Brief introduction of Meng Chun.

Meng Chun was influenced by his family and became attached to art since he was a child. The classic works of ancient and modern China and foreign countries enriched his spiritual world and provided artistic nutrition for his future study of calligraphy. It is precisely because of his excellent interest and understanding in calligraphy, coupled with the diligence brought about by his interest, that his intelligence has been fully exerted. While studying in the Fine Arts Department of Henan University, I worked as an art teacher in a local middle school, and won many awards in city, province and national painting and calligraphy competitions. His elegant cursive works and lofty official script works often appear in professional newspapers and competitions, and the reputation of good books is also a household name in the local area. The decade since 1998 joined Wenzhou Yu Ying International Experimental School is the most critical period for Meng Chun's art to mature and flourish. Yu Ying's relaxed educational environment and good cultural and artistic atmosphere have been edifying and inspiring him, making him gradually realize the connotation of teaching and educating people, learning from each other's strengths, and trying to impart what he has learned to his beloved students with ease and pleasure. The students are happy to take his class and learn calligraphy from him. They all say that his class is interesting and humorous, and they have learned a lot from it ... In recent years, his students have won the championship in succession in the whole region and the whole city, and more than 65,438+0,000 people (times) have participated in the national and international children's calligraphy and painting competitions and won prizes. Among them, Fang Dongxiang, Ruan Haibin, etc. 16 students won the first prize (gold medal), dozens of students' calligraphy works such as Jia Xiaocong and Xu Chao were published in professional newspapers such as Painting and Calligraphy in Primary and Secondary Schools and Youth Calligraphy, and nearly 100 students' calligraphy works and profiles were published in the excellent works collection and dictionary of the competition. With her persistent pursuit and wisdom, Meng Chun worked tirelessly in the field of British art education. Visit famous local calligraphers such as Lin, Li, and Li many times to spur and improve themselves in time. Often communicate with calligraphy lovers, enrich and improve, constantly expand artistic horizons and enhance artistic accomplishment. Therefore, Meng Chun won many honors. During her ten years in Yingying School, she has won more than ten gardening awards, including the National Calligraphy and Painting Competition for Primary and Secondary School Students and the Best Tutoring Award in the First National Children's Calligraphy Art Competition. First prize of ouhai district Teachers' Calligraphy Competition; Selected in 1999 China Calligraphy Invitational Exhibition, and his works were exhibited in the Working People's Cultural Palace in Tiananmen Square. Many works were exhibited in Japan, Singapore and other places, and were incorporated into the Sanqingshan forest of steles in Jiangxi. Books, paintings and printed works are collected by Cao Zhou Painting and Calligraphy Institute, Zhengzhou Yellow River Painting and Calligraphy Institute, Luoyang Baima Temple Painting and Calligraphy Institute and Suzhou Zhujiashu Painting and Calligraphy Institute.

Because of Meng Chun's achievements in calligraphy, he was accepted as a member of China Hard Pen Calligraphers Association, director of China Young and Middle-aged Calligraphers Association, executive director of Jiangdu Painting and Calligraphy Institute of Jiangsu Province, vice chairman of Guilin Hard Pen Calligraphers Association, honorary president of Dancheng Senior Calligraphy and Painting Research Association, and vice president of Zhenyuan Printing Society, and was named as one of the top ten calligraphers in China. While trying to do a good job in teaching children's calligraphy art in school, he also devoted himself to calligraphy and seal cutting cultivation. Up to now, more than 90 articles, books and printed works of calligraphy theory have been published in more than 20 professional newspapers such as Writing, Youth Calligraphy, China Pen Calligraphy, Children's Calligraphy and Painting, Primary and Secondary School Students' Calligraphy and Painting, and Youth Calligraphy Newspaper.

It is true that Meng Chun still has a long way to go in art. We sincerely hope that he can grasp himself, find his own pen and ink language from the vertical and horizontal comparison of artistic laws and mind, show his personality in calligraphy teaching and creation, teach and educate people, and form his own characteristics in Zhong Ling. -in fact, this is not only an update of art form, but also a true portrayal of his personal soul!

Meng Chun, a poetic name, is an outstanding representative of Yu Ying Jiaoyuan! Teaching calligraphy is "three hearts"

The Opinions of the Ministry of Education on Strengthening Writing Teaching in Primary and Secondary Schools issued by the Ministry of Education on May 17, 2002 pointed out that China calligraphy combines the ideographic function of Chinese characters with plastic arts, which has a long history and a broad mass base, and the aesthetic value of Chinese character writing has been recognized beyond national boundaries and the scope of Chinese character use. Therefore, the teaching of Chinese characters can cultivate students' emotions, cultivate students' aesthetic ability and enhance students' love for the language and culture of the motherland, which is not only conducive to the improvement of writing skills, but also conducive to the improvement of common sense.

I have been teaching primary school calligraphy in Wenzhou Yu Ying International Experimental School for five years. Looking back on my teaching in these years, my experience is that "you have three hearts".

First, there is love. Education without love is unsuccessful!

