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劉澤光博士
視覺藝術院副教授

   
劉博士為視覺藝術碩士課程總監,著有《雅俗互參:劉澤光書法篆刻的新探索》、《文人藝術之承傳與轉化》和四十多篇論文和展覽圖錄,並為2001年版《大英百科》修訂有關中國書法的條目。

他奪得不少國際書法獎項,作品為中國、香港、美國等地藝術博物館收藏。2007年他獲美國加州聖巴巴拉中央圖書館邀辦第二次個人展《筆之旅》;2008年獲中央研究院近代史研究所邀為訪問學人。他也參與制定新高中視覺藝術課程,以及中學會考視覺藝術科成員。


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視覺藝術院中國書法篆刻教育 (三)
2009-06-25 23:25:25.0 網誌分類: 我的專業
 

學海無涯

我經常認為大學程度的導師必須對其所教授的學科有全面的了解。了解已建立之學問並不足夠,對特定學科及相關學術領域發展的觸覺同樣重要。在某程度上,中國視覺藝術、人文、文化和各種創意產業的跨學科研究,不但跟多面性視覺文化的最新發展脗合,更與今日社會的潛在需求接軌。作為導師,其中一個主要的責任是有意識地洞察其個人學術研究的發展,並進一步將這知識傳授給學生,期望他們能以「學海無涯」的精神,堅持不懈地建立其個人化的學術研究和學問。
 
培養終身學習的專業態度對每個老師來說都是一項充滿挑戰性的任務。我堅信最成功的老師有種神奇力量,能令學生變成滿腔熱誠的求學者,願意在正規課程及課堂以外投注時間與資源鑽研學科。所以,我其中一個教學目標就是令學生珍惜現有書法及篆刻的學習經驗,繼而將此變為個人發展、推動和深化學習的終身意願。每當我在美術館裡碰見對某件展品看得出神的舊學生,我會欣然恭賀自己說:「你做得真好!」

Education of Chinese Calligraphy and Seal Engraving at the Academy of Visual Arts (3)

No boundaries

I always believe that an instructor at the university level should have a thorough understanding of the subject he or she is teaching. Knowing the established scholarship is not enough. The awareness of current developments of a specific subject and the pertinent fields of study is equally important. In a sense, interdisciplinary study among Chinese visual arts, humanities and various fields in the creative industry genuinely coincides with not only the latest developments of the multi-faceted visual culture but also the potential need of society nowadays. One of the major responsibilities of an instructor is to be very conscious of the development of his or her own scholarship, take one step further to bring it to the students, and expect them to develop their own scholarship in a manner reminiscent of the spirit of persistence embodied in the well-known Chinese idiom: “the sea of learning has no boundary.” (學海無涯)

To cultivate a professional attitude of lifelong learning is really a challenging task for every teacher. I strongly believe that the most successful teacher has the magical power of turning students into a fanatic who are willing to invest time and resources to study a particular subject beyond the formal curriculum and normal classroom settings. Therefore, one of my teaching objectives is to nurture students with the attitude of treasuring the existing learning experience in Chinese calligraphy and seal engraving and transforming it into a lifelong willingness to further and deepen their own study for personal development. When I visit the museum and come across some former students of mine attentively appreciating a particular work of art, I would be happy to congratulate myself: “You did a great job!”

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視覺藝術院中國書法篆刻教育(二)
2009-06-16 20:48:38.0 網誌分類: 我的專業
 

實踐和創意並重

本院所有書法和篆刻課程皆分為三部分:歷史與理論的研習、筆法/刀法及歷史名作風格的實踐和研習、工作室專題習作。除了研習主要藝術家及其作品和理念之外,更會分析藝術風格和構圖種類。學生會在課堂裡透過觀看示範和在導師指導實習下,學會其中一種藝術形式的基本技巧。課程以創意習作為總結。學生需要以書法或篆刻作表達自我,透過作品風格和文字內容表達出自我指涉的意念。

