Proceedings of the 3rd International Conference on Education Studies: Experience and Innovation (ICESEI 2022)

Teaching Research on the Integration of Red Culture Into the “Printmaking Basics” Course: Taking Sichuan Minzu College as an Example
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1. INTRODUCTION

The teaching of “red culture” integrated into the “printmaking basics” course is a teaching form that combines art major courses with “ideology and politics in courses”, which is an exploration of “ideology and politics in courses” conducted by Sichuan Minzu College under the guidance of the “Guidelines for Ideological and Political Construction of Colleges and Universities” [1]. Combining the actual situation of the school, giving full play to the advantages of the school, and carrying out the education of characteristic professional courses, after three years of teaching attempts, the integration of “red culture” into professional courses has achieved certain results. This article is one of a series of explorations in the integration of “red culture” into professional courses in Sichuan Minzu College, and another exploration after the integration of “red culture” into the curriculum reform of “Sketching Basics”. This article explores from four aspects.

2. COURSE REQUIREMENTS AND CHARACTERISTICS OF “PRINTMAKING BASICS” IN SICHUAN MINZU COLLEGE

In accordance with the requirements of the “Sichuan Minzu College Fine Arts Major (Teacher) Undergraduate Talent Training Program (2021 Edition)”, the fine arts major (undergraduate) should cultivate lofty ideological and political consciousness, ideals and beliefs and moral sentiments, as well as good teacher morality and educational sentiments, passionate about grassroots education, healthy in body and mind, comprehensive development of morality, intelligence, physique, beauty and labor, high-quality application-oriented middle school art teachers. Orientation goal of the basic printmaking course is: “Be familiar with the basic principles, basic knowledge, basic skills and basic ideas of the art discipline, and have ability to systematically express, create and appreciate art, as well as artistic modeling, design and creation.” Through the integration of red culture, consideration has been also given to “identifying with socialism with Chinese characteristics, consciously implementing the Party's educational policy, and practicing the core socialist values”. It is necessary to “adhere to the ideological and political education throughout the whole process of education and teaching, and achieve the talent training goal of education oriented, moral education first, aesthetic education and cultural education”.

“Printmaking Basics” starts from the basics of black and white woodcuts such as board making, transfer, stereotyping, and printing. Through this course, students can master basic techniques of printmaking and be able to independently create printmaking works. Through study of “Printmaking Basics”, people can understand several major types of prints and their respective characteristics, and strengthen students' “subject literacy”. The course “Red Culture” integrated into “Printmaking Basis” is based on students' “discipline quality” and focuses on the graduation requirements of “comprehensive education”. The “comprehensive education” requires graduates to “have the awareness of art discipline education, understand general laws of middle school students' physical and mental development and characteristics of the formation of world outlook, outlook on life and values, master the path and methods of infiltrating aesthetic education, middle school students' ideological and moral cultivation, personality shaping, and behavior habits in art discipline education, and be able to organically combine discipline teaching to carry out education activities”.

3. ADVANTAGES OF RED CULTURE IN TEACHING PRINTMAKING BASICS

3.1. Printmaking Has a Strong “Red Gene”

Printmaking, initiated by Mr. Lu Xun, pays close attention to the development of the times and closely follows the lifeblood of the times. Lu Xun was called by Mao Zedong as “the master of China's cultural revolution”. The new woodcut printmaking movement he advocated was an artistic revolution initiated by intellectuals [2]. “It is necessary to emphasize the need to serve the struggle, the need for realism in art, and the need for the unity of art and production” [3]. Therefore, for a long time, there have been a large number of prints in the Chinese literary and art circles with the themes of anti-Japanese, anti-oppression, and anti-feudalism, and these prints have a strong “revolutionary spirit”. People can feel the “revolutionary spirit” and “red gene” of printmaking from a series of printmaking works such as “Shout! China!”, “Shout”, and “War of Resistance Against Japan”. The Lu Xun Academy of Arts and Letters, founded in Yan'an in 1938, trained a large number of literary and art workers, including printmakers, who were both artists and revolutionary fighters. The famous printmaker Ah Ge wrote in “Imprint of the Times, Historical Monument”: “The woodcuts in the Liberated Areas and the prints in the Nationalist Area comprehensively portrayed the life of the Chinese in the war years. The red wave, the revolutionary spirit, and the heroism jumped on the paper in the simplest and most concise way, becoming a powerful weapon to inspire the people and strike at the enemy” [4].

3.2. Sichuan Minzu College Has a Strong Red Cultural Atmosphere

Sichuan Minzu College is located on the edge of Ganzi Luding County, where the Red Army's Long March passed, and now there is a “Red Army Flying Luding Bridge Memorial Hall” in Luding for students to understand the heroic deeds of the Red Army flying Luding Bridge. In addition to Luding, there are many places in Ganzi, which were all walked through during the Long March of the Red Army, such as Xiangcheng County, Luhuo County, Ganzi County, etc., and the red cultural resources in entire Ganzi are very rich. The familiar “Flying Luding Bridge”, “Aid to Tibet by the Eighteenth Army,” and “Commander-in-Chief Zhu De and the Fifth Geda Living Buddha” all occurred in Ganzi Prefecture, where the Sichuan Minzu College is located. Rich red cultural resources and good red cultural genes are a major advantage of Sichuan Minzu College in integrating red culture into the course of printmaking basics.

