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艺术学科核心素养目标： 

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艺术学科核心素养目标：

创意实践：学生能够运用美术与设计学科的基础知识，探索传统丝 绸在现代设计中的新用途和表现形式。

审美感知：培养学生的审美鉴赏力，鼓励他们欣赏并创造具有美学 价值的丝绸设计作品。

语文学科核心素养目标：

语言建构与运用：提高学生的语言组织和表达能力，使他们能够清 晰、有逻辑地传达设计创意和案例分析。

数学学科核心素养目标：

数学运算：培养学生的精确计算能力，确保设计的比例、尺寸和结 构规划的准确性。

信息技术学科核心素养目标：

信息意识：培养学生的信息意识，使他们能够有效地收集、管理和 应用设计相关的数据和信息。

数字化学习与创新：利用信息技术解决设计过程中的问题，培养学 生的创新思维和问题解决能力。

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活动一：现代丝绸设计与应用

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活动一：现代丝绸设计与应用

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教师准备多媒体展示材料，展示现代技术与丝绸纹样设计的结合以及丝绸在不同领域的应用，包括时装秀视频、家居用品图片、艺术品照片等，让学生直观感受丝绸的多样性和创新性。

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其他资源

古代丝绸制作流程体现了先民对自然资源的深刻理解和手工技艺的精湛，从小规模家庭养殖到手工缫丝、天然染色，每一步都蕴含着深厚的文化传承和对环境的尊重，同样也保证了作品的独一无二。而现代丝绸生产则展现了技术创新的力量，通过工厂化养殖、机械化缫丝、自动化染色和电子控制织造，实现了生产效率的飞跃和产品质量的标准化。尽管两者在技术层面差异显著，但它们共同体现了人类对美的追求和对工艺的不断探索。现代丝绸产业在继承古代智慧的基础上，融入了现代设计理念，不仅推动了经济发展，也促进了文化的交流与创新，展现了人类文明在不同时代的智慧与创造力。

千年经典向新行丨蚕宝宝吐彩丝、AI个性设计……5500岁的它为何依旧惊艳？

https://new.qq.com/rain/a/20240505A023FV00

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教师利用多媒体资源分享成功的丝绸创新设计案例，并组织小组讨论，每组选择一个最喜欢的案例进行深入分析，包括设计理念、创新点、市场接受度等。每组分享分析结果，其他组提问，教师点评并提供专业见解。

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March 6, 2008 - February 8, 2009

Alumni Gallery | Elizabeth St-George, Guest Curator

Early eighteenth century silk design is marked by the evolution of textile motifs towards greater naturalism. While floral ornamentation had consistently appeared in Medieval and Renaissance silk decoration, these forms were heavily stylized. Semi-naturalistic flowers begin to appear about 1700, after which a tendency towards more naturalistic forms accelerated until the middle of the century. The beginning of the eighteenth century is also noted for the production of "Bizarre Silk," named for the asymmetrical arrangement of exotic motifs and odd color combinations. The resulting informality of "Bizarre Silk" patterns greatly complemented the increasing naturalism in silk design.

During the 1730s, an entirely new style developed marking a dramatic shift in French silk design. Silks of the 1730s are characterized by large and completely naturalistic fruits and flowers often depicted in relief. This new style can be linked to the beginning of the career of Jean Revel (1684-1751), one of the most renowned and technically sophisticated Lyonnais silk designers. Revel and other contemporary silk designers also focused considerable attention on how textile motifs were rendered in thread. Instead of depicting flat, single colored motifs, designers of the 1730s conceived motifs more three-dimensional in appearance through shading or gently blending contrasting shades of color.

