1. Textbook Analysis (1) Teaching Objectives Theoretically, any art work no longer belongs to the artist once it is produced, but to the entire society or audience. Therefore, different art works will be meaningful in the eyes of different societies and audiences.

and differences in value.

We have already talked about the importance of understanding the artist's creative intention in the previous lesson. What this lesson wants to explain is that the artist's creative intention is only one aspect of our understanding of art works, not the only one, or it can help us understand art.

The works provide some kind of reference, and the works of art also require us, the audience, to give us our own interpretations.

Therefore, the teaching purpose of this course is to make students realize that the meaning and value of art works have both an absolute and a relative aspect.

Active participation is the premise and guarantee of art appreciation. Only in this way can we improve our ability to appreciate art and cultivate our aesthetic eyes.

(2) Content structure This course mainly includes four parts.

The first part starts with the story of ancient Chinese painters Ma Yuan and Xia Gui.

As an introduction, this section points out their contribution to the history of Chinese art, but the emperor of the Ming Dynasty gave a different explanation, which shows that art appreciation not only requires understanding the artist's intention, but also a question of the audience's judgment of its meaning and value.

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The second part, "Era and Regional Characteristics of Art Works," talks about the relationship between the meaning and value of art works and the era and region in which they were produced. That is, its production was limited by the era and region at that time.

The understanding is also closely related to its time and region.

The main example here is "Father" by Luo Zhongli.

This can be understood in conjunction with the artist’s creative intentions described in the previous lesson.

The third part "How to judge the meaning and value of art works?" takes three "David" created by three sculptors in different periods of Western history as examples to further illustrate the relationship between the meaning and value of art works and the era and region.

Relationship, thus pointing out that the meaning and value of art works have both an absolute and a relative side.

The issue of artistic innovation is also raised here, mainly from the perspective of understanding the meaning and integrity of the value of art works. Since this issue is more complex, it is not expanded upon and is only used as a reference in teaching.

The fourth part, "How to treat the differences in the meaning and value judgment of art works?" is a question that follows the opposite side of the meaning and value of art works mentioned above.

This section emphasizes the importance of personal feelings and judgment, and provides different angles and methods for judging the meaning and value of art works.

These angles and methods tell us that the meaning and value of art works are not static, but can have various levels of understanding. Each level is part of the meaning and value of art works. This interpretation is very important for students to participate in art appreciation.

Initiative has a positive connotation.

But it also points out that despite these different perspectives and approaches, the artwork itself is still the basis for our judgments of meaning and value.

(3) Teaching Focus and Difficulties The teaching focus of this course has two aspects: 1. To enable students to understand that the meaning and value of art works are closely related to the times and regionality, that is, regardless of the formation of this meaning and value,

The ability and scope of art works to generate meaning and value are limited by the era and region in which they are located; 2. Make students understand that the meaning and value of art works can be judged from different angles, that is, they can be viewed from different angles

and understanding the meaning and value of works of art.

The difficulty in teaching this course is that the meaning and value of an art work have both an absolute and a relative aspect. To accurately judge the meaning and value of an art work involves many factors, and we must be able to do so in teaching.

It is not easy to accurately grasp the relationship between them, which needs to be paid attention to in teaching.

In addition, the various perspectives for judging the meaning and value of art works can easily cause students to have the illusion that art works can be understood arbitrarily. This is wrong and teachers need to pay attention to correct them in teaching.

2. Teaching content materials (1) Work analysis: Journey to Xiaoxue Mountain (Chinese painting) Ma Yuan (Song Dynasty) Ma Yuan’s ancestral home is Hezhong (now Yongji County, Shanxi Province). He was born in Hangzhou, with the courtesy name Yaofu and the nickname Qinshan.

He was born into a family of painters, and he is already the fourth generation.

During the Guangzong, Ningzong and Lizong dynasties, he served as the only marquis of the Painting Academy and the imperial edict.

Like his ancestors, Ma Yuan could do landscapes, figures, flowers and birds, and miscellaneous paintings. He was a versatile painter who was unique in the painting world.

The ones with the highest achievements and greatest influence are his landscape paintings, which are known as "horse corner" because the composition of his paintings often places the real scene in one corner of the picture.

However, in addition to close-ups of one corner, he also has panoramic landscapes, and he also gives full play to his all-around advantages. His works sometimes combine flowers, birds, and landscapes, sometimes combine figures with landscapes, and sometimes combine figures, flowers, birds, and landscapes, which are extremely rich and varied.

Fishing Flute Qingyou (Chinese Painting) Xia Gui (Song Dynasty) has always been called "Ma Xia" in the history of painting, because their painting styles are indeed very similar.

The difference is: Ma Yuan is more dignified, Xia Gui is more straightforward; Ma Yuan's painting is tighter, while Xia Gui's painting is more wild; in addition, Xia Gui's ink is more vivid.

Xia Gui was slightly later than Ma Yuan. He was from Qiantang and served in the Painting Academy during the Ningzong and Lizong dynasties.