共查询到19条相似文献，搜索用时 78 毫秒
1.
先天视力残疾学生的人物画特征研究 总被引：1，自引：1，他引：0
采用作品分析的方法,对174名7-25岁先天视力残疾学生的人物画进行研究后发现:借助可以提供触觉反馈的绘画工具,全盲、功能性盲、低视力学生均能有效参与绘画活动且具有绘画能力的发展潜力;随着年龄增长,先天视力残疾学生的人物画的发展先后经历涂鸦期、过渡期、常规人物期三个主要阶段,符合儿童人物画发展的一般方向,但发展较缓慢、发展时间相对延长. 相似文献
2.
王剑云 《贵阳学院学报(社会科学版)》1998,(3)
工笔人物画是中国传统绘画中最早的画种,是中国传统绘画的一种表现形式。它以线描为骨干,精细入微地表现人物对象,它的传世作品,主要有卷轴画,墓室壁画。寺观壁画等形式;表现题材有神怪、道释人物、历史圣贤、叙事人物、肖像人物、社会风俗等。在远古时期的岩画和彩陶纹样,就已经可以见到最早的人物画样式。分别于1949年和1973年发现的战国楚墓出土的《龙凤人物图》、《人物御花图》帛画是现存可见到的最早的工笔人物画。由这两幅帛画,我们可以看到以侧面造型为主,单线勾描为人物画塑造的手段,在战国时代已经初步确立。汉代的人物… 相似文献
3.
何光伟 《阿坝师范高等专科学校学报》2013,(3):76-79
陈老莲人物画艺术在造型上采用了特殊的表现形式,一是对作品中人物性格的夸张变形,是主观臆断"纵恣"的结果;二是在人物整体造型上、画面处理上大量运用装饰的手法来表现,是理性"敛约"的回归。本文特意对他人物画作品中装饰性进行了深入的解读,从中领悟出他人物画造型取得了一种"气敛神藏,力劲而不露"的艺术效果,其绘画与装饰造型完美结合的艺术手法,在今天仍有借鉴意义。 相似文献
4.
视觉经验缺失对盲人熟悉环境空间表征的影响 总被引：1，自引：0，他引：1
研究盲人对熟悉环境的空间表征对于盲人的空间认知和定向行走具有重要意义.本研究通过摆放模型的方式,探究了盲人对熟悉环境空间表征之特点,结果发现视觉经验缺失对盲人熟悉环境空间表征造成了不利影响,先天盲被试对环境空间表征较弱,不能够对环境形成整体的理解,而后天盲被试对环境空间表征较为精确,表现与明眼人相当.性别和环境熟悉度对盲人熟悉环境空间表征没有影响. 相似文献
5.
美术是视觉艺术,绘画学习的全过程无不与人们的视觉心理相联系.正是我们还没有充分认识视知觉、视觉经验、视觉概念的作用,造成了写实绘画中学生"在平面上表现立体"的困难,使多数学生被认为素质差,而逐渐减退了对美术课的兴趣,造成"少年绘画低谷期". 相似文献
6.
蔡雯璟 《宁夏师范学院学报》2011,32(1):78-80
范曾的泼墨人物画在当代中国画坛上独树一帜,具有极其个性的艺术感悟和艺术表现力。透过那些鲜活淋漓的泼墨人物我们看到的是范曾对中国古典文化独到的见解和深邃的表达。他的绘画具有以诗为魂书为骨的精神,其独特的艺术主张表现在绘画的笔墨、人物的内在气韵和绘画精神上。因此,他的绘画作品具有精、气、神相统一的绘画精神。 相似文献
7.
几千年来的民族传统和世代相传的儒、道哲学对艺术审美起到潜在的制约作用,也是这种中华民族文化传统,把历代工笔人物画作品紧紧联在一起,表现出罕见的文化内涵的高度统一性。中国工笔人物画的绘画过程即为追求自然意法的过程,即为以自然为念,效法自然,传达给欣赏主体以自然美感。无论选择何种画种,中国绘画美学理论始终遵循一条主线,就是追求其中的精神内蕴,追求意境和书法性灵。 相似文献
8.
