图面对中国文字的影响

中国汉字的基本构造单位是由图画抽象而成的象形单位。汉字源于图画，由原始的图画演变而成。原始的“实物记事”、“结绳记事”和“契刻记事”只是文字产生以前的孕育方式，不能演变成文字。从岩画到示意图到象形文字，表意较清晰的文字慢慢出现。中国的三种文字形式：象形文字、象意文字和形声文字，受到图画巨大且根本的影响。中国汉字的四个演变阶段：古文、篆书、隶书、楷书，也与图画有着十分密切而直接的联系。     

条件作文指导十法

一、从慢到快。训练之初,不要操之过急,揭示论题要一节课的时间,反复观察阅读,划出重点,专心探本质,求共性。以后逐步自然加快。二、从单一到复杂。提供的条件,文字的或图画的,表现的人和事有单一的有复杂的。要由易到难,由单一到复杂,这才符合认识规律。三、从文字到图画。一般高中生接触文字多于图画,对通过赏析画面的中心与背景、光线的明暗、人物的情态等来表现主题缺乏能力,需要一道工序,即把形象加工为语言。否则,难于进行抽象思维,找出要点,探出本质,求得共性。因此,安排时,文字的在先,图画的在后。四、从分析到归纳。要求学生从提供的条件来揭示论题,必先深入分析,再归纳综合。五、从追溯到廷伸。提供的条件有一定的限制,     

论图画在历史教学中的作用

历史所记述的都是往年的陈迹，对于现代人来说因为不可能身临其境，所以有许多的问题都难于理解，尤其是初中的学生，正处于生长发育的阶段，性格活泼好动，思想处于萌芽状态，因此在历史教学中要认清语言文字和图画的关系，世界上许多民族的文字产生史都证明图画和文字是直系血亲，图画是文字的母亲。图画在原始教育中的地位比文字更重要。     

从媒介发展的角度探寻教育脱离生活的原因

教育脱离生活是伴随着媒介的发展而来的。前媒介时期的教育是和生活最接近的教育；口头语言媒介产生以后，教育通过语言来进行，这是它脱离生活的开始；媒介发展到书面语言阶段，文字符号的学习几乎代替了以文字符号所表示的对象的学习，这使得教育更加远离了生活；电子传媒的出现对教育脱离生活的贡献是双重的，它在使教育生活变得更加贫乏化的同时，又从另一方面使学习者更接近现实生活。     

“美术图片刺激法”及其应用

随着社会的发展，时代的进步，班主任的工作也应与时俱进，学生的问题层出不穷，单纯进行空洞的说教，学生往往很难接受。我在实际工作中，在纠正学生的行为偏差时，经常采用言语沟通与美术图片欣赏刺激相结合的方式对学生进行思想教育，这样可起到事半功倍的教育效果。因为用图画传递出的信息要比文字或语言更自然、更丰富、更符合人类的认识规律。一幅图画胜似千言万语，     

图画对中国文字的影响

中国汉字的基本构造单位是由图画抽象而成的象形单位。汉字源于图画,由原始的图画演变而成。原始的“实物记事”、“结绳记事”和“契刻记事”只是文字产生以前的孕育方式,不能演变成文字。从岩画到示意图到象形文字,表意较清晰的文字慢慢出现。中国的三种文字形式:象形文字、象意文字和形声文字,受到图画巨大且根本的影响。中国汉字的四个演变阶段:古文、篆书、隶书、楷书,也与图画有着十分密切而直接的联系。     

促进幼儿前书写经验形成的教育支持策略

在未接受正式书写教育之前,幼儿已能在阅读图画书等与书面语言互动的过程中,通过图画、符号和类似文字等形式进行"书写"。幼儿这种用非正式的文字符号表达自己想法的行为,我们称之为前书写。从教育的角度看,引导幼儿通过图画、符号和类似文字等形式学习前书写,帮助他们积累早期书写经验,这种教育方式被称为"创意书写"。研究证明,幼儿的前书写行为能帮助他们建立早期书写的行为习惯,加深对汉字的关注、观察和了解,感知属于汉字的独特规     

