广西侗族农民画在当地基础美术教育中的应用研究

发布时间：2018-06-17 03:08

本文选题：广西三江侗族 + 农民画　；参考：《广西师范大学》2015年硕士论文

【摘要】：广西侗族农民画主要集中在三江侗族自治县,于2012年被列入自治区非物质文化遗产保护名录。它历史悠久,特色鲜明,除具有农民画风格特征外,表现内容多为本民族传统风俗和地域文化。近年来,当地美术教育工作者们充分开发、利用具有地域特色且富于艺术与文化价值的美术课程资源,将表现侗族风情的农民画运用到基础美术教育教学之中,使美术课程资源得到了很好的开发和利用。既丰富了教学内容,为课程改革注入新的活力,又保护和传承了地域文化。既培养了人才,又突出了特色。教师如何充分挖掘潜在的美术课程资源,将其引入课堂是新一轮课程改革实施中亟待解决的问题之一,对美术教育的发展具有重要意义。《美术课程标准》也明确指出美术课程应引导学生参与文化的传承与交流,在文化情境中认识基本美术理念。尤其在教学设备、师资力量、教师培训等方面皆与东部沿海地区存在较大差距的西部少数民族地区,得天独厚的自然风光、民间传统手工艺、民风民俗等在一定程度上形成了自身优势。加之课程决策权的逐步下放,使这些植根于少数民族地区的原生态资源有了被开发和利用的政策支持。因此,不断改善国家课程对于不同地域经济、文化方面的局限性,使之形成“国家、地方、学校”三位一体的管理体制利于发挥各地区学校的自身优势,满足不同学生的个体发展需要,帮助学生建立美术学习的兴趣和热爱家乡的情怀,促进地方文化的传承和发展。本文的创新点在于：一、笔者通过实地调研获取大量广西侗族农民画历史传承与发展的一手资料,将相对零散的资料进行了整理、概括;二、对广西侗族农民画引入美术课堂存在的问题进行剖析,在自身教学设计中力求有针对性的改进。对广西侗族农民画资源的开发与利用,本文分为五部分,四大章来完成,分别为：第一部分为绪论,介绍本文研究内容,将广西三江农民画在基础美术教育中应用的源起、意义、研究过程及现状、研究方法进行简要阐释。第二部分概述三江侗族农民画。从起源及传承、浓郁的地域文化、艺术特点等方面进行剖析,对三江农民画形成初步认识。第三部分对课程资源、美术课程资源概念及其分类进行概述,将其与地方教学改革相联系,为后文的教学实践做理论铺垫。第四部分通过实地调研对其引入基础美术教育中的现状、出现的问题进行分析,从农民画专家教学个例中汲取经验,使之为笔者具体教学实践拓宽思路。第五部分为三江侗族农民画课程资源的教学设计单元课题,将理论落实到美术课程教案编写内容之中,通过实践对该单元课题教学效果进行反思。
[Abstract]:The paintings of Dong farmers in Guangxi are mainly concentrated in Sanjiang Dong Autonomous County and were listed on the list of intangible cultural heritage protection in 2012. It has a long history and distinctive characteristics, except for the characteristics of the peasant painting style, the content is mostly the traditional customs and regional culture of this nation. In recent years, local art educators have made full use of the art curriculum resources with regional characteristics and rich in artistic and cultural value to apply the peasants' paintings, which represent the customs of the Dong nationality, to the teaching of basic art education. Art curriculum resources have been well developed and utilized. It not only enriches the teaching contents, injects new vitality into the curriculum reform, but also protects and inherits the regional culture. Not only has trained the talented person, has also highlighted the characteristic. How to fully tap the potential art curriculum resources and introduce them into the classroom is one of the urgent problems to be solved in the implementation of the new round of curriculum reform. It is of great significance to the development of art education. The Art Curriculum Standard also points out clearly that art curriculum should guide students to participate in cultural inheritance and communication, and to understand the basic art concept in the cultural context. Especially in the areas of teaching equipment, teacher strength, teacher training and so on, the western minority areas, which have a big gap with the eastern coastal areas, have unique natural scenery, folk traditional handicrafts, Folk customs and folklore, to a certain extent, have formed their own advantages. Along with the gradual decentralization of curriculum decision-making power, these pristine resources rooted in minority areas have been developed and utilized with policy support. Therefore, the continuous improvement of the national curriculum to the different regional economic, cultural limitations, so that the formation of "national, local, school" management system is conducive to the development of the advantages of schools in various regions. To meet the individual development needs of different students, to help students to establish an interest in art learning and love the feelings of home, to promote the inheritance and development of local culture. The innovation of this paper lies in: first, the author obtains a large number of historical heritage and development of Guangxi Dong Peasant painting through field research, collates and summarizes the relatively scattered data. This paper analyzes the problems existing in the introduction of Dong nationality peasants' paintings to the art classroom in Guangxi, and tries to improve their own teaching design. This paper is divided into five parts and four chapters to complete the development and utilization of the peasants' painting resources of Dong nationality in Guangxi. The first part is the introduction, which introduces the research content of this paper, and introduces the origin of the application of the three rivers peasants' paintings in the basic art education in Guangxi. The significance, the research process and the present situation, the research method carries on the brief explanation. The second part summarizes the painting of Dong nationality farmers in Sanjiang River. From the origin and inheritance, rich regional culture, artistic characteristics and other aspects of the analysis of the San Jiang Peasant painting to form a preliminary understanding. The third part summarizes the concept and classification of curriculum resources, fine arts curriculum resources, and links them with the local teaching reform to pave the way for the later teaching practice. The fourth part through the field investigation to its introduction in the basic art education the present situation, the question carries on the analysis, draws the experience from the farmer painting expert teaching example, causes it to widen the train of thought for the author concrete teaching practice. The fifth part is the teaching design unit project of the peasant painting curriculum resources in Sanjiang Dong nationality. The theory is put into the writing content of the art curriculum teaching plan, and the teaching effect of the unit subject is reflected through the practice.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：G633.955

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