本文選題：兒童 + 繪畫(huà)��； 參考：《首都師范大學(xué)》2013年碩士論文

【摘要】：早在古希臘時(shí)期,希波克拉底就提出了“符號(hào)”,而實(shí)際上“藝術(shù)符號(hào)”的存在則更是久遠(yuǎn),西方舊石器時(shí)代的洞穴畫(huà)中動(dòng)物的抽象、概念化、簡(jiǎn)潔的線條及中國(guó)新石器時(shí)代隨陶罐而出的變化規(guī)律的原始紋樣,無(wú)一不表明了“藝術(shù)符號(hào)”早在人類(lèi)“文明”之前就已出現(xiàn)。 然而,在當(dāng)下視覺(jué)文化為主流的信息社會(huì),所謂的“藝術(shù)符號(hào)”也面臨著一種泛化及低智化的窘境。所以,卡西爾的“人作為符號(hào)的動(dòng)物生活在這個(gè)符號(hào)化的世界之中”該使我們更為做醒,即將目光轉(zhuǎn)向“這個(gè)符號(hào)世界的創(chuàng)造過(guò)程及意義”及“人與藝術(shù)符號(hào)的關(guān)系”。因此,筆者將如此宏大的問(wèn)題著陸在了兒童的繪畫(huà)上。當(dāng)兒童在執(zhí)筆初期,用畫(huà)筆下的不規(guī)則線條及稚拙的形狀來(lái)表現(xiàn)那些意義同構(gòu)體或形式同構(gòu)體的事物時(shí),這個(gè)小小身影及其作品的魅力足以令萬(wàn)千藝術(shù)大師折服。倘使我們要去探索兒童的繪畫(huà)世界,窺探其心理世界,了解他們以培養(yǎng)其藝術(shù)表現(xiàn)能力,進(jìn)而促進(jìn)他們?nèi)烁竦慕y(tǒng)整,那么這一切,要從發(fā)現(xiàn)和研究?jī)和L畫(huà)中的藝術(shù)符號(hào)開(kāi)始。 關(guān)于兒童的繪畫(huà)表現(xiàn)特點(diǎn),我們往往求助于皮亞杰的兒童認(rèn)知發(fā)展理論和羅恩菲德等人關(guān)于兒童美術(shù)發(fā)展水平的階段理論。然而,當(dāng)下美術(shù)教師對(duì)兒童不同階段的繪畫(huà)特點(diǎn)并不了解,但倘使我們以理論先行的姿態(tài)去觀察和理解2-12歲的兒童繪畫(huà)時(shí),結(jié)果有時(shí)又并不如意。這使美術(shù)教師及教育學(xué)者陷入了兩難之地：兒童繪畫(huà)是連續(xù)性發(fā)展還是跳躍性發(fā)展?在兒童繪畫(huà)中出現(xiàn)的藝術(shù)符號(hào)其特征及意義是什么?前者并非本文的重點(diǎn),筆者無(wú)意顛覆以往兒童繪畫(huà)發(fā)展水平理論,因事實(shí)證明關(guān)于這個(gè)“發(fā)展史”的問(wèn)題各家的理論都精彩紛呈且相互補(bǔ)充,只是在社會(huì)環(huán)境及藝術(shù)文化與西方迥異的中國(guó),兒童創(chuàng)作的藝術(shù)符號(hào)與西方兒童并不相同——本文對(duì)于本土文化差異的論述意圖在此；后者則是本文的主要研究目的：探索處在不同認(rèn)知階段的兒童(本文針對(duì)2-12歲)的繪畫(huà)中的藝術(shù)符號(hào)之表現(xiàn)及再生過(guò)程。旨在運(yùn)用語(yǔ)詞、語(yǔ)義、語(yǔ)用的符號(hào)維度去發(fā)現(xiàn)這些令人驚嘆的藝術(shù)符號(hào)的意義,從而令成人對(duì)兒童的美術(shù)指導(dǎo)不僅能“胸中有丘壑”,更是要與兒童一起進(jìn)行“創(chuàng)造與心智的成長(zhǎng)”——在兒童的藝術(shù)符號(hào)和兒童將繪畫(huà)世界藝術(shù)符號(hào)化的過(guò)程中去聆聽(tīng)和感受兒童的藝術(shù)符號(hào)的創(chuàng)造,促進(jìn)兒童人格的統(tǒng)整。
[Abstract]:As early as ancient Greece, Hippocrates put forward the "symbol", but in fact, the existence of "artistic symbol" is even more ancient, Western Paleolithic cave painting in the animal abstraction, conceptualization, The succinct lines and the original patterns of the changing law of the Chinese Neolithic Age with the pottery pots all show that the "artistic symbols" appeared long before the "civilization" of human beings. However, in the current information society where visual culture is the mainstream, the so-called "artistic symbols" are also faced with a generalized and low-intelligent dilemma. Therefore, Cassier's "the animal living as a symbol in this symbolic world" should make us more awake and turn our attention to "the process and significance of the creation of this symbolic world" and "the relationship between man and artistic symbols". Therefore, the author of such a grand problem landed on the children's painting. When children use irregular lines and childish shapes under brushes in the early stages of writing to express things that have meaning isomorphism or formal isomorphism, this little figure and its works are attractive enough to dissuade thousands of masters of art. If we want to explore the painting world of children, explore their psychological world, understand them in order to cultivate their artistic expression ability, and then promote the unification of their personality, then we should begin with the discovery and study of the artistic symbols in children's paintings. With regard to the characteristics of children's painting, we often turn to Piaget's theory of children's cognitive development and Rohnfield's theory of stage of children's art development. However, current art teachers do not understand the characteristics of children's painting in different stages. However, if we observe and understand the painting of children aged 2-12 in a theoretical manner, the results are sometimes unsatisfactory. This makes art teachers and educators into a dilemma: is children's painting a continuous development or a leaping development? What are the characteristics and significance of artistic symbols in children's paintings? The former is not the focus of this paper, the author has no intention of subverting the theory of the development level of children's painting in the past, because facts have proved that the theories on this "history of development" are colorful and complementary. Only in China, where the social environment and art culture are very different from those in the West, the artistic symbols created by children are not the same as those of western children. The latter is the main purpose of this paper: to explore the representation and regeneration process of artistic symbols in children at different cognitive stages (2-12 years old). The purpose of this paper is to use the symbolic dimensions of words, semantics and pragmatics to find out the meaning of these amazing artistic symbols, so that adult art guidance to children can not only "have a mound in the chest". It is also necessary to work with children to "create and grow up the mind"-to listen to and feel the creation of children's artistic symbols in the process of children's artistic symbols and the process of children's symbolization of painting world art, and to promote the unification of children's personality.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J219

【引證文獻(xiàn)】

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1 于淑梅;;色彩在兒童商業(yè)繪畫(huà)創(chuàng)作中的應(yīng)用研究[J];商業(yè)文化;2015年03期

2 俞麗麗;;淺析兒童繪畫(huà)天性的培養(yǎng)[J];作文成功之路(下);2014年04期

相關(guān)碩士學(xué)位論文 前2條

1 朱忍;幼兒園繪畫(huà)教學(xué)活動(dòng)中幼兒“說(shuō)畫(huà)”的研究[D];湖南師范大學(xué);2014年

2 李貝貝;兒童繪畫(huà)與抽象雕塑創(chuàng)作的相關(guān)性[D];江西師范大學(xué);2014年

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本文編號(hào)：1961567