Item Hidden in Sleeves" (folding fan), "A Part of Engraving" (engraving printing), "The Beauty of Song Porcelain", "Construction Methods" (Chinese ancient architecture), "Silk Road Flower Rain" (Dunhuang Art) and other eight course practice cases.
1. Where are we?
Natural mountains and rivers, green forest on mountains have formed the cultural advantage resources of our respective regions. By digging, screening, sorting, refining, and integrating these cultural resources, many new growth points can be obtained in the teaching field.
Mr. Xu showed the students powerful teaching cases about regional cultural resources such as "Chinese Ancient Architecture", "Folding Fan" and "Brush of Huzhou". In addition, Mr. Xu told the students about his Dunhuang experience and book collection hobbies. He emphasized: In the process of developing traditional cultural curriculum resources, we can always pay attention to and connect with our own interests and experiences, learn to focus on our own advantages, and maximize our strengths and avoid weaknesses.
2. Cultural Field
How to let students walk into and get close to traditional culture? Mr. Xu proposed that the distance between students and traditional culture in time, space and cognitive experience can be shortened through dynamic image materials, static graphic materials, and physical teaching aid materials. At the same time, we need to always pay attention to the "gradient" in the teaching process. Simple teaching activities can guide students to gradually enter the field of traditional culture, and achieve closeness and understanding of culture.
Mr. Xu then combined the teaching link of "stacking disposable paper cups" in his "Chinese Ancient Architecture Code" lesson to guide students to experience what the ancients did when they built houses, and aroused students' interest in exploring the "Dougong" structure.
3. "Live" Teaching Aid Design
Through the use of teaching aids such as the "Dougong" teaching aids in the "Chinese Ancient Architecture Code" and the "Ton and Tenon" teaching aids in the "Ming Furniture" class, he emphasized the auxiliary role of teaching aids in explaining traditional cultural knowledge. The connotation of traditional culture can be presented to students intuitively. In the process of "playing with" teaching aids, students have formed their own understanding of traditional culture through disassembly, assembly, and production, and formed their own understanding of traditional cultural principles and cultural values during independent exploration. Mr. Xu pays special attention to the distance between students and traditional culture, and encourages every student to observe, touch and feel traditional culture with the help of teaching aids.
4.Walk into the Museum
How to make full use of traditional cultural resources to maximize the value of art education? Based on his experience in setting up the course "Ancient Chinese Architectural Code" in the architectural complex of the Ming and Qing Dynasties-"Lu House", and his experience in opening a traditional cultural classroom in a museum, Mr. Xu proposed that it's necessary to move the classroom into museums and intangible heritage sites, etc. We can improve students' sensitivity to traditional culture and their enthusiasm for participating in teaching activities through the combination of a strong cultural atmosphere and a teaching mode of cooperation between libraries and schools.
Mr. Xu pointed out that a teacher needs to continue to research and study, to have a broad vision and a rigorous attitude towards class, so that students can get more information from the course and achieve a deeper understanding.
Mr. Qin Hua concluded: Mr. Xu’s lecture showed the whole process of teaching and the spirit of craftsmanship. The course itself is a manifestation of the craftsmanship spirit as the proverb said that "to take a broad view and make an appointment, and to accumulate thinly". Only if doing like "broad and then deep, prepare ten and then use one", we can achieve "showing but all obeying the decorum".
Piloting by Class
In order to improve the efficiency of instruction, in the afternoon, the summer school will continue to adopt the class-based teaching system in the course of expert instruction in the afternoon. In the afternoon of August 17th, the courses were led by Teachers Dai Zehua and Wang Yan, Ren Jinxing and Li Qin respectively to lead two classes A and B to give targeted guidance.
Profile of tutors:
Dai Zehua is art teacher, senior middle school teacher, national outstanding teacher, member of the China Education Association, national training expert, member of the national art academic quality monitoring expert group, and subject leader at special-grade teacher studio of Xujun, Zhejiang Province. He is also Huzhou 1112 Talent Project Comprehensive Training candidate, Huzhou teaching expert, individual with Outstanding Contribution to Huzhou Education Work, member of the Subject Group of Huzhou Art Center, instructor of Anji County Primary and Secondary School Artists Studio, Anji County Sixth Batch of Academic Technology leader and cultural leader in Anji County.
Wang Yan is art teacher and researcher in primary and secondary schools in Xinzhan District, Hefei. She has won the second prize of National Education and Teaching New Curriculum. She has participate in the compilation of supporting courseware for the new edition of Hunan Fine Arts Publishing House's high school fine arts textbook.