Having developed naturalism to its fullest extent in the 1730s, silk designs of the 1740s and early 1750s returned to a more stylized manner of depicting forms, a trend that continued through the end of the century. The scale of fruits and flowers also diminished and silk designers played with a lighter composition by organizing meanders of flowers, ribbon, lace or fur patterns across the fabric. While meanders of the 1740s tend to flow more freely through the space of the fabric, meanders of the early 1750s are more static in nature. The lighthearted charm and vigor that develops in silk designs during the 1740s is characteristic of mid-eighteenth century Rococo silk production.

Although the designs are not as stiff as their predecessors, silks of the late 1750s and the 1760s are designed with a similar formula of meanders and smaller, stylized motifs. Meanders of this period are commonly arranged parallel to one another creating an asymmetry across the vertical axis of the fabric. This contrasts greatly with the rigid vertical symmetry employed in silk designs of the 1740s and early 1750s. The 1750s also marks the beginning of the career of Phillip Lasalle (1723-1804), another extremely successful Lyonnais silk designer who is credited with being the first to utilize the fur patterns that were extremely popular in the late 1750s and 1760s.

Owing significantly to the rediscovery of Pompeii and Herculaneum in 1748, neo-classical themes became increasing influential in textile design at the end of the eighteenth century. While small, stylized flowers remained, the meanders that were popular in earlier decades were gradually replaced by straight lines beginning in the 1760s. During the late 1760s and 1770s meanders scattered with floral motifs curled above or between rows of stripes. By the middle of the 1770s, the floral motifs that were once contained within meanders were now dispersed across or within stripes creating a stiffer composition that contrasts greatly with the airy designs that were popular earlier in the century.

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IN BLOOM: PATTERNED SILK DESIGN INNOVATIONS IN EIGHTEENTH CENTURY FRANCE

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IN BLOOM: PATTERNED SILK DESIGN INNOVATIONS IN EIGHTEENTH CENTURY FRANCE Kent State University Museum | March 6, 2008 - February 8, 2009 Alumni Gallery | Elizabeth St-George, Guest Curator Early eighteenth century silk design is marked by the evolution of textile motifs towards greater naturalism.

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其他资源

苏州丝绸纹样数据采集与应用入选全国十佳案例https://www.jiangsu.gov.cn/art/2023/10/13/art_87821_11039413.html

丝绸的纹样与百度AI文心大模型的结合：https://mp.weixin.qq.com/s/oKpXLxrefMr7LxWlvbcNbw

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小组进行头脑风暴，自由查阅相关资料，确定一个与丝绸相关的创意主题并开始设计和制作属于自己小组的丝绸创意作品。

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小组创新创意主题确定

成员分工与计划表

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探究式学习法：

鼓励学生主动探索和提问，通过实践活动和问题解决来构建知识，从而激发创作灵感，这与学生的认知发展阶段相匹配。

协作学习：

通过小组合作，学生可以在社交互动中学习，同时培养团队合作和沟通技能。

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先验知识：

艺术：学生已经学习了基本的设计原则，如色彩、形状、纹理等，为理解丝绸设计提供了基础。

语文：学生的语言表达和写作能力较为成熟，能够描述和讨论丝绸设计的理念和特点。

学习能力：

认知与逻辑推理：8年级学生的认知发展迅速，能够进行抽象思维和逻辑推理，适合探究式学习。

信息搜集与处理：学生具备基本的信息搜集能力，能够利用网络和图书馆资源进行学习。

团队合作技能：在过去的学习中，学生可能已经参与过小组合作，具备一定的团队协作和沟通能力。

学习偏好：

互动与参与：学生倾向于通过互动和参与来学习，喜欢在活动中学习新知识。

实践操作：学生对动手操作和实践活动感兴趣，通过实践可以更好地理解和记忆知识。

创新与探索：学生对创新和探索表现出兴趣，愿意尝试新的方法和思路。

多样化学习方式：学生对多种学习方式持开放态度，包括视觉、听觉和动手操作型学习。

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小组完成一个丝绸创意作品，并在下一节课中进行展示和讲解，使用Padlet记录它的创意过程和最终成果。

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