意境是作品通过艺术形象的描写所形成的情景交融的境界,是作品的主题和作者的心声,是作品思想性与艺术性的综合体现。在水彩画作品中,由于种种因素的影响,水彩人物画长久以来一直被视为最难表现的题材,要创作出情景交融、意趣高雅、引人入胜、意境深远的水彩人物画作品,首先要塑造感人的人物形象来传递艺术家对生活的评价并以之寄托作者的情思。其次要借助特定的表现手段和形式才能实现。同时营造作品中的意境还要靠情思的驱使,只有胸有情思,注情于画,笔下才能有韵致,才能创造出充满意境的绘画作品。随着近年来水彩画整体创作水平的不断提高,画家们开始大胆尝试水彩人物画的表现形式及意境营造。使水彩人物画以其独特的面目和形式,记载和表达了艺术家的情感、扩大了我们的审美感受、丰富了我们的精神世界。 相似文献
9.
10.
绘画肌理浅析--如何解读现代绘画语言元素 总被引：1，自引：0，他引：1
通过对先天肌理,后天肌理,隐性肌理,显性肌理的理解和论述,对各种绘画形式的绘画元素进行阐述和剖析,挖掘绘画媒介的表现空间,强调视觉的直观性,使画面本身的形式和材料构成新的视觉美感,从而反映作品的情绪与内涵。 相似文献
11.
Human figure drawings were collected from 287 schooled and unschooled children, aged between 10 and 15 years, living in a remote region of the Western Highlands Province of Papua New Guinea, an area with no tradition of graphic art. A classification and ordinal scoring system was devised which encompassed graphic productions ranging from scribbles to conventional competent human figure drawings. The effects of school experience on drawing, even brief and indirect experience, were found to be significant. All the children attending school drew only conventional human figures, but the whole range of drawings, scribbles, transitional forms, and conventional human figure drawings were found in the unschooled children's attempts. Nonrepresentational scribbles and shapes were largely produced by unschooled children living in remote villages without a school, trade store, or mission. Some children appeared to be able to draw representations of the human figure without going through a scribbling stage. The material is considered in relation to other reports on drawings produced by children from societies with little or no indigenous graphic art. The results are discussed in relation to various theories on the development of drawing and representational abilities. 相似文献
12.
洪友伦 《中国教育研究与创新》2006,3(9):13-15
《机械制图》和《机械零件》的教学都会用到各种螺纹的三维图形。利用AutoLISP语盲开发的用于绘制常用螺纹三维图形的程序，具有内容完整、图形准确且操作方便等特点，满足了编制课件和绘制教学挂图的需要。 相似文献
13.
This study investigated reasons for the omission of the torso typical in most young children's drawings of the human figure. Do they have an incomplete mental image of the human figure; if so will the torso be omitted from a manikin task too? As the head is normally drawn first, is the torso simply forgotten; if so will children include it if they are asked to draw the torso first? Eighty tadpole‐drawers (aged between 2 years 7 months and 5 years) were randomly allocated to a drawing or a manikin condition; they were further subdivided into a head‐first or torso‐first condition. Significantly more children produced a conventional figure when they constructed a manikin compared with those who were asked to draw; the order of body parts (head‐first vs torso‐first) had no significant effect. These results suggest that young children omit the torso from their human figures because they have yet to devise a way of drawing it, perhaps because it is a relatively unimportant item; there is little evidence that they have simply forgotten it or that their mental model for the human figure is incomplete. 相似文献
14.
Maureen V. Cox 《The International Journal of Art & Design Education》1998,17(1):71-79
The general developmental changes observed in human figure drawings of modern-day young children in western societies are reviewed in this paper. Differences in style over historical time and in other societies throw doubt on the notion of a fixed and universal pattern of development. Even so, children’s drawings seem to become more westernised as schooling has spread to more and more remote, rural societies. In Australia, however, the Warlpiri Aboriginal people have continued to use their traditional pictorial symbols in their paintings, sand drawings and school books; Warlpiri school-children use and develop both the indigenous and the westernised styles of drawing. 相似文献
15.
