“简笔”的意蕴与审美趣味——论教学简笔画艺术语言与艺术表达形式

＂简笔＂所包含的意蕴是教学简笔画艺术语言与艺术表达形式的核心。＂简笔＂的意蕴具体而充分地实现,不仅在于教学简笔画所运用的线条语言形式以及所强调的简洁、生动、流畅的用笔,而且其所采用的程式化艺术表达形式实质上就是符号化艺术表达形式的进一步升华。从某种意义上来说,它们两者之间实现了一减再减的递进关系,从而进一步增强了＂简笔＂的意蕴和审美趣味。     

试析东观主人评点《红楼梦》之“补笔”与“特写”论

在对《红楼梦》人物塑造的阐释中,东观主人较早地提出了＂补笔＂和＂特写＂两种方法。认为人物描写离不开＂补笔＂,适当的＂补笔＂有利于刻画人物性格;而且为了突出某个人物,有时需要着意描写——＂特写＂。这既丰富了《红楼梦》评点之人物论,也发展了明末清初以来关于人物塑造的理论认识。     

对高职《化工制图》教学的若干探索

为满足高职院校培养技能型、应用型人才的需要,对《化工制图》的教学内容、教学方法、考核方法等方面进行了初步的改革研究.     

How Haptics and Drawing Enhance the Learning of Anatomy

Students’ engagement with two-dimensional (2D) representations as opposed to three-dimensional (3D) representations of anatomy such as in dissection, is significant in terms of the depth of their comprehension. This qualitative study aimed to understand how students learned anatomy using observational and drawing activities that included touch, called haptics. Five volunteer second year medical students at the University of Cape Town participated in a six-day educational intervention in which a novel “haptico-visual observation and drawing” (HVOD) method was employed. Data were collected through individual interviews as well as a focus group discussion. The HVOD method was successfully applied by all the participants, who reported an improvement of their cognitive understanding and memorization of the 3D form of the anatomical part. All the five participants described the development of a “mental picture” of the object as being central to “deep learning.” The use of the haptic senses coupled with the simultaneous act of drawing enrolled sources of information that were reported by the participants to have enabled better memorization. We postulate that the more sources of information about an object, the greater degree of complexity could be appreciated, and therefore the more clearly it could be captured and memorized. The inclusion of haptics has implications for cadaveric dissection versus non-cadaveric forms of learning. This study was limited by its sample size as well as the bias and position of the researchers, but the sample of five produced a sufficient amount of data to generate a conceptual model and hypothesis.     

唐卡颜料的配制工艺及其应用

唐卡是藏族地区集宗教传播与绘画欣赏于一体的独特形式,与其它绘画相比唐卡具有画工精细、色泽艳丽、色彩保持久远的特点,这与其独特的颜料配制及使用方法有着密切的关系。由于唐卡艺术衍生在藏区这一特定的文化与生活土壤里,尤其是融人了藏传佛教、绘画艺术等语言,使其更具有原创性、地域性而独具风采。     

制药工程制图教学的几点思考

"结合制药工程制图的教学实践,对教学过程中所遇到的问题进行分析思考,克服传统教学模式中存在的一些消极因素,探索性地运用一些创新教学方法,以激发学生对本专业的学习热情,提高制药工程制图的应用能力。     

水彩画和水墨画比较

水彩画和水墨画,一个是西方外来的绘画形式,一个是中国传统的绘画形式。由于各自所依赖的传统哲学思想不同,所以导致绘画观念、思维方式和审美情趣的不同。然而,两者在作画媒介上都用水作为中介,所以在绘画效果上又有许多相似之处。     

计算机绘图直接应用于工程制图教学

将计算机绘图直接应用于工程制图的教学实践进行总结,对实际工作有很大的启迪。如何把计算机绘图与传统制图教学有机地结合起来,是当前高等学校工程制图教学中探索的主要内容。     

中国画线描与线型思维--从线描与线型出发兼谈石涛"一画"论

中国画线描植根于中华民族的族群心理,体现为一种生命气象的符号表达,是一种“道法自然”的中国文化精神的体现。中国人在以线条描绘的艺术实践中形成了线型思维的模式,它构筑了中国画艺术大厦的基本框架。这是中国画的“众有之本,万象之根”,中国画的根本属性就建立在这个“一以贯之”的大道之上。     

论计算机图形图像软件应用

文章就当前中国计算机图形图像软件的应用进行论述,对他们的发展方向、利弊也进行了评述和分析.