1、2014-2015学年高中英语同步教案【7】：Unit 1 Art（人教新课标选修6）. 课文重点难点解析 1. There are so many different styles of Western art that it would be impossible to describe all of them in a short text. P1 a. so . that . 如此以致于; so之后可接形容词、副词或加修饰语的名词：e.g. This is so interesting a book that we all like to read it. 这本书很有趣， 我们都喜欢读
2、。 He had so many falls that he was black and blue all over.他摔了许多跤，以致全身都青一块紫一块。b. 当不定式、动名词、从句等结构用作主语时， 为了避免“头重脚轻”，往往用it作形式主语而把真正的主语放在句子末尾。e.g. Is it necessary to tell her father everything? 有必要把一切都告诉她父亲吗？ It is said that he got married last month.据说他上个月已经结婚了。2. People became focused more on humans an
3、d less on religion. P2focus . on . 对准焦点；使集中e.g. He focused the camera on her. 他把照相机的焦点对准了她。The teacher focuses her attention on the book.老师正集中精力看书。3. During the Renaissance oil paints were also developed, which made colors look richer and deeper. P2 Which可用作关系代词，引导非限制性定语从句时，可指代其前面的一个指代事物的名词，在此句中指代整个
4、主句。e.g. She received an invitation from her boss, which came as a surprise.她收到了老板的邀请，这是她意想不到的。The river, which flows through London, is called the Thames.这条流经伦敦的河叫泰晤士河。. 文化背景知识Painting StylesWhen we speak of painting styles coming and going, we often think in terms of a decade or so of prominence in
5、 this century, perhaps twice that length of time in the previous century, and a generation or two in the century before that. As painting has developed in the art of man, the lifespan of a given style of painting has decreased in duration geometrically. Broadly speaking, for instance, the so-called
6、“Renaissance” style of painting spans a hundred years or more. The mannerist style of painting that followed it somewhat less than that, perhaps 75 years, while the Baroque era lasted anywhere from 75 to 100 years depending upon which art historian you prefer. Moving back a century or so, early Chri
7、stian art, sometimes called Byzantine art was little changed for perhaps 1,000 years. Talk about a style with legs! A Madonna and Child fresco painting from the Catacomb of Priscilla in Rome dates from the third century. It features a sitting Madonna holding a child-like Christ on her lap. Stylistic
8、ally, it is little different from one painted in the 1300s by the Italian artist, Duccio. The Duccio panel is rich in heavy gold leaf and much more linear in design with the Madonna enthroned in what would appear to be a circular seat that would appear to have been modelled after the Coliseum. The t
9、hird century fresco, in contrast, lacks a halo and actually seems more naturalistic than the Duccio figure. It seems possible, if not certain, that Duccio might have been familiar with the catacomb fresco. Whatever the case, though different, there is little doubt that stylistically, they are cut fr
10、om the same thousand-year-old cloth. Pursuing Madonna and child paintings down through Giotto, (a student of Duccio) to Massaccio (a student of Giotto) to his student, Piero della Francesca we can watch generation by generation as the Byzantine slowly gave birth to the Renaissance like a mother givi
11、ng birth to a child. Traditional Chinese PaintingNext to the supremely difficult art of calligraphy, the Chinese have for centuries seen painting as the highest form of art. Chinese paintings have an air of living nature, harmony and peace that is not always found in the art of other civilizations.
