民间美术是“人民淳风之美的结晶和物化”,是民间文化心理、文化面貌的体现和标志。它寄托着劳动人民自己的理想、愿望、喜怒哀乐,审美情趣和艺术传统,并造成一种特定的文化环境陶冶着民族的情操,培养着乡思民情和精神素质。从美术教学角度来看,重视民族文化遗产和民间美术的学习以及研究开发,无疑是发展美育的重要方法。因此,我们应当重视优秀的民间美术教学,发展有民族特色的情趣高尚的民间美术教育。 在民间美术教学中如何让民间美术发挥审美作用,是一个需要探索的过程。我国民间美术品类繁多,我们在教学中,从民间剪纸入手打好基础,用民间玩具培养提高兴趣,最后用香包形式做一归纳总结结束本课的。教学采取了“临摹、变化、创作”的三步骤。“临摹”时体会它的情感表达方式,了解它的工艺特点和造型特色;“变化”时加入自己的意愿或作“加法”或作“减法”,作品即保留着民间美术的特点又有了新的变异;“创作”时既有自己的 Folk art is the “crystallization of the beauty of the people and materialized”, is the embodiment of the cultural psychology, cultural identity and logo. It imposes the working people’s own ideals, aspirations, emotions, aesthetic taste and artistic traditions, and creates a particular cultural environment that cultivates the sentiments of the nation and cultivates homesickness and spiritual quality. From the perspective of fine arts teaching, paying attention to the study of national cultural heritage and folk art, as well as research and development, is undoubtedly an important method for developing aesthetic education. Therefore, we should attach great importance to excellent folk art teaching and develop the folk art education with high ethos and noble taste. How to make folk art play an aesthetic role in folk art teaching is a process that needs to be explored. There are many kinds of folk art in our country. In our teaching, we start with the foundation of folk paper-cutting, raise the interest with folk toys, and conclude this lesson with the form of sachet. Teaching has taken “copy, change, creation,” the three steps. When copying, it understands its emotional expression and understands its technological features and modeling features. When “changing” it adds one’s own will or “addition” or “subtraction,” the work retains the characteristics of folk art and has it New variation; “creation” has its own