“从再现走向表现”这一题目是我借用刘墨所著的《中国艺术美学》一书第20章第2节的标题。在这一节中,刘墨从书画同源、中西方绘画比较以及相关文献考证论证了中国绘画注重“逼真”的再现却最终走向表现并以表现为最高境界。我之所以引用这个标题,是感觉与我们校本课程(趣味水墨和少儿京剧)的选择意图十分契合。选择趣味水墨作为校本课程最根本的物质条件是我校美术教师都有较强的中国画基础;最简单的思想基 The title of “From Reproduction to Expression” is the title of Chapter 20, Chapter 2 of “Chinese Art Aesthetics,” which I borrow from Liu Mo. In this section, Liu Mo from the same origin of painting and calligraphy, Chinese and Western painting comparison and related literature research demonstrates that the emphasis on Chinese painting “vivid ” reproduction but eventually towards performance and to the performance of the highest level. The reason why I quote this title is that it fits well with the selections of our school-based curricula (fun ink and children’s opera). The choice of interesting ink as the most fundamental material conditions of school-based curriculum is that our school art teachers have a strong foundation of Chinese painting; the simplest thought base