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Meng Chun’s profile

Meng Chun was influenced by his family since he was a child and became associated with art. Classics from ancient and modern times, both at home and abroad, enriched his spiritual world and provided artistic nutrition for his future study of calligraphy. It is precisely because of his excellent interest and understanding of calligraphy, coupled with the diligence brought by his interest, that his talents have been fully utilized. While studying in the Fine Arts Department of Henan University and working as an art teacher in a local middle school, he has won many awards in municipal, provincial and national calligraphy and painting competitions. His elegant and unrestrained cursive works and aloof and steep official script works often appear in professional newspapers and competition collections, and he is well-known in the local area for his good calligraphy. The most critical period for Meng Chun's art to continue to mature and achieve brilliance was the more than ten years since he joined Wenzhou Yuying International Experimental School in 1998. Yuying's relaxed educational environment and good cultural and artistic atmosphere have always influenced him. , inspired him, made him gradually realize the connotation of teaching and educating people, teaching and learning, and strived to pass on the knowledge he had learned to his beloved students easily and happily. The students are very happy to take his class and learn calligraphy from him. They all say that his class is interesting and humorous, and they learn a lot in the joy... In the past few years, his students have won consecutive championships in calligraphy competitions across the district and city. , more than 1,000 people (times) have participated in and won awards in national and international children's calligraphy and painting competitions. Among them, 16 students including Fang Dongxiong and Ruan Haibin won the first prize (gold medal). The calligraphy works of dozens of students including Jia Xiaocong and Xu Chao were published in professional newspapers such as "Primary and Secondary School Calligraphy and Painting" and "Youth Calligraphy". Nearly a hundred students' calligraphy works The calligraphy works and introductions are published in the competition collection and dictionary. Meng Chun relied on his persistent pursuit and intelligence to work hard in the field of Yuying art education. He visited famous local calligraphers such as Lin Jiandan and Zhang Suo many times to encourage and improve himself in a timely manner; he often discussed and communicated with calligraphy enthusiasts to enrich and improve his work, constantly expand his artistic vision, and enhance his artistic accomplishment. Therefore, Meng Chun has won many honors. During his more than ten years at Yuying School, he has won the Special Gardener Award in the National Primary and Secondary School Calligraphy and Painting Competition more than ten times, and the Best Tutoring Award in the First National Children's Calligraphy and Art Gold Award Competition; Ou First prize in the Hai District Teachers' Calligraphy Live Competition; selected for the 1999 Chinese Calligraphy Invitational Exhibition. His works were exhibited at the Tiananmen Working People's Cultural Palace. Many of his works were exhibited in Japan, Singapore and other places, and were included in the Forest of Steles in Sanqingshan Mountain, Jiangxi Province. His calligraphy, painting and seal works are collected by Caozhou Painting and Calligraphy Academy, Zhengzhou Yellow River Painting and Calligraphy Academy, Luoyang Baima Temple and Suzhou Zhujia Calligraphy Academy.

Due to Meng Chun’s achievements in the art of calligraphy, he has been successively admitted as a member of the Chinese Hard-tipped Calligraphers Association, a director of the Chinese Young and Middle-aged Calligraphers Association, an executive director of the Jiangdu Painting and Calligraphy Academy of Jiangsu Province, and a Guilin hard-tipped calligrapher. Vice chairman of the association, honorary president of Dancheng County Elderly Calligraphy and Painting Research Association, vice president of Zhenyuan Seal Society, and was named one of the top ten calligraphy educators in the country. While working hard to teach children's calligraphy in schools, he is also devoted to the art of calligraphy and seal cutting. So far, he has published in "Writing", "Youth Calligraphy", "Chinese Pen Calligraphy", "Children's Calligraphy and Painting", "Chinese Painting and Calligraphy" More than 90 calligraphy theory articles and calligraphy and printing works have been published in more than 20 professional newspapers and periodicals such as "Primary School Students' Calligraphy and Painting", "Calligraphy and Painting Art", and "Youth Calligraphy News". School leaders, teachers and students have engraved more than 100 pieces, which has had a good impact.

It is true that Meng Chun still has a long artistic road ahead of him. We also sincerely hope that he can grasp himself well. He seeks his own language of pen and ink, highlights his personality in calligraphy teaching and creation, teaches and educates people, and has his own appearance. -----In fact, this is not only an update of an art form, but also a true reflection of his personal soul!

Meng Chun, a name full of poetry and painting, is an outstanding representative of Yuying Educational Garden! Teaching calligraphy requires "three hearts"

The "Ministry of Education's Several Opinions on Strengthening Writing Teaching in Primary and Secondary Schools" issued by the Ministry of Education on May 17, 2002 pointed out: Chinese calligraphy combines the meaning of Chinese characters Integrating functions and plastic arts, it has a long history and a broad mass base. The aesthetic value of Chinese character writing has been recognized beyond national boundaries and beyond the scope of use of Chinese characters. Therefore, Chinese character teaching can cultivate students' emotions, cultivate aesthetic ability, and enhance their love for the motherland's language and cultural understanding. It is not only conducive to the improvement of writing skills, but also to the enhancement of knowledge.

I have been teaching primary school calligraphy at Wenzhou Yuying International Experimental School for 5 years. Looking back on the teaching over the past few years, my experience is that "you have three minds."