12、Like all other forms of art, the Chinese strive to maintain a delicate, harmonious balance between tradition and innovation. Painting originated in the late Chou Dynasty, and its roots were cultivated in the Han Dynasty. These early paintings, which usually depicted the afterlife and heroic tales, s
13、aw a heightened sensitivity to space, distance and the first exhibition of the elements of the landscape: small trees and great mountains. In the period of the Six Dynasties, which harbored Ku Kai-chih, long considered the father of landscape painting, Chinese painting took on a delicate and etherea
14、l quality that has been adhered to throughout the long tradition of Chinese landscape art. The Tang Dynasty (618-906), the golden age of cultural accomplishment, saw the rise of three great painters Wang Wei, who instilled a sense of intimacy, simplicity and sad quietness into his works, Li Su-hsun
15、and Li Chao-tao, who are both known for the vivid green and blue, complex landscapes that have come to define the Tang painting. Painting diverged into many threads of ideas, styles and schools in what is generally seen as its culmination in the Song Dynasty (960-1279). The Song established a royal
16、painting academy for the first time, and officially patronized a plethora of famous artists. The bird-and-flower painting found its home in the royal court and has since been a popular theme among modern artists. A split between the Northern and the Southern styles emerged as well. The paintings of
17、the North Song reflected a concern with complex composition and brushwork, texture, and high concentrations of rocky cliffs, waterfalls, and bands of small figures. A type of literati painting, known as wen-jen hua, surfaced, preferring simple, revelatory subjects such as a tree or a rock or a bambo
18、o shoot. The South Song saw a landscape tradition regarded as the Ma-Hsia school, after Ma Yuan and Hsia Kuei, which produced expansive, over-arching views, covering great spans of land and mist, and cultivating a feeling of weightlessness and otherworldliness. To convey the void, the sensation of o
19、pen space, and to suggest the never-ending quality of the world was the greatest objective here. Ma Yuan, “one-corner Ma”, liked to paint in one corner of the canvas and leave the rest empty. The Zen painting, originating with Zen monks, who disliked the academic cult and coveted the spontaneity of
20、painting, produced free and loosely defined paintings, which would be popular in later centuries. The Yuan (1279-1368), Ming (1368-1644) and Qing (1644-1912) Dynasties, saw a gradual disillusionment with the court, and many officials retired from royalty to become painters, comprising a school known
21、 as the literati and separate from the patronized and academic tradition. In the Yuan and Ming, bolder dashes of brush strokes were employed and interested in void and space yielded to a dramatic appreciation for form. While the academic art school continued to imitate the work of previous centuries
22、, individual scholars or literati, compensated by contributing to the dynamism and mutability of Chinese painting. The seeds of individuality were planted as painters rejected orthodoxy and imitation, and became freer and less restrained with their art. In the 20th century, with the fall of the Qing
23、 Dynasty and the rise of the Republic of China and then the Peoples Republic of China, Chinese painting has also undergone the pressure to modernize and adopt Western styles and traditions. Many painters studied in the international world and brought innovative styles, such as the use of bold colors
24、, European brushwork and perspective. Some paintings by Mao Zedong even took on political commentary in subject matter while retaining the old styles. Nevertheless, Chinese painting has never let go of its long-standing and centuries-old tradition. Painting will always contain the Tao, the notion of
25、 one power penetrating the whole universe. The Chinese artist still seeks harmony with the universe by communion with all things. If an artist has qi, the spirit of art and of the universal order, everything else follows; but if he or she misses chi, no amount of likeness, embellishment, skill, or e
26、ven genius can save the work from lifelessness. The western mind is apt to think of Chinese painting as unemotional, as western content leans so heavily on the portrayal of love, joy, grief, anger and courage. But in Chinese painting, drama is handled differently. Brush and ink are not just tools. T
27、hey possess the Tao, and reveal the spirit of chi. The chi is in the tip of the brush. The brush is an extension of the hand, which is the servant of the spirit. Use of the brush must be effortless. Yet there must be strength in the brush, which depicts the trees and mountains. Ink is thought to hav
28、e five colors. It can be used to depict both what is and what is not. There must be unity in composition. Yin and yang are opposing forces, which need one another for completeness. The term for landscape, shan shui or mountain-water, is in itself symbolic of yin-yang. Mountains are believed to be as