授課模式與教學活動
- 簡短的電腦簡報輔助講課不僅讓學生知道該藝術形式的歷史和理論層面,更可從學術視點給予他們挑戰。

- 課堂討論和本地藝術館考察讓學生有機會練習其觀察技巧,提升評賞與分析藝術作品之能力,增强其藝術鑒賞之專業技能,並從中鞏固學生的課堂學習。

- 導師示範和指導實習有助學生學習實踐技能和提升師生間之溝通。為了顧及學生在能力、興趣、性情和學習模式的個別差異,我經常為學生提供多類型的法帖與篆刻名作範例,使他們可以挑選合適自己的楷模來學習。這也是導師可引發出學生不同潛質的良機。導師的「正面鼓勵法」能鼓勵學生更自發地提升自己。

- 有效使用參考資料可讓學生對當今最新的學問一覽無遺,而且對國際領域(如中國大陸、台灣、北美、法國)的書法篆刻研究發展有更清晰的了解。

- 主辦師生聯展,並藉此培養學生自發進行在課程要求以外的藝術創作。


Education of Chinese Calligraphy and Seal Engraving at the Academy of Visual Arts (2)

Hands on learning
All courses of Chinese calligraphy and seal engraving consist of three parts: the study of the historical and theoretical aspects of the specific art form; the practical study in basic brush or knife techniques and styles of the major works in history; and a hands-on studio art project. A study of the major artists, their works and philosophies is followed by a rigorous analysis of styles and compositional types.  The classes will learn the basic techniques of either one art form through demonstrations and guided practice. The courses eventually culminate in the creative project whereby students will use calligraphy or seal engraving as a vehicle for self-expression, expressing self-referential ideas in terms of their artworks’ style and verbal content.

Mode of Tuition and Teaching Activities
- Short Power-point accompanied lectures not only inform students about the historical and theoretical aspects of the specific art form and traditional Chinese culture, but also offer them challenges from an academic perspective.

- Class discussions and fieldtrips to local museums provide students with opportunities of exercising their observational skills, enhance their ability of critiquing and analyzing artworks, and hone their professional skills of making appropriate judgments on the quality of artworks (connoisseurship), which in turn consolidates students’ classroom learning. 

- Demonstrations and guided practice facilitates students’ learning of hands-on techniques and enhance communication between the instructor and his or her students. To cater to individual differences in abilities, interests, temperaments and learning styles, I always provide students with a wide spectrum of example of model writings or model seals, so that students can have their own choices of model to learn. This is also a chance for the instructor to point out students’ various potentials. The instructor’s method of “positive reinforcement” will encourage the students to take greater initiative to improve themselves. 

- Effective use of a wide range of references to provide students with a full picture of the most current scholarship in the fields and a better understanding of the development of the study of calligraphy and seal engraving in such international arenas as Mainland China, Taiwan, North America and France. 

- Organizing exhibitions that jointly show the works by both the instructor and the students and making use of this opportunity to cultivate students’ initiative in making art beyond their primary goal of fulfilling the requirements of the course.

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視覺藝術院中國書法篆刻教育(一)
2009-06-09 20:53:18.0 網誌分類: 我的專業
 

薈萃中西文化

二○○五年,香港浸會大學視覺藝術院為中國視覺藝術科目創立了正規課程,標誌着一個新時代的開端──從此終於有本地大學將中國視覺藝術與其他視覺藝術範疇結合,全面進行徹底的探索和大膽的推行。

無疑,視覺藝術院開辦的視覺藝術(榮譽)文學士課程強調傳統中國藝術及西方藝術的概念和實踐,反映了香港作為中西文化薈萃的大都會角色。在當代視覺藝術教育別開生面的精神和理念的引導下,學生有豐富機會接觸並體驗多種不同的藝術形式,包括平面創作如繪畫、書法、攝影、版畫、平面設計;立體創作如空間藝術、雕塑、陶瓷、玻璃、珠寶;新媒體藝術如數碼圖像、動畫、視像音樂;現代藝術如裝置藝術、互動藝術、行為藝術等。

這個綜合和全面的視覺藝術教育途徑跟其他大學或傳統藝術學院所推行的大相逕庭。歷史悠久的制度和傳統地强調藝術製作技藝的教學都令學生以一至兩種藝術形式為主修科。譬如中國美術學院著名的書法篆刻系,其學系之四年制課程架構促使學生主修書法和篆刻。這些學生投放大部分時間研習書法、篆刻,以及與其密切相關的書法歷史及理論、書法美學、文字學和古漢語,將焦點集中在與主修學科相關的知識上。
 