1. Love “Education without love is unsuccessful”!

Children in boarding schools already lack a lot of fatherly and motherly love, which is pitiful enough. Children are active by nature. They could have played unrestrained games with their peers, but now they are made friends with boring dots, horizontal strokes, strokes, and strokes. Especially seeing their yearning and persistence in learning calligraphy, they are so excited. As a role model for others, why don't you love them? Whenever you are among innocent and lively children, you will awaken your long-lost childlike innocence. I have always regarded these children as my own children, younger brothers, sisters, and even more so my close friends. I get along with them with a sincere love. I care about them in daily life and tell them a joke or a story when I have time. , give a hug, shake hands, etc. These things may seem very simple and even boring to adults, but for children aged eight, nine, or ten years old, the power produced is endless. Of course, there are inevitably late-developing intellectuals and "naughty ghosts" among children, but as long as they are educated with sincere love and influence, the "ugly duckling" will eventually turn into a "little swan". ----The most important thing is that we educators must be caring and full of affection for students at all times.

Of course, being loving does not mean doting, nor does it mean unprincipled accommodation or indulgence. As an educator, proper criticism of students is essential. My approach is not to criticize if I can, and to criticize as little as possible if I need to criticize. Even those who need severe criticism should be left after class as much as possible. The tone of criticism must be gentle and the content of criticism must be sincere. The principle is not to damage their self-esteem. After all, they are primary school students. Too much criticism can easily cause children to feel inferior. Inappropriate criticism or the use of loud reprimands, sarcasm, and sarcasm can also cause their rebellious psychology. Just imagine, how can a student who is emotionally opposed to you accept your teachings with all your heart? And if a teacher cannot harmonize the relationship between teachers and students, how can he teach wholeheartedly?

2. Be patient and "haste makes waste"

Calligraphy is a relatively profound and advanced skill. Especially when it comes to writing calligraphy, adults may not see much improvement after practicing for a year and a half, let alone children. Therefore, the key for teachers to admit the facts is to be patient. Sitting posture, writing posture, etc. often need to be emphasized and corrected. The explanation of basic regular script writing techniques and techniques in class is always repeated and I can't bear to get tired of it. When I encounter students who don't listen carefully, I will ask some questions in time for them to think and answer to attract their attention. Sometimes I teach them step-by-step and they should not be impatient. For some students who love to express themselves but have low writing skills, I ask them to help me pick out the shortcomings of other students' homework and share their suggestions for correction, in order to improve their appreciation. Ability, let them be teachers for a time and enhance their sense of success, so that they will be more interested in writing and work harder. Sometimes when I see my classmates are tired from practicing, I tell them some interesting stories, whether they are historical, legendary, or mythological, as long as they can make everyone feel relaxed and educational. For a few students who are "stubborn", sometimes I will inevitably get angry and want to punish them severely or throw them out of the calligraphy room. However, I still pay great attention to restraining myself and try to use methods that are acceptable to them. Criticize, correct, and give him a chance to make corrections next time.

3. Teachers must be careful. In addition to having solid basic skills and proficiency in calligraphy, they must also study pedagogy and psychological theories carefully, carefully observe the psychological changes of students, and according to the different characteristics of the students. , take advantage of the situation to carry out teaching work. When teaching students to write, it is very important to carefully observe the students. For example, some "impatient" children cannot sit still for three to five minutes. If you force him to practice basic strokes for half an hour, he will definitely be reluctant and will not Can't do it. In this regard, I pay great attention to the arrangement of the classroom structure, and organically combine various forms such as lectures, watching, practicing, and comparing. I practice for a few minutes, look at other people's works, lecture for a few minutes, and let the students go on stage to demonstrate several times. Do not give them a heavy homework burden and do not make them feel stressed and boring.

Being careful also includes careful and meticulous teaching work. In class, if you teach the theory of calligraphy in a very profound and mysterious way, the students will not understand it. If you teach the method of writing brushes in a very rough and abstract way, the students will also not be able to learn it. Therefore, when teaching, I insist on using metaphors and descriptions, and try to make them concrete and visual.

For example, when talking about strokes and lines, I compare the thickness, curvature, and shade with the distance, lightness, and depth of the painting colors, and then compare them with the pitch, speed, and weight of the music melody, so that students can find feelings and have some imagination. . When talking about the structure of fonts, my method is to start with the overall, then partial, and then overall steps. I use the geometric teaching method to summarize the fonts into geometric shapes such as circles, triangles, trapezoids, etc., so that students can memorize them easily. When talking about internal proportions and structures, I often use the method of reference points and reference lines to analyze. Through the understanding of a geometric shape, the mastery of several important points, and the analysis of auxiliary lines, students can generally analyze this Keep the correct way of writing the words in mind, and then guide them to compare whether the written words are similar to the words on the copybook, and correct the shortcomings so that they can gradually make progress.

Remarks: Over the past few years, the "three hearts" of love, patience, and carefulness have always been the principles and magic weapons of my teaching. Using these magic weapons, my relationship with my classmates is particularly harmonious. When they see me, my classmates dare to speak freely. Their interest and enthusiasm for learning calligraphy are stimulated, and the progress of some classmates is also surprising. Over the years, students have participated in many city, district, national and international calligraphy competitions with gratifying results. They have won the "Youth Cup", "Sifang Cup", "Hope Cup" National Primary and Secondary School Calligraphy and Painting Competition and the "Yanhuang Cup" In the World Chinese Children's Calligraphy and Painting Competition, more than 700 people (times) participated in the exhibition and won more than 80 trophies and medals. Some students' calligraphy works have been published in "Calligraphy and Painting for Primary and Secondary School Students", "Calligraphy and Painting Education", and "Wenzhou Evening News" , "Student Reporter" and other newspapers and periodicals...

However, achievements only represent the past. "The road is long and long, and I will search high and low"!