29、sociated with yang while water is associated with yin. Yin-yang applies to perspective. Objects in the layout should be looked at from the front and the side. Brush strokes should be upright and slanted. There should be parts that are sparse and parts are dense. The light and the thick should balanc
30、e. Thick ink must be accompanied by thin ink. Everywhere this principle of the opposites is applied to painting. Voids contribute much towards the suggestive quality of landscape painting. Like all other forms of art, Chinese painting, while changing and yielding to the times like an organism, will
31、always have its distinctly Chinese character.The Pioneer of Contemporary Realistic PaintingThe New Culture Movement started from the May Fourth Movement, which at the beginning of the 20th century started a revolution against imperialism and feudalism in Chinese cultural fields. Many Chinese painter
32、s went abroad to learn Western painting skills. One of them was Xu Beihong, who went to Europe to study Western classical realist painting, and then combined it with traditional Chinese painting methods. He was the pioneer of contemporary Chinese realist fine arts. Xu Beihong (1895-1953) was a nativ
33、e of Yixing, Jiangsu Province. His father, from whom he learned painting in his childhood, was also a painter. At the age of 20, Xu went to Shanghai to sell paintings. In 1918, at the invitation of Cai Yuanpei, he went to Peking University to work as an instructor at the Painting Research Society. T
34、he next year, he went to Paris to study, then transferred to Berlin and Belgium to learn oil painting and sketch drawing. He liked the Western classical paintings of the Renaissance very much and diligently copied them day and night. After he came back to Beiping (present-day Beijing) in 1927, he se
35、rved as the president of the Beiping Art Institute, dean of the Art Department of Nanjing Central University and later as principal of the Beiping Vocational Art School. After the liberation of the Peoples Republic of China in 1949, Xu worked as the president of the Chinese Central Academy of Fine A
36、rts and chairman of the Chinese Artists Association.Learning from Western paintings, Xu also incorporated his knowledge of human anatomy and modeling in his figure paintings. During his eight years in Europe, he studied the classic, romantic and impressionist painting styles and tried to understand
37、their different ideas. After he came back to China, he blended them with traditional Chinese painting. He considered Chinese and Western paintings as different branches of art with respective advantages and he thought they should be combined, absorbing the essence and rejecting the dross.Though Xu a
38、dopted many Western painting techniques, he was also a master of traditional Chinese painting. He spoke highly of Yan Liben, Wu Daozi, Li Sixun of the Tang Dynasty, Huang Quan and Fan Kuan of the Five Dynasties and Xu Wei, Chen Laolian, Shi Tao and Bada Shanren of the Ming and Qing Dynasties. He als
39、o had great admiration for Ren Bonian. According to him, artists should seek after truth and take a proper attitude to life. He summarized seven painting rules in the preface of his book, The Painting Center. The seven rules are proper composition, accurate proportion, clear distinction of white and
40、 black, natural movements and gestures, harmony between bright and light colors, clear characterization and unambiguous expression of emotions. From these rules, we can see Xus careful research into traditional Chinese and Western paintings and his quest to combine the painting methods of the two. T
41、he rules provide a good summary of his art practice and also represent a big achievement in modern realist fine arts research.Xu Beihong created thousands of excellent traditional Chinese paintings, oil paintings and sketches during his life. In his traditional Chinese painting Foolish Old Man Remov
42、ing Mountains, (Fig. 2-40) oil paintings Five Hundred Soldiers in The Field and Wait After Me, he depicted traditional Chinese folk tales or historical stories to hint obliquely at contemporary realist themes. His works have impeccable composition, extensive scenes and rich characterization to refle
43、ct the themes. His paintings of animals, flowers and birds, such as Crowing Cock in Storm and Galloping Horses, all reflect positive ideas. His works reveal his concern about society, the people and his devotion to art. Xu Beihong had researched the body shape and characteristics of horses and drew
44、sketches of thousands of horses. The horses under his painting brush combine Western and traditional Chinese painting skills, which have a unique attraction.During his life, Xu Beihong also devoted heart and soul to the education of new artists and made important contributions to fine arts education after the founding of New China.