It is pitiful enough that the children in boarding schools have already lacked a lot of fatherly love and maternal love. Children are naturally active. They could have played freely with their peers, but now they make friends with boring points, strokes, strokes, especially their yearning and persistence in learning calligraphy. As a teacher, do you have any reason not to love them? Whenever I am among innocent and lively children, it will arouse my long-lost childlike innocence. I have always regarded these children as my own children, brothers and sisters, and even bosom friends. I get along with them with sincere love. I usually care about my life. When I have time, I will tell them a joke, a story, a hug and a handshake. These are simple and even boring things for adults, but for those eight-year-old, nine-year-old and ten-year-old children, the power is endless. Of course, there are children who are mentally retarded and naughty, but as long as they are educated with sincere love, the "ugly duckling" will become a "little swan" sooner or later. The most important thing is that we educators should have love and always be full of affection for students.

Of course, love does not mean doting, let alone unprincipled accommodation and connivance. As an educator, it is essential to criticize students properly. My approach is not to criticize if you can, to criticize as little as possible when necessary, and even those who need severe criticism should try to stay after class. The tone of criticism should be calm, the content of criticism should be sincere, and the principle is not to hurt their self-esteem. After all, primary school students, too much criticism can easily lead to children's inferiority complex, and inappropriate criticism or loud reprimand, irony and sarcasm can also cause their rebellious psychology. Imagine, how can a student whose feelings are completely opposite to yours accept your teaching with conviction? And how can a teacher teach wholeheartedly if he can't reconcile the feelings between teachers and students?

Second, be patient. "Haste makes waste."

Calligraphy is a profound skill. Especially the brush calligraphy, adults may not see much effect after practicing for about a year, let alone children. Therefore, the key for teachers to admit the facts is patience. For sitting posture, pen posture, etc. , often need to emphasize and correct. In class, the explanations of the basic strokes and techniques of regular script are always repetitive and annoying. When some students don't listen carefully, I will ask some questions in time for them to think and answer in order to attract their attention. Sometimes it's harder to teach them impatiently. For some students who love to express themselves but are not good at writing, I will ask him to help me pick out the shortcomings of other students' homework, talk about corrections, improve their appreciation ability, let them be teachers once, and enhance their sense of success, so that they will be more interested in writing and work harder. Sometimes when I see my classmates tired from practicing, I will tell them some interesting stories, whether historical, legendary or mythical, as long as they can make everyone feel relaxed and instructive. For a few "stubborn" students, sometimes it is inevitable that they will get angry and want to be severely punished or expelled from the calligraphy room, but I still pay great attention to restraining myself and try my best to criticize and correct them in a way acceptable to him and give him a chance to correct them next time.

Third, teachers should be careful. In addition to having a solid basic skill and being proficient in calligraphy, we should seriously study pedagogy and psychological theories, carefully observe students' psychological changes, and carry out teaching work according to their different characteristics. It is very important to observe students carefully when teaching them to write. For example, some impatient children can't sit still for three or five minutes. If you force him to practice basic strokes for half an hour, he won't and can't do it. In this respect, I pay great attention to the arrangement of classroom structure. I organically combine various forms such as speaking, watching, practicing and comparing, practice for a few minutes, watch other people's works, and speak for a few minutes, so that students can give presentations on stage many times without giving them a heavy homework burden, which makes them feel bored.

Careful also includes careful and meticulous teaching. In class, students won't understand what you said about calligraphy theory. You teach the method of writing brush very rough and abstract, and students can't learn it. Therefore, when giving lectures, I insist on using metaphors and descriptions to be as concrete and visual as possible. For example, when I talk about stroke lines, I compare the thickness, straightness, lightness and darkness with the distance, lightness and depth of painting colors, and then compare them with the height, urgency and lightness of music melody, so that students can find their own feelings and imagine. When I talk about font structure, my method is a whole, partial and whole step, and the font is summarized into geometric shapes such as circle, triangle and trapezoid by geometric teaching method, which is convenient for students to remember. When talking about internal proportion and structure, I often use the method of reference point and reference line to analyze. By understanding a geometric shape, mastering several important points and analyzing with the help of auxiliary lines, students can generally keep the correct writing of this word in mind, and then guide them to compare whether the written words are similar to those on the copybook, and then correct the shortcomings, so as to make progress step by step.

In recent years, the "three hearts" of love, patience and carefulness have been my teaching principles and magic weapons. Using these magic weapons, my feelings with my classmates are particularly harmonious. Students dare to speak freely when they see me, and their interest and enthusiasm in learning calligraphy are stimulated. The progress of some students is also surprising. Over the years, students have participated in many city, district, national and international calligraphy competitions, and the results are gratifying. They have won more than 700 prizes in the Youth Cup, Sifang Cup, Hope Cup and Yanhuang Cup World Chinese Children's Calligraphy Competition, won more than 80 trophies and medals, and some students wrote calligraphy.

However, achievements only represent the past. "The road is long and its Xiu Yuan is Xi, and Xiu Yuan is Xi, so I will go up and down for it"!