 相反,我們視覺藝術院並沒有書法或篆刻的主修課程。同學研習書法和篆刻的同時,亦可以修讀其他視覺藝術科目,甚至浸會大學裏其他學科,例如人文學、數碼圖像傳播等,透過跨學科的研習達到各與科之間互相促進的學習成果。以篆刻研習為例,與此相關的科目有中國藝術史、中國書畫、字體設計、珠寶設計和雕塑。

 書法、篆刻與其他科目之間的互動,正好呼應視覺藝術院其中一項使命,就是 “協助學生培養完整人格,美學的觀察方法,藝術的創造技巧,多元的文化視野,最新科技與媒介的知識,以及對中國文化菁華與全球視覺藝術發展脈絡的理解”。

 作為本學院中國視覺藝術學科主任,我一直以來負責設計中國書法、篆刻及中國藝術史的課程大綱並教授這幾門課。以下我會重點分享自身的經驗,特別是在教學法方面的個人哲學及「教」與「學」的教育理論。

Education of Chinese Calligraphy and Seal Engraving at the Academy of Visual Arts (1)


Convergence of cultures

The establishment of a formal curriculum of Chinese Visual Arts subjects in 2005 at the Academy of Visual Arts (AVA), Hong Kong Baptist University (HKBU), marked the dawn of a new era when the notion of merging the study of Chinese Visual Arts with other areas in visual arts was thoroughly explored and boldly implemented at a local university in Hong Kong.

Characterized by its emphasis on concepts and practices of both traditional Chinese and Western arts, the AVA’s curriculum of the Bachelor of Arts (Honours) in Visual Arts Degree Program indisputably reflects “the convergence of the Chinese and Western cultures in the cosmopolitan city of Hong Kong.” Under the guidance of such a fresh spirit and philosophy of a new developmental direction of visual arts education, students are vigorously exposed to an extensive range of art forms, including two-dimensional art (painting, calligraphy, photography, printmaking, graphic design etc.), three-dimensional art (spatial art, sculpture, ceramics, glass, jewellery, etc.), new media art (digital graphics, animation, visual music etc.), and contemporary art (installation, interactive art, performance art, etc.)

This integrated and holistic approach to visual arts education significantly differs from those offered and implemented at other universities or traditional institutes of art, where long-established institutions and the conventional emphasis on art-making (studio practice) techniques and skills predispose students to major in only one or two art forms. This is, for instance, exemplified by China Academy of Art, where the Department of Calligraphy and Seal Engraving is well established with a four-year curriculum that facilitates students in majoring in Calligraphy and Seal Engraving. These students have to invest much time in the study of not only Calligraphy and Seal Engraving, but also such closely related subjects as Calligraphy History and Theories, Calligraphy Aesthetics, Philology and Classical Chinese thus focusing predominantly on knowledge pertinent to their major.

By contrast, there is no Calligraphy or Seal Engraving major at AVA. While students study Calligraphy and Seal Engraving, they also study other subjects in visual arts and subjects in other disciplines at HKBU, such as the Humanities and Digital Graphic Communication (DGC), to achieve positive synergistic outcomes in a program oriented towards interdisciplinary studies. For instance, the study of Seal Engraving is related to Chinese Art History, Chinese Painting and Calligraphy, Typography, Jewellery Design, and some aspects of Sculpture.

The interaction among Calligraphy, Seal Engraving and other subjects echoes one of the AVA’s missions that students should be nurtured with “holistic personality, aesthetic capabilities, skills of artistic creation, a broad range of cultural perspectives, knowledge of the latest technology and media, and understanding of Chinese cultural heritage and developments in the world of visual arts.”

As the Head of the Chinese Visual Arts concentration at AVA, I have been responsible for designing and implementing the syllabi for Chinese Calligraphy, Seal Engraving and Chinese Art History. My experience will be shared here. Particular emphasis will be put on my personal pedagogical thoughts and philosophy on educational theories on instruction and learning.

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