Esther Burkitt 《教育心理学》2018,38(1):75-98
The present study assessed concordance between child reported and adult observed strategies to depict single and mixed emotion in the same human figure drawings. 205 children (104 boys, 101 girls) aged 6 years 2 months to 8 years 3 months formed two age groups (6 years 2 months–7 years 2 months and 7 years 3 months–8 years 3 months) across two conditions drawing either themselves or another child. They heard vignettes designed to elicit single and mixed emotion and drew a baseline drawing, counterbalanced happy and sad, and a mixed emotion drawing. Categories of children’s verbal reports and adults’ observations were similar with some variation of use by condition, age group and emotion type. Mixed emotion strategies were more similar to those observed and reported in happy drawings. Findings are discussed in relation to a framework theory of art and social display rules. 相似文献
16.
针对高职院校机械类专业开设的制图测绘实训课程,分析了目前制图测绘教学中出现的学生忽视测量准确性、零部件表达不准确、疲于完成图纸绘制等问题,提出了将三维建模引入制图测绘教学,利用三维模型与二维图纸的转换提升零部件表达的准确性、利用三维装配来约束零件尺寸测量的准确性,同时由三维模型直接生成二维工程图,大大提高了绘图的速度和准确度,也符合现代设计理念。 相似文献
17.
Magdeline Chilalu Mannathoko Attwell Mamvuto 《The International Journal of Art & Design Education》2019,38(2):376-386
Drawing is one of children's modes of communication which has recently excited academic inquiry in non‐Western cultures. It is the means through which children express their fears, desires, anxieties and conception of phenomena. This study investigated drawings by four‐ to ten‐year‐old Botswana children in response to the human figure as an aesthetic object. The methodology involved observing a sample of forty purposively selected children engaged in the drawing process and analysing their visual productions in addition to conversational talk about their art. The study found that the human figure was the dominant aesthetic subject across ages represented in both conventionalised form and personalised imagery. Older children showed interest in culture specific imagery and demonstrated mastery of occlusion and depth cues, while four‐year‐old children had limited spatial awareness. The study also found that children demonstrated gradual improvement of drawing skills with age. There was no significant difference in drawing competence between sexes. Pedagogical implications are suggested to scaffold children through the stages of art development. 相似文献
18.
Abstract Forty‐two children aged between 2 years and 4 years 11 months were asked to draw a person. Their drawings were categorised as (1) scribbles, (2) distinct forms, (3) tadpoles, (4) transitional and (5) conventional figures. The first representational figures, the tadpoles, appeared at an average age of 3 years 1 month. It was predicted that if tadpole figures result from the complexity of the task rather than from a conceptual difficulty then tasks with reduced demands (a copying task, a jig‐saw task, and a dictation task) should facilitate the drawing of conventional figures. In fact, few conventional figures were produced and the tadpole form was highly resistant across the different tasks.
Six of the children were followed longitudinally over a one‐year period from a pre‐representational to a conventional stage of human figure drawing. Spontaneous drawings as well as drawings from six test sessions were collected in order to check whether all children drew ‘tadpole’ forms before they produced conventional figures and whether the conventional figures were adapted from the tadpoles. Four of the children did produce tadpole forms; two did not, but were probably specifically tutored in the conventional form by a peer or parents. There were wide individual differences in the nature of the transition from one form to the next, but there was no clear evidence that the conventional figure had been adapted from the tadpole form. 相似文献
19.
Abstract One hundred and eight children aged between seven and 11 took part in a cross‐sectional study of the development of their concepts of the Earth and the direction of its gravitational field. A new form of ‘Earth drawing classification’ (EDC) was found to be drawn by 36% of the sample, together with the five classifications established in earlier work. This new EDC is conceptually contradictory and appears to be a critical development stage. It is the result of the pupils’ attempts to reconcile scientific information with their own common‐sense knowledge base. The educational implications of this are discussed. The relationship between the developmental sequence of their Earth drawings and the quality of their human figure drawing was also investigated. It was established that restricted drawing ability does not explain their non‐scientific early EDCs. 相似文献