ExclusiveTelemann: Partita in B-flat Major (3), Dolce 泰勒曼：降B大調帕蒂塔 (3)，柔板

【Classical music and nature 古典音樂小站】Georg Philipp Telemann: Partita in B-flat major (3), Dolce. This beautiful piece was played by Telemann Trio. It has Creative Commons license (PDM 1.0 DEED, Public Domain Mark 1.0 Universal) and is provided through www.musopen.org.

At school in art/painting, style painting of objects or arrangements was one of the disciplines we didn't really appreciate as young people. We knew it would help us get a feel for a good three-dimensional visualisation. But who wants that... Painting fruit and flowers. Again and again. No matter what kind of paint we used, watercolour, wax crayon, charcoal, pencil or whatever, we as students found style painting endlessly boring. We hoped in every lesson that portrait painting would come soon, preferably of characteristic faces. But it didn't come and it didn't come. For a long time we painted landscapes, went out into nature, painted churches, flowers, trees, buildings, later also rivers and water, we learnt technical drawing (our class teacher's first profession was structural draughtsman) and took it very seriously. Here we learnt how to correctly proportion perspective and shadows. We learnt about vanishing lines and several light sources and their shadows. We went to the Natural History Museum and painted animals, i.e. an animal from different angles. We formed sculptures out of clay and carved a bowl out of wood, later a sphere and even later animals. Then we analysed the paintings of the great masters. Where does the light come from, what lies in the shadows? Where do the eyes look, where is the eye directed and how is this achieved? Where are there hidden geometric shapes in the paintings of these old masters and what influence do they have on the viewer? Only when we had the basics in many areas were we allowed to draw faces, no, not portraits of each other (which we had hoped to do). We were presented with portraits of the great Italian masters of the Renaissance, which we were now expected to copy as closely as possible.

When I saw this composition, which my husband filmed in the garden of a dear friend of ours in Germany while we women were talking together, the style painting studies that we had to paint for so long came to mind. And my heart fills with gratitude. Our art teachers (we had several) had trained us very traditionally in the fine arts. No step was left out. (I left a few things out here). Now when I see the little daisy, the pine cone and the leaf, I know why we spent so many hours sketching shapes and colours, light and shadow. It laid a solid foundation for everything that came after. Right up to sculpting in our final year, when we had the task of chiselling a human body out of stone according to our own sketches. Without the solid foundations, the musculature, proportions etc. would never have been right. My appreciation of art and beauty would also never have been so well trained. I thank all my teachers from the bottom of my heart for the traditional lessons!

My husband took a different approach to training his eye for beauty. But that's for another time.

The still life was filmed by Christian Schlegel, the video was edited by Wenjing Ma.

【古典音樂小站】泰勒曼：降B大調帕蒂塔 (3)，柔板。這首美妙的樂曲由泰勒曼三重奏演奏。它擁有創用CC授權（PDM 1.0 DEED，公眾領域標記1.0通用）並通過www.musopen.org提供。

在學校學習藝術/繪畫時，對象或佈局的風格繪畫是我們年輕人並不真正欣賞的學科之一。我們知道這將幫助我們獲得良好的三維視覺化感覺。但是誰想要這個……一次又一次地畫水果和花朵。無論我們使用什麼類型的顏料，水彩、蠟筆、木炭、鉛筆或其他，我們學生都覺得風格繪畫無休止地無聊。我們希望在每一課中都能盡快學到肖像畫，最好是有特色的臉孔。但是它一直沒有來，沒有來。很長一段時間我們畫風景，走進大自然，畫教堂、花朵、樹木、建築物，後來也畫河流和水，我們學習了技術繪圖（我們班主任的第一職業是結構製圖員）並非常認真地對待它。在這裡，我們學會了如何正確地比例透視和陰影。我們學習了消失線和幾個光源及其陰影。我們去自然歷史博物館畫動物，即從不同角度畫一隻動物。我們用黏土製作雕塑，用木頭雕刻出一個碗，後來是一個球體，再後來是動物。然後我們分析了偉大大師的畫作。光線從哪裡來，什麼藏在陰影中？眼睛看向哪裡，眼睛被引導到哪裡，這是如何實現的？這些古老大師的畫作中有哪些隱藏的幾何形狀，它們對觀眾有什麼影響？只有當我們在許多領域都有了基礎知識後，我們才被允許畫臉，不，不是彼此的肖像（這是我們所希望的）。我們被呈現了文藝復興時期偉大的意大利大師的肖像，現在我們被期望盡可能地精確複製。

當我看到這個組合，這是我丈夫在德國一位親愛的朋友的花園裡拍攝的，當時我們婦女在一起交談，我想起了我們曾經不得不畫很長時間的風格繪畫研究。我的心充滿了感激。我們的藝術老師（我們有幾位）非常傳統地在美術方面訓練了我們。沒有一步被省略。（我在這裡省略了一些事情）。現在當我看到小雛菊、松果和葉子時，我知道為什麼我們花了這麼多時間素描形狀和顏色，光與影。它為之後的一切打下了堅實的基礎。一直到我們最後一年的雕塑，當時我們的任務是根據自己的素描從石頭中鑿出一個人體。沒有堅實的基礎，肌肉、比例等永遠不會正確。我對藝術和美的欣賞也永遠不會訓練得這麼好。我衷心感謝所有我的老師傳統的教課！

我丈夫對訓練他對美的眼光採取了不同的方法。但那是另一回事了。

靜物由Christian Schlegel拍攝，視頻由Wenjing Ma編輯。




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