Ren Jinxing, Master of Arts in Nanjing Normal University, has been engaged in art education research for a long time. He is member of the editor of Hunan Fine Arts Publishing House's new high school art teacher's book, textbook supporting courseware, and editor of People's Fine Arts Publishing House's new high school art teacher's book "Chinese Calligraphy".
Li Qin, Master of Fine Arts Education from Nanjing Normal University, editor of Teaching Material Department of Hunan Fine Arts Publishing House, editor of Hunan Fine Arts Publishing House Curriculum Standard Revised High School Art Textbook Teacher's Book "Design". She has participated in the high schools of Hunan Fine Arts Publishing House and People's Fine Arts Publishing House Compilation of art textbooks. She's also participant of the Ministry of Education’s Compulsory Education Literacy Monitoring Project. She has published many articles in magazines such as "Chinese Elementary and Secondary School Art", "Modern Education Technology", "Art Education Research" and other magazines. The main research direction is comparative study of Chinese and foreign textbooks.
Brief of direction:
Regarding the question "How to apply calligraphy themed courses in students' lives" raised by trainee Deng Yanying, Mr. Dai pointed out that students may have a certain sense of distance from the Weibei theme courses. However, it is possible to integrate calligraphy into student life through cultural creation or flea market to enter the campus, and draw the distance between students and calligraphy. At the same time, the core of the calligraphy curriculum is refined by referring to the case of the Forbidden City Cultural and Creative. With regard to "developing calligraphy courses in the form of a street stall economy," Mr. Dai said that there are various forms. It would be wonderful to consider using calligraphy styles to design stationery, water cups, and newspaper texts, and launch small competitions and cultural and creative exhibitions.
Regarding trainee Jin Rui’s question about the general concept of the course, Mr. Dai pointed out that the general concept of Yuan Dynasty landscape painting in his group course was not appropriate enough, and suggested that it should be changed to “the historical heritage and innovative development of Yuan Dynasty landscape painting”. It is necessary to mainly appreciate the works of Mi Fu, supplemented by the works of Wang Meng and Ni Zan. Then, Mr. Dai pointed out that we should pay attention to understanding the social background of Yuan Dynasty in curriculum development.
Regarding "how to get students’ evaluation and feedback more intuitively in the appreciation class", Mr. Dai believed that there are many ways to evaluate courses, not limited to feedback from students’ screens, and it is recommended to design student self-evaluation as a preliminary evaluation.
Regarding the courseware design of the eighth group of "Suzhou Gardens", Mr. Dai pointed out that it is necessary to refine the core concepts of Suzhou gardens to avoid only explaining the mistakes of pavilions, windows and pavilions and creation. At the same time, he suggested that the group combine Suzhou gardens with literary poetry to create vitality Classroom. Mr. Dai explained that we need to combine a variety of teaching materials to guide students to form the concept of garden space, and to establish empathy through the dynamic effects of courseware. Then, the time of courseware dynamic effects and the teaching process should also correspond. Ms. Wang Yan believes that the course goal of "Suzhou Garden" is not clear enough, and the courseware needs to be oriented. In addition, Ms. Wang also combined with her micro-class "The Secret of Porcelain" to propose that the courseware production should pay attention to ingenuity and introduction.
In response to the two lessons of "God and Things-Artistic Conception of Pen and Ink and Chinese Painting" and "A Thousand Miles of Rivers and Mountains", Mr. Dai pointed out that the color and style of the courseware should consider the theme of the course, and choose the style of the courseware from the areas and art categories. And it should keep improving in fonts.
In conjunction with the "Girl with Pearl Earrings" in the "Light and Mood" courseware, Mr. Ren demonstrated that the tendency of the course content should be considered when making the courseware, and the details should be appropriate. Using this painting as a clue, he followed the vines and used theoretical knowledge to in-depth picture analysis, forming a barrier of knowledge and advancing in a cycle. Mr. Ren pointed out that the works need to be representative, the teaching goals must be clear, and the focus of teaching is to explore the key meanings of the works.
Ms. Li believed that the curriculum needs to be connected with other disciplines and discover the characteristics of different art types (such as: design involves practicality and aesthetics). Therefore, we must pay attention to the thinking of the curriculum background, and truly understand and design the curriculum from the student's level.
As for what skills teachers should master in courseware production, Ms. Li proposed the following suggestions:
1. Review the previous courses before class and connect students' existing knowledge points in series;
2. Learn to "think empathy" and understand students' thinking;
3. Appropriately integrate modern elements to narrow the distance with students;
4. develop the curriculum with storytelling and connect with students' lives;
5. Start thinking first, then solve puzzles;
6. Design teaching activities based on academic conditions;
7. Use cases to integrate learning and guide learning by doing.
8. Enrich students' senses with the help of videos;
9. Avoiding fullness of important points in courseware content.