4. THE CURRENT SITUATION OF RED CULTURE INTEGRATED INTO THE TEACHING OF PRINTMAKING BASICS

Sichuan Minzu College has opened a course on printmaking basics and integrated red culture into the teaching of printmaking, starting from the class of 2019 to try. It has been carried out for three sessions so far, and the students have responded well. In the course of printmaking basics, the teacher sorts out representative works of emerging printmaking, takes the excellent works to the students for engraving, and understands the basic knowledge of printmaking steps and knife techniques through the “Provisional Engraving Classics”. Then the students studied red culture, understood the relevant historical facts, collected materials, and made tentative creations. After a series of study and research, students can not only learn printmaking techniques but also improve their understanding of red culture knowledge, thus enhancing their ideological and political awareness.

Students will be affected by the emotion conveyed by the works when they are in the moment. They can see the scenes of oppression and bullying of the working people in Li Hua's “Angry Tide Painting Group”, they can feel the powerful lines in the picture. “Black, white and grey” play the intense “symphony” and will be baptized unconsciously. In the “Hongyan” group paintings, there are moving scenes: “Ding Changfa's Cover for Breakthrough”, “Liu Siyang's Desire for War”, “Jiang Jie's Sacrifice”, “Xu Yunfeng's Banquet”, etc., which enable students to remember the revolutionary martyrs at the same time, and let the deeds of the revolutionary martyrs reappear, thus improving their revolutionary will and patriotic feelings invisibly.

Through the study of the integration of “red culture” into printmaking, there were 163 research objects in total, including 51 in 2019, 31 in 2020, 77 in 2021 and some other participants. Among them, 161 students believed that the course of “Printmaking Basics” could not only learn skills and techniques related to printmaking, but also improve students' ideological character, accounting for 98.77%. Through investigation, it is found that students have insufficient understanding of the course of printmaking basics, and quite a few students believe that the printmaking basics is to learn printmaking skills. Of the 163 people surveyed, 72 have such understanding, accounting for 44.17%. 161 students believed that they had deepened their understanding of red culture through the print course, and 161 students believed that the integration of “red culture” into printmaking teaching had advantages and benefits, accounting for 98.77%.

The teaching of printmaking basics takes students as the main body, gives full play to students' subjective initiative, allows students to actively participate in the curriculum, and fully integrates printmaking techniques, theories, red culture, etc. The course will fully combine hands with brains, fully reflect the teacher's guidance and students' active learning, and turn a single assessment method into a three-dimensional assessment method.

5. INFLUENCE OF RED CULTURE ON TEACHING PRINTMAKING BASICS

5.1. Integration of Red Culture Into the Teaching of Printmaking Basics Enriches the Printmaking Classroom

The teaching of printmaking basics will expand the classroom teaching, open the second classroom for students, and let students know more about the red culture in a variety of ways to increase their interest in learning. In the survey, many students mentioned: “I hope to learn more red deeds”, “I will learn red culture in many ways”, “I will participate in red cultural activities and experience the spirit of red culture”. These aspects mentioned by students are the reflection of students' active participation, and are the aspects that the course of printmaking basics are not enough or can be further developed. In addition to studying and discussing in class, the course of printmaking basics also encourages students to go to libraries, museums, art galleries and other places to learn and collect materials. Students will hold “Red Culture” printmaking exhibitions and seminars of temporary carved works and works created by students after the course to let students know and learn about their temporary works and works. The course of printmaking basics should be comprehensively considered in terms of knowledge, interest and interaction, to enrich the classroom as much as possible and to improve the learning effect.

Guided by the course of “Printmaking Basics” and influenced by the special exhibition and seminar of “Red Culture”, the teachers and students of Sichuan Institute for Nationalities have also created a large number of excellent works, such as “Yi Sea Alliance”, “Mountains and Rivers”, “Coming from the” Red Boat Spirit ”, etc. Some works have participated in important exhibitions in Sichuan Province and Ganzi Prefecture, among which “Coming from the” Red Boat Spirit “has used simple elements and colors to remind the true meaning of the” Red Boat Spirit “, which has been recognized by professionals and published in “Sichuan Art” magazine [5].

5.2. Integration of Red Culture Into the Teaching of Printmaking Basics Strengthens Students' Understanding of Red Culture

During the course, the teacher will explain some red culture knowledge and red culture prints to guide students to create and learn. For example, Jiang Bibo's “Flying Luding Bridge” not only explains the history of winning Luding Bridge, but also explains the creation methods and characteristics of printmaking. The teacher can guide the students to feel that “the work is integrated into Jiang Bibo's heroic complex since childhood, which vividly shows the spirit of the hero who sacrificed his life for justice at that historical moment and is full of shocking power” [6].