陈鹤琴儿童美术教育思想及启示——从大班美术活动“大大的苹果”谈起

早在公元前4世纪,古希腊哲学家亚里士多德讲到图画教育的意义和必要性时曾说:“必须用三种艺术的表现方式来教育青年,即色彩和形状的表现方式、声音和文字的表现方式及和谐和节奏的表现方式。”这里所说的色彩和形状的表现方式就是绘画。从这段文字中,我们可以看到美术教育的价值和在幼儿园开展美术教育的必要性。正如陈鹤琴先生所说:“图画既是每个儿童都爱不释手的,也是可以增加儿童知识的工具和怡养性情的利器。”     

中国文字的发展

文字是记录和传达语言的书写符号，是人类重要的辅助性交际工具。人类都曾经过一段无文字时代，口耳相传。到后来有了传说中的结绳、契刻或图画符号来帮助记忆，被认为是早期的图像文字。各种文字的开始，都可溯源于图画，即从“象形”开始，但大多数国家的文字走向表音文字的道路，虽然古代埃及、苏美尔、克里特等文字也是表词文字，但早已不复存在，而中国的汉字却沿着“表词”的道路发展下来，全世界也就只有汉字一种了。     

教育叙事:《獾的礼物》

<正>背景介绍:时下绘本教学很流行。所谓绘本,就是以图画为主体,用图画与文字共同叙述一个完整的故事。在绘本里,图画不再是文字的附庸,不需要文字,图画就可以讲故事,所以,绘本对年幼的孩子来说是最佳的阅读选材,而且通过绘本教学还可以很好地发展幼儿的观察力、想像力、理解力和表达力。但是,面对一     

Children's choice of drawings to communicate their ideas about technology

This study examines children's choice of drawing to communicate their understanding of the concept “technology”. The study explored whether the children's drawings accurately reflected the depth and range of their understanding of technology in a way that was interpretable by others. Data were collected from 314 primary school children in England and 745 children in Western Australia. Children were invited to demonstrate their knowledge and understanding about technology by responding to a writing/drawing activity and a representative subsample were then interviewed about their responses. About two-thirds of children's responses to the activity included drawings. Children held a wide range of ideas about technology and only rarely was a drawing difficult to interpret. Although overall the drawings reflected the range of children's ideas, sometimes they did not reveal the depth or breadth of an individual child's understanding. Consistent with the ideas represented in the drawings, the interviews found that younger children held simpler ideas about technology, while older children held more complex, and sometimes quite abstract concepts of technology. A notable difference between the two countries was the emphasis on “design and make” and a smaller proportion of no response in the English sample, reflecting the greater length of time technology education has been implemented in England compared to Western Australia.     

郑板桥画竹题记理趣初探

郑板桥作为"扬州八怪"之一,享有"诗书画印"四绝的赞誉,其画竹题记更是饶有理趣,真率、深刻、独特地表达了他的宗法自然、务求创新的美学思想、创作体验、艺术手法.同时,题记语言清新、质朴,别有韵致,实属值得珍视的艺术奇葩.     

普通高校档案学专业识图课程的研究与实践

识读图纸是普通高校档案学专业学生必备的一门基本功 ,是档案学专业的基础课程。对高校档案学专业的学生识读图纸的教育应是“点”到为止 ,重点应是识图基础知识的教育 ,特别是图纸形成的一般方法和表达图纸的常规知识的教育。     

Distance Teaching by Cyclops: an educational evaluation of the Open University's telewriting system

The trend towards courses with low, widely scattered student populations in the Open University makes the provision of face-to-face tutorials difficult. Telephone tuition is being used as an alternative. One major drawback of this is the lack of a graphics facility for communicating writing and drawings.
To help overcome this the Open University has developed a graphics telewriting terminal called Cyclops which allows for the live transmission of writing and drawing by telephone.
This paper describes the Cyclops telewriting system and explains how it has been used in a two-year trial project, funded by British Telecom, for tutoring Open University students in the East Midlands region of England. Preliminary findings from the evaluation of the trials are discussed and suggestions for setting up similar distance-teaching systems are offered.
The two-year trial of Cyclops is proving that telewriting tutorials are both educationally effective and acceptable to a large number of students and tutors.     

