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Download Article (PDF) Advances in Social Science, Education and Humanities Research (ASSEHR), volume 182 2018 2nd International Conference on Education, Economics and Management Research (ICEEMR 2018) Two Suggestions toward Teaching Methodologies of Chinese Paintings in the Contemporary Context Sha Zhuo Xinzhe Yao Guangzhou University Guangzhou Academy of Fine Arts School of Fine Arts & Design Guangzhou, China Guangzhou, China [email protected] [email protected] Meishu Lin Rui Wei Guangzhou University Guangzhou University School of Fine Arts & Design School of Fine Arts & Design Guangzhou, China Guangzhou, China [email protected] [email protected] Ting Cao Guangzhou University School of Fine Arts & Design Guangzhou, China [email protected] Abstract—To discusses the problem and predicament of Chinese painting education in the context of cultural shock. We II. ISSUES ARISING FROM CHINESE PAINTING EDUCATION use the combination of theory and practice to investigate and AND RELATED ANA LYSI S study this problem. In regards to the issues arising from the education, there are two suggestions to be proposed. We should A. Conflicts and Separation of ‘Traditional Chinese encourage teachers to train students on their ability of identifying Painting’ and Contemporary Ink and Water Painting in and interpreting paintings as well as enhance their theoretical Arts Education knowledge. In addition, the teachers should urge students to broaden their horizons by visiting art galleries and museums as Mr. Yu Li, the translator of Chinese Painting: A Pictorial well as exploring resources online History mentioned that when the study of Western painting started evolving into Humanities, especially in the places where Keywords—Chinese Painting; Ink and Water Painting; arts concepts are comparatively advanced, its modern and Teaching contemporary parts are widely recognized and accepted. Why did the Chinese painting history still stay in its original position which belongs to Paleology? And why is Chinese painting I. INTRODUCTION history still a part of traditional scholars’ interests, rather than It is well known that Chinese painting, as one of the most be promoted to the modern and leading-edge knowledge?[1] treasured wealth of traditional culture, has received lots of This is an awkward situation. Students, teachers and many attentions. Thus, Chinese painting education has always been people in the society still consider Chinese painting study is emphasized as well. In the era with highly developed part of Paleology; and only the contemporary ink and wash information, Chinese painting education is confronted with paintings belongs to modern arts. This misunderstanding rooted enormous challenges, including the impact of multiculturalism in lots of people, which also results in the lack of theoretical and foreign cultures. In addition, the doubts towards our own and practical teaching toward Chinese painting education. culture also have a negative impact on Chinese painting education. Finding out a better way to cope with these Chinese paintings are often treated differently in dilemmas and pressure and be able to sustain long-term growth international and domestic exhibitions. Comparing to the have become key issues for Chinese painting scholars to domestic arts market, Chinese paintings would receive more consider. attentions from international arts market. Chinese scholars insisted on the opinions that contemporary ink and wash paintings cannot surpass the traditional ink. as well as wash paintings that were completed before 18 century, in regards to the techniques and cultural deposits; meanwhile, they cannot Copyright © 2018, the Authors. Published by Atlantis Press. 564 This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). Advances in Social Science, Education and Humanities Research (ASSEHR), volume 182 have continuous innovations or bring forth the new through the In most universities and colleges, it is common to find old. Thus, Chinese paintings started declining. painting techniques occupying most of the teaching contents in Chinese painting education plan. On the contrary, the training Some other scholars also have reflected on this issue. For on identifying and interpreting painting is neglected. In other instance, Mr. Li opined that the reason why Chinese painting words, teachers rarely explain the symbolic meanings, the still belongs to Paleology is closely related to the study content of paintings as well as their social functions during the methods of Chinese paintings. He believed that “Chinese painting imitation process, which is the ‘fatal’ negligence for traditional scholars often conduct researches on Chinese by the visual arts. studying it as a part of Literature, Philosophy and History to seek for meanings of life and human relationships... thus, it In fact, this also goes against the appreciation approaches, would be inevitable for painting to be mixed up with Literature historical meanings and social functions of Chinese paintings and Philosophy. And, it will lose its deserved position in in its historical developments. Chinese paintings always focus society”.[2] Chinese paintings is closely related to Literature on how to use brush to sketch the lines and the skills of and Philosophy, which has already been deeply rooted in chapping, rubbing, dotting and dying, which had its peak time people’s minds. Being separated from the current society, during the era of Mi’s style of water and ink painting landscape. traditional ink and water painting would be unlikely to arouse The earliest Chinese paintings, two silk paintings unearthed in the sympathetic responses of the young generations. Without Mawangdui, Changsha, Hunan, which made use of neat ink the ancient social society and ancient Chinese painting lines to draw and blend with certain colors, has been regarded concepts, it would be very difficult for the young generations to as the most legitimate painting in the later centuries. Chinese understand paintings’ meanings or aesthetics of artistic painters always put emphasis on lining and take advantage of conception expressed in traditional ink and water paintings. lining as the main tool to describe and present their paintings. However, some other artists choose to study how to destroy the B. Other Related Issues completeness of the single lines, which is deviated from the In addition, there are some other common issues. Firstly, mainstream idea. Nevertheless, they cannot be separated from weak theoretical knowledge often holds students back. In the the formal analysis of paintings and symbolic meanings the current education in the academy of fine arts, arts major have artists try to present. been divided into two approaches of teaching: theoretical and However, Chinese painting teachers always ignore this practical. In the meantime, students are assigned to different basic question during the teaching process. They do not faculties to learn practical theories with distinct focuses as well interpret the painting’s content, conduct formal analysis, as the traditional theoretical literature education. research on the symbolic meaning or show students the method The students majoring in Chinese painting education of copying drawings by following the painting meanings. In the mainly do research on Chinese painting techniques, but lack contrary, they asked students to imitate directly, which would the knowledge of Chinese painting criticism and Chinese be difficult for students to understand the painting’s contents, painting history in their undergraduate stage. Insufficient especially at their first time seeing the painting. Therefore, the theoretical knowledge impedes them from discovering Chinese paintings would only be imitated on a a superficial basis painting techniques. Some students even started working on without their “souls”. Indeed, technique is the most significant their so-called artistic creations without sufficient theoretical factor in traditional painting. Nevertheless, emphasizing too understandings. It has caused their artworks to lack of spiritual much on forms will deviate from the dialectical attitudes background and meanings; yet, their works are full of toward technique form; such as the image theories of formalism. Also, this issue also led to the insufficient creativity traditional painting and some classic theories. The reason why among a lot of students. Chinese paintings could make progress constantly is that artists during the past dynasties put more attentions on ‘breaking Secondly, certain teachers are in the habit of employing down’ and ‘creation’ of forms. Spirit and rhyme, elegance and only one criterion to evaluate students. This has made students unconventionalism is the guarantee for quality, as well as the to lose their independent thinking and problem-solving abilities. soul and core of Chinese paintings. Only if you could With such teaching methods, the students’ artworks will always understand the theories and criteria of traditional paintings and present the same style and techniques as their teachers’ work. apply them to the contemporary Chinese painting education To some extent, this would be more like imitation and short of entirely, as well as create the ‘The Theory of Image’ and individualism. ‘Theory of Six Principles of Painting’ of our time rather than follow blindly, then Chinese painting can be revolutionized and III. DISCUSSION OF RELATED TEACHING METHODS evolved. In addition, the approaches of appreciating Chinese A. Formal Analysis:
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