Through the “temporary carving of classics”, the students can take the classical red culture prints since the emerging woodcut print movement to the temporary carving and learn the spirit and historical background of the original works in the process of temporary carving. For the creation of red culture prints, the first thing is to collect relevant red culture materials and learn the red culture behind them. In the process of active search, students learned the red culture independently. At a later stage of the course, teachers and students can hold exhibitions and seminars on works of red culture, and feel the red culture by watching the works of other students, and learn red culture through discussion between teachers and students. In the course of printmaking basics, there are many links to consciously and unconsciously learn the red culture.

5.3. Integration of Red Culture Into the Teaching of Printmaking Basics Improves Students' Ideological and Political Understanding

Through the study of red culture, especially the study of “heroic deeds”, “revolutionary spirit” and “Long March spirit”, it can help to inspire the students' fighting spirit, strengthen the students' awareness of not being afraid of hardship, fatigue and hard work, make them recognize the difficulty of social peace and stability, and increase their national pride and patriotism. When students are carving the printmaking of “Jiang Jie's Sacrifice”, they will have a deeper understanding of Sister Jiang, and at the same time, they will understand Wu Fan's feelings when carving this work from the scene. The author expresses his admiration for Jiang Jie and his anger at the enemy with his passionate knife technique. While studying printmaking, the students can be influenced by Jiang Jie's heroic death, strengthen their fighting spirit and spirit of fearing hardships, and virtually improve their ideological and political understanding.

6. CONCLUSION

To sum up, it can be seen that it is a successful attempt by Sichuan Minzu College to integrate the “red culture” into the “Printmaking Basics” teaching. Taking advantage of the double advantages of “red culture” and “printmaking”, integrating red culture into printmaking basics has better promoted print teaching, and truly achieved “ideology and politics in courses”. “Since the War of Resistance against Japan, printmaking has become a propaganda weapon against Japan, and has been at the forefront of revolutionary art, which has developed rapidly” (Ding Xianzheng) [7]. The unique “red culture gene” of printmaking and the unique geographical location of Sichuan Minzu College have enriched the printmaking classroom, deepened the understanding of red culture, improved the ideological and political understanding, and achieved the “ideology and politics in courses” of the “Printmaking Basics” course. In combination with the practice of printmaking basics course in Sichuan Minzu College, teachers can tap into the red culture through the advantages of professional courses, cultivate students' noble sentiments, and thus cultivate qualified successors for the new era.

ACKNOWLEDGMENTS

Project: The Propaganda Department of the Committee of the Sichuan University for Nationalities of the Communist Party of China 2022 “Three Perfections of Education” ideological and political work excellent project “Red Culture Integration” Printmaking Basic Course Research (Curriculum Education)”.

REFERENCES

Central People's Government of the People's Republic of China. Guidelines for the Ideological and Political Construction of Colleges and Universities [EB/OL]. 28 May 2020. (in Chinese) http://www.gov.cn/zhengce/zhengceku/2020-06/06/content_5517606.htm
An Xue. Pen and Knife: Chinese Emerging Woodcut Prints 1930–1949 [M]. Xi'an: Shaanxi Xinhua Publishing and Media Group, Shaanxi People's Fine Arts Publishing House, 2014, pp. 1. (in Chinese)
M. Sullivan. Art and Artists of Twentieth-Century China [M]. Shanghai: Shanghai Century Publishing (Group) Co. Ltd, 2013, pp. 155.
Sichuan Artists Association, Shenzhou Printmaking Museum. Chinese Modern Printmaking: Shenzhou Printmaking Museum Collection 1 [M]. Chengdu: Sichuan Fine Arts Publishing House, 2014, pp. 5. (in Chinese)
Ye Ying. The Universe Under the Young Artist of Sichuan Art Association [J]. Modern Art, 2022(05): 8–22. (in Chinese)
Wang Meishi. Biography of Jiang Bibo [M]. Nanjing: Jiangsu People's Publishing House, 2016, pp. 19. (in Chinese)
Zhou Qizhong. Anthology of Zhejiang Revolutionary Prints [M]. Beijing: China Academy of Arts Press, 1993, pp. 2. (in Chinese)

Cite This Article

ris
TY  - CONF
AU  - Tongcheng Liu
PY  - 2023
DA  - 2023/03/14
TI  - Teaching Research on the Integration of Red Culture Into the “Printmaking Basics” Course: Taking Sichuan Minzu College as an Example
BT  - Proceedings of the 3rd International Conference on Education Studies: Experience and Innovation (ICESEI 2022)
PB  - Athena Publishing
SP  - 113
EP  - 116
SN  - 2949-8937
UR  - https://doi.org/10.55060/s.atssh.230306.019
DO  - https://doi.org/10.55060/s.atssh.230306.019
ID  - Liu2023
ER  -
enw
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