节点文献
对契斯恰科夫素描教学体系的再认识
【作者】 钱为；
【导师】 奚传绩；
【作者基本信息】 南京艺术学院 ， 设计艺术学， 2008， 博士
【摘要】 本文作者通过对相关的第一手资料的掌握和在俄罗斯学习研究的体会,并结合多年来素描教学的实践经验,对契斯恰科夫素描教学体系的理论和方法进行了比较全面的梳理和分析;目的是为了能够更好地了解其真实面目,加深对这一素描教学体系的认识和理解,为我国今后的素描教学提供参考和借鉴。契斯恰科夫素描教学体系立足于唯物主义思想,创造性地把素描界定为一种“思维过程”,即对客观物质存在形态的认知过程。这一创造性的界定把素描从造型艺术创作的众多要求中解放出来,更加明确了素描练习的任务和目的,使素描成为真正意义上的一切造型艺术的基础。契氏素描体系坚持以科学为准则和手段,把素描练习称之为“校验素描”实验法,即利用透视、解剖、光学等科学知识和原理,把认识到的客观物象在二维平面上表现出来,再用这些科学规则进行校验和矫正。这样反复练习,以达到提高认知能力和水平的目的。本文作者在考察契氏素描体系对苏―俄,特别是对中国素描教学影响的基础上,对其在学术上的价值及其历史地位提出了自己的看法。
【Abstract】 By grasping the relevant first—hand materials as well as a study experience in Russia, and combining with many years’sketch—teaching practices, the author gives the Chistiakov—Sketch—System theory and its methods a more comprehensive analysis, the purpose is to facilitate knowing its‘true colors’better, deepen the understanding about this system, and provide a reference for our country’s sketch teaching in future.The author puts forward that, the Chistiakov—Sketch—System has been established on the theory of materialism. It creatively defines sketch as a‘thinking process’, namely a cognitive process of the forms of objective reality existence. Therefore, it liberates sketch from many requirements of art creation, specifies the mission and objectives of sketch practices more clearly, and makes sketch to be a foundation for all plastic arts in the real sense. Moreover, the Chistiakov—Sketch—System takes science as its criteria and means, calls sketch teaching as an experimental method of‘check—out sketch’, which means by taking advantage of perspective, anatomy, optics and other scientific knowledge and principles, to display the cognizant objects onto a two—dimensional surface, again adopt these scientific rules to carry through verify checks and corrections. By doing exercises repeatedly in this way, people will achieve the purpose of increasing their cognitive abilities and levels.Finally, for the academic value and historical status of the Chistiakov—Sketch—System, based on the review of its influences over Soviet and Russian, especially on Chinese sketch teaching fields, the author also brings forth some views of his own.