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1.
The benefits of drawing for children are wide‐ranging but are likely to be mediated by the art curriculum and other governmental guidance to teachers relevant to drawing/art. Furthermore, such statutory regulations vary between cultures, and therefore curricula represent an important influence on the cultural differences found in children's drawings. Previous articles on the teaching of drawing in Chinese schools have commented upon the emphasis placed on children copying from adult drawing models. However, a new art curriculum was implemented in Chinese infant schools (3–6‐year‐olds) in 2002, still in operation today, which instead places an emphasis on the children's enjoyment of drawing through making creative and expressive pictures from their imagination. This article describes the key objectives stated in the Chinese art curricula for infant schools. We also present an interview with a Chinese infant school teacher in which she provided in detail how the curriculum is typically applied to the teaching of drawing. The interview also provided some background context to why the curriculum was changed and to its delivery. The article comments on the pedagogical practices adopted, and comparisons are made with Western art education and, in particular, to the teaching of drawing/art in England for the same age group. Finally, we consider what implications the Chinese approach has for the ‘non‐interventionist’ approach to young children's drawing/art that is frequently found in Western art education. 相似文献
2.
色彩语言是表现意象油画"意象性"的重要艺术语言,具有朦胧、自然、超越的审美特征。意象油画通过主观用色的方法,体现出浓郁的传统美学风格和审美情趣。民间美术是一个取之不尽的宝藏,是一切美术形式的源泉。借鉴民间美术丰富的色彩表现形式,可以开拓意象油画色彩语言的表现力,使之更加丰富和具有浪漫色彩。 相似文献
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Human figure drawings were collected from 287 schooled and unschooled children, aged between 10 and 15 years, living in a remote region of the Western Highlands Province of Papua New Guinea, an area with no tradition of graphic art. A classification and ordinal scoring system was devised which encompassed graphic productions ranging from scribbles to conventional competent human figure drawings. The effects of school experience on drawing, even brief and indirect experience, were found to be significant. All the children attending school drew only conventional human figures, but the whole range of drawings, scribbles, transitional forms, and conventional human figure drawings were found in the unschooled children's attempts. Nonrepresentational scribbles and shapes were largely produced by unschooled children living in remote villages without a school, trade store, or mission. Some children appeared to be able to draw representations of the human figure without going through a scribbling stage. The material is considered in relation to other reports on drawings produced by children from societies with little or no indigenous graphic art. The results are discussed in relation to various theories on the development of drawing and representational abilities. 相似文献
4.
Jodi Streelasky 《Literacy》2019,53(2):95-101
This study analyses the valued school experiences of 15 five‐ and six‐year‐old Canadian children, through their creation of multimodal texts. Throughout the school year, the students spent a large portion of each school day in the expansive forest on the school grounds, and their texts revealed their significant interest in this natural outdoor environment. Specifically, the data revealed that the outdoor space provided a context where the children could engage with each other and the environment in meaningful, creative and collaborative ways. This research has the potential to contribute to our understanding of the capacity of young children to share their thoughts on their school experiences by drawing on a range of modes and to contribute to our understanding of the power of alternative learning spaces, such as forest environments, on children's literacy learning and development. 相似文献
5.
Roger Merry Zhao Wei Jenny Rogers 《Early Years: An International Journal of Research and Development》2006,26(2):143-158
In this study, two samples of 4‐year‐old Chinese children were given two drawing tasks, one very familiar task and one novel and challenging task. The first sample was drawn from a nursery that taught art in a similar way to that widely used in the West, with an emphasis on individual expression. The second sample was from a nursery where drawing was taught explicitly and directly in the traditional Chinese way. Results were compared between the two groups and with a British sample given the same task. Some very significant differences were found with both tasks, and these are discussed in the context of different ideas about young children's drawing and art education. 相似文献
6.
Victoria Pavlou 《The International Journal of Art & Design Education》2015,34(2):192-205
This article focuses on ways of building preservice primary teachers' confidence in teaching art with artworks and, in particular, on how to develop their pedagogical content knowing. It is suggested that through opportunities offered for engaging in observational and reflective practices with artworks an initial groundwork is set that can challenge pre‐service teachers' preconceptions about art and promote an aesthetic form of inquiry. A qualitative approach was followed which included in‐depth interviews with twenty pre‐service teachers regarding their attitudes and knowledge towards artworks. The findings indicate that enhancing teachers' abilities to practice factual inquiries and then move on to interpretive inquiries of artworks can help them learn how to learn about artworks and how to organise meaningful art viewing activities with children. Issues relating to the participants' level of aesthetic understanding are also discussed as participants were asked to engage with artworks and their aesthetic encounters were documented. 相似文献
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教师要摆脱成人的审美标准,尊重与欣赏每个幼儿的美术作品,从他们的美术作品中观察幼儿的内心世界,解读幼儿独特的审美情趣和情感表达,充分引导幼儿将自己创作的美术作品进行创造性呈现,最终构建以幼儿为主体、符合幼儿审美价值的受教育环境。教师应创造性地运用增设艺术背景、添加辅助材料、加强视觉效果、构架立体形象等多种形式,鼓励幼儿将美术作品进行情趣化、情境化、立体化的呈现。 相似文献
9.
Matjaž Duh Tomaž Zupančič Branka Čagran 《The International Journal of Art & Design Education》2014,33(2):208-222
Modern art curricula derive from the assumption that visual arts education can be of a high quality only if productive and receptive artistic activities are implemented. In art education practice, we are able to follow incentives for artistic expression but pay less attention to developing art appreciation that is based on developing as subtle perceptions of artwork as possible. Students have few opportunities to observe, enjoy and understand artwork. This discussion presents the results of a study that monitored the development of art appreciation abilities of 11–14 year‐old students in Slovenian compulsory education. The level of art appreciation abilities is rather average and more developed with older students and girls. There were no statistically significant differences with regard to school stratum. 相似文献
10.