机械制图课程内容体系改革探索

对传统的高职高专教育机械制图课程内容体系进行了建设性的改进和完善。首先，将原体系的有关内容进行了精简和重组。其次，将原体系有关内容的教学顺序进行了调整。再次，将原体系的有关内容进行了充实，适当增加了徒手绘图的练习内容，在组合体、机件表达方法和零件图中充实了所列举零件的必要背景知识，填补了可用于实际生产的零件工作图。     

高职院校机械制图课教学探析

机械制图是高职教育的一门专业基础课程,主要教给学生绘图和识图技能,培养学生的空间思维力和空间想象力。抓好课堂教学、制图作业、CAI教学、CAD教学、零件测绘、制图测绘专用周实践、机械加工生产实习等环节是制图课教学成功的关键。     

Make a drawing. Effects of strategic knowledge,drawing accuracy,and type of drawing on students’ mathematical modelling performance

Drawing strategies are widely used as a powerful tool for promoting students’ learning and problem solving. In this article, we report the results of an inferential mediation analysis that was applied to investigate the roles that strategic knowledge about drawing and the accuracy of different types of drawings play in mathematical modelling performance. Sixty-one students were asked to create a drawing of the situation described in a task (situational drawing) and a drawing of the mathematical model described in the task (mathematical drawing) before solving modelling problems. A path analysis showed that strategic knowledge about drawing was positively related to students’ modelling performance. This relation was mediated by the type and accuracy of the drawings that were generated. The accuracy of situational drawing was related only indirectly to performance. The accuracy of mathematical drawings, however, was strongly related to students’ performance. We complemented the quantitative approach with a qualitative in-depth analysis of students’ drawings in order to explain the relations found in our study. Implications for teaching practices and future research are discussed.     

建筑CAD工程图的图样比例与尺寸标注设置

在建筑工程图的绘制中,图样比例和尺寸标注的设置是非常重要的环节。鉴于目前工程图纸在CAD模型空间绘制和打印中普遍出现的图面混乱、图样的绘制随意放大缩小等问题,基于国家制图标准的要求,探讨软件应用的规律和操作方法,使图面布局合作,减少多次设置的麻烦,从而使工程图纸的绘制更加规范。     

How Drawing is Taught in Chinese Infant Schools

The benefits of drawing for children are wide‐ranging but are likely to be mediated by the art curriculum and other governmental guidance to teachers relevant to drawing/art. Furthermore, such statutory regulations vary between cultures, and therefore curricula represent an important influence on the cultural differences found in children's drawings. Previous articles on the teaching of drawing in Chinese schools have commented upon the emphasis placed on children copying from adult drawing models. However, a new art curriculum was implemented in Chinese infant schools (3–6‐year‐olds) in 2002, still in operation today, which instead places an emphasis on the children's enjoyment of drawing through making creative and expressive pictures from their imagination. This article describes the key objectives stated in the Chinese art curricula for infant schools. We also present an interview with a Chinese infant school teacher in which she provided in detail how the curriculum is typically applied to the teaching of drawing. The interview also provided some background context to why the curriculum was changed and to its delivery. The article comments on the pedagogical practices adopted, and comparisons are made with Western art education and, in particular, to the teaching of drawing/art in England for the same age group. Finally, we consider what implications the Chinese approach has for the ‘non‐interventionist’ approach to young children's drawing/art that is frequently found in Western art education.