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柏拉圖和亞里士多德關(guān)于藝術(shù)的觀點(diǎn)

Plato viewed human life as a pilgrimage from the appearance to reality. He also believed that a piece of art had to be strictly censored when they depicted any form of evil and cruelty. When an artist imitated what was bad, they added to the sum of badness in the world. Both Plato and Aristotle pointed out, we as humans do find delight in representations of objects and emotions that we consider different from real life; most of us agree with Aristotle in refusing to believe that they are corrupt.

如何欣賞藝術(shù)

Students must be taught to value not only the beauty of art, but also the meaning, elements and the history of art. Students do not naturally look at a painting and know the principles contained in it, who created it and for what purpose. Students must learn how to view and critique art in order to understand it. This understanding can come from being immersed in an environment in which art is an essential component to learning. If art is integrated throughout the curriculum, and is not relegated to half an hour per week of drawing, cutting or pasting, then students can develop a love and understanding for a variety of creative experiences involving artistic expression. An environment supportive of art development can be obtained in any classroom in which the teacher

instills in the students a respect for the history, purpose and meaning of art. This doesn’t mean that all students have to be great artists capable of completing outstanding works of art themselves; rather the implication is quite the opposite. Even students who are not great artists themselves are capable of appreciating, understanding, and perceiving art on a highly cognitive level. In order for this to happen, students must experience for themselves the production of art using specific elements, principles and techniques. Once they have tried to create a particular effect, it is important to show them the work of someone who mastered the task, and allow them to critique not only their own work, but also the work of the professional artist. It is only by attempting to create a piece of their own that students will truly understand how talented some artists are. Despite the benefits of art production and criticism, an environment truly conducive to artistic development must include both art history and art aesthetics. As mentioned before, it is to provide a culturally diverse perspective in these areas.

藝術(shù)的欣賞和審美

We must be aware of the global culture and heritage from which art emerges. For example when teaching our students art aesthetics, we must never let them think that there is only one way to view art. Students, and especially teachers, should be ready to accept all ways in which art evaluation can occur. Western aesthetics is based primarily on individuality, originality, permanence, and form. These factors cannot be applied to art from every culture. For example, African art is understood in terms of rites of passage, healing, power, control, and commerce. Students must be taught to understand the principles of art as they are understood by the cultural group in which they belong in order to truly achieve global awareness and appreciation for art. Obviously, teachers must gain this awareness themselves before they can impart it to their students.

Travel, physically or intellectually, is necessary for teachers who truly aspire to instill a devotion to open-mindedness and tolerance in their students. Furthermore, teachers themselves must be open to teaching about culturally diverse art, and learning the history and meaning behind such pieces. As teachers, we must constantly be open to expanding our base knowledge and learning new information to share with our students. It is important to note that teaching art requires more than just looking at pictures, listening to music or watching a dance. To teach art in a truly meaningful way, principles of art history, production, criticism and aesthetics must be explored.