美术教学形成和谐发展的人格.doc

美术教学形成和谐发展的人格将传统民间刺绣艺术引入中学课堂教学，既能继承 和发扬本地区优秀民俗民间艺术，保护传统文化的多 样化、多元化，又可以熏陶学生的情操，使他们热爱 并传承传统民间文化，激发学生热爱家乡、热爱祖国 的思想感情，形成和谐发展的人格有着浓厚乡土气息和鲜明地域特色的乡土美术是各 地方历史的见证，是乡土文化的标志、多元文化的因 子，能给学校美术教学、设计教学提供借鉴，为审美 教育提供素材，丰富课内外教学，促进学科间的融合， 并能给城市和农村美术教育带来新的发展契机因 此，重新熟悉乡土美术对学校美术教育的意义与价 值Has a strong local flavor and distinctive local characteristics of local art is local witnesses of history, is a sign of local culture, multicultural factor, can give reference for school fine arts teaching, design the teaching, to provide material for aesthetic education, enrich the internal and external teaching, promote the integration between the disciplines, and can bring new development opportunity for urban and rural education of fine arts. , therefore, to be familiar with the local fine arts fine arts education significance and value to the school, to the introduction of the traditional folk embroidery art middle school classroom teaching, can not only inherit and develop excellent folk folk art in this region, to protect the diversity of traditional culture, diversity, and can edify students sentiment, make them love and inheriting the traditional folk culture, arouse the students thoughts and feelings love home, love the motherland, to form the harmonious development of personality.将乡土美术引入到学校美术教育中，这对于乡土 美术和学校美术教育来说是一项双赢的决策：乡土美 术因学校教育的延续能免遭断裂与绝迹的命运，并能 不断向前发展；学校美术教育因为有乡土美术的加入 能增加新的活力，教学内容得到丰富，有了最直观的 贴近生活的史料与教材，乡土美术中蕴涵的人文思 想、传统艺术观念能给学校美术教育中的美术教学与 设计教学提供借鉴与启示；同时，充分利用乡土美术 资源，能使学生更好地了解美术与情感、美术与社会、美术与文化、美术与生活的关系。

Will be introduced to the local arts and art education in schools, for the local fine arts and the school fine arts education is a win-win decision: the continuation of local art education from school can from fracture and the fate of extinction, and continuous development; School fine arts education because of local art to join can add new vitality, the teaching content is rich, have the most intuitive living close to the historical data and materials, implication of humanistic thought in the local art, traditional art concept can give school fine arts education in art and design teaching to provide reference and enlightenment; At the same time, make full use of local art resources, can make the students gain a better understanding of art and emotion, art and society, art and culture, the relationship between art and life.几千年来，氏、羌、乌孙、月氏、匈奴、卢水、胡、土蕃、［鹘、党项等少数民族与汉民族长期混居交往融合,互相通婚,形成了以汉民族为主体、多个 少数民族杂居的格局，形成了独特的地域文化。

For thousands of years, surname, qiang, wu, sun YueShi sweet, the huns, Lou hu, water, soil, HuiGu and tangut minorities and han nationality mix for a long time, exchanges, marry each other, formed in the han ethnic group as the main body, multiple ethnic pattern, formed the unique local culture.民乐刺绣的发展有两条途径：一是秦汉时期丝绸之路的开通，地处丝绸之路咽喉之地的张掖古郡，无 法幸免地遭受了大汉文化的洗礼，流传下来了陕西传 统刺绣艺术；二是明朝移民大迁徙，我们的先民，大 槐树下的移民带来了山西刺绣艺术两股遗风同出一 辙，既承接陕西民间刺绣艺术之风范，再与西北民俗 相融相交,孕育出既具有陕西民间艺术特色，又具有 民乐民俗的独特的刺绣艺术其主要生长和发展于传 统下层民间社会，创造主体是包括一般劳动者、手工 艺人等在内的劳动群众，接受对象也是平民百姓。

但由于民乐地处河西边陲，少数民族与汉民族混居, 经济发展缓慢，人民生活贫困落后，民乐刺绣艺术在 明清时期才得到丰富和发展新中国成立后，随着政 治、经济、文化艺术的发展，民乐刺绣艺术才有了真 正的赖以生存的发展环境与土壤The development of the folk embroidery has two ways: one is the qin and han dynasties, the silk road opened, zhang ye ancient county is located in the land of the silk road throat, cannot be immune to suffered big fellow culture baptism, persisted the shaanxi traditional embroidery art; 2 it is Ming dynasty immigrants migration, our ancestors, immigrants brought under the big pagoda tree in shanxi embroidery art. Two legacy since both undertake shaanxi folk embroidery art style, and fellowship with northwest folk compatibility, breed with shaanxi folk art characteristics, unique embroidery art and folk customs. Lower the main growth and development of traditional folk society, the creation main body is including in laborer, craftsmen, etc, of the working people, acceptingobject is civilians. But as a result of folk music is located in the hexi frontier, ethnic minorities and han ethnic groups, economic development is slow, poor peoples life, folk embroidery art in Ming and qing dynasties got rich and development. After the founding of new China, with the development of politics, economy, culture and art, folk embroidery art is the development of the real survival environment and soil.刺绣对女孩子来说，这种劳作的训练是必需的, 带有很大的强制性。

五、六岁就拿起针线，八、九岁 的时候，她们可以给自己缝些稚子、沙包一类的玩具 随着年龄的增长，女孩子们的技艺也日渐成熟，做一 个巧手姑娘便成为她们的自觉愿望，因此，在农家处 处可见“母女相传，邻亲相授”的传艺生动场面渐渐的，女孩子们长成了大姑娘，到了出嫁的年龄，她们 的装束也不同以往出嫁的这一天中，旧俗人家对媳妇讲究“针线茶饭”，这针线功夫还在饮食之前，所以1=1女孩子们大多以自己给自己做嫁妆来显示是否“称 职‘：而这嫁妆中绝大多数是绣品，且都是手工绣品 仔细观察品味,这些绣品的内容都带有一定的寓意 在从少女到少妇的这一转化阶段，婚期绣品上的图案 尽管不尽相同，但所表现的主题基本上是“鱼儿闹莲” 和“石榴坐牡丹”两种在民乐，这些纹样有其特定的 寓意，鱼、石榴和莲、牡丹分别是男女生殖器官的象 征，鱼莲相交隐喻着男女两性的性结合，其目的是繁 衍后代两大主题可归结为一个主旨：生育做母亲 的生涯开始了 ,孩子还未出生，种种生活用品，如童 枕头、童帽、童鞋以及婴儿被褥已经一应俱全这些 用品上绣的图案纹样，已相应地发生了变化，小孩子 穿的、戴的、玩的东西上常常伴有“老虎”的形象,如 虎头帽、虎头鞋、虎形图案等。

以老虎为主题的这些 用品、饰品，表达了大人们对下一代的某种希望和寄 托，蕴含着新的寓意Embroidery for girls, the work of training is required, with a lot of manda。