Children's art work has often been the subject of study by researchers seeking to gain insight into the role of art making in children's learning and development. However, rarely are children's own explanations of their art making used to inform these studies. Children's perceptions of their own art making are important for research and practice in art education, because their artistic experiences and motivations determine how they will engage in and respond to art making activities. This study used ethnographic methods to learn about the art making that took place over the course of one year in an elementary school art room, and to gain insight into the students' experiences and perceptions of art‐making activity. Data were analysed using a socio‐cultural framework. By asking children why they made art and exploring children's own explanations of their art making, this study reveals some of the important intentions that children bring to their artistic activity, and some of the ways that children make meaning through art making. 相似文献
11.
Paloma Palau‐Pellicer Jaime Mena Olga Egas 《The International Journal of Art & Design Education》2019,38(3):670-680
This article discusses forms of arts‐based mediation in museums that use creation as the primary tool in the learning process. We present four mediation experiences based on the arts‐based teaching methodologies promoted by the project ‘Art for Learning Art’. These experiences have been developed in four museums: the Centre Pompidou Málaga, the State Russian Museum in Málaga and the Espai d'Art Contemponeo [Center of contemporary art] in Castellón in Spain and the Modern Art Murilo Mendes Museum of Minas Gerais in Brazil. Four experiences in three cities of two countries that work in a methodology which involves participative and collaborative visitor connections with the works exhibited using arts‐based strategies. In all cases, the artistic works of the exhibitions are the conceptual basis for mediation proposals that are offered to the public in order to encourage participation. We link the aesthetic experience as the origin of the mediation process in two fundamental aspects: creation and appreciation. In the act of creative appreciation, most art education objectives are met. The actions and processes are directed by collaborative and contemporary creation strategies around two axes: museum educator‐artists in training and visitors‐artists as learners. In the four experiences that we present here, this confluence takes place. The four events have been adapted to the conditions of the place, public and art exhibitions, contributing new approaches to the model that has been promoted from the University of Granada since 2013. 相似文献
12.
Chris Owen 《The International Journal of Art & Design Education》2020,39(2):333-345
This article investigates the ways in which drawing is taught and assessed in post‐16 UK schools and colleges, with a particular focus on A Level art and design courses. Through an historical survey of the development of syllabi and assessment methods, it traces how the role of drawing in the curriculum has changed over the past sixty years. From a series of prescribed observational drawing exercises, the A level exam has evolved into a holistic exploration of each student’s creative process, and drawing is now seen mainly as an integral part of that process. The article demonstrates how the art history element of the syllabus has also been gradually integrated into practice, and thus into the drawing process itself. Questions are raised about how these changes have influenced the nature of the portfolios which students entering higher education bring to interview. In short, this article seeks to answer the question: do we now teach and assess observational drawing skills ‘through a glass darkly’, obscured by other considerations within the art educational curriculum? 相似文献
13.
Four‐ to Six‐Year‐Old Children's Sensitivity to Reliability Versus Consensus in the Endorsement of Object Labels 
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下载免费PDF全文 Recent studies have demonstrated that young children use past reliability and consensus to endorse object labels. Until now, no study has investigated how children weigh these two cues when they are in conflict. The two experiments reported here were designed to explore whether any initial preference for information provided by a consensual group would be influenced by the group's subsequent unreliability. The results show that 4‐ and 5‐year‐old children were more likely to endorse labels provided by an unreliable but consensual group than the labels provided by a reliable dissenter. Six‐year‐olds displayed the reverse pattern. The article concludes by discussing the methodological implications of the two experiments and the developmental trajectory regarding the way children weigh consensuality versus reliability. 相似文献
14.
Rab Walker 《The International Journal of Art & Design Education》2002,21(2):106-115
Over the past twenty‐five years as an art teacher I have sought answers to three questions: 1. In what ways and to what extent can drawing practice explore both conscious and unconscious thought processes? 2. In what ways can the participant individuate his or her experience through the practice of drawing? 3. In what ways can drawing form a dialogue between personal philosophy and experience? Refering to my own experience and pedagogy I define some of the historical, pschological and philosophical contexts for my perception of drawing, including comments from my students, in the process making no special distinction between child and adult art. I have studied the evolution of pupil’s drawing practices and particularly those of my own children, as they assert their own perceptions and responses to experience, conceptualising feelings both sensuous and emotional through telling stories and defining realities. Throughout history the will to draw has persisted, its function differing and changing through time and cultural contexts. Beuys commented that everyone can be an artist, if they want to be; can anyone really afford not to draw? 相似文献
15.
Silvia Casian Amélia Lopes Fátima Pereira 《The International Journal of Art & Design Education》2018,37(3):399-412
This article focuses on the emotions of 13 and 14 year‐old students related to visual art education activities. Our aim is to understand the interference of the students' emotions with the processes of the creation and reception of their own pictures, as well as their characteristics in an art education context. The article adopts a Vygotskian theoretical perspective about emotion and aesthetic education that refers to the biopsychological nature of emotion and its cultural determination. The need to transform emotions in art activities is stressed and the teenagers' pictures are interpreted as a means of communication. The data collection was based on questionnaires and interviews with seventh and eighth grade secondary school students. It is concluded that students' emotions are not only present in the creative process and in its result, but also that they could have a significant positive or negative impact on students' motivation and achievement behaviour in art education classes. In this context, the students' pictures, acting as stimuli, may evoke their emotions. 相似文献
16.
The investigation probed relationships among human‐figure drawing, field‐dependent‐independent cognitive style and self‐esteem of 10–15 year olds. It also attempted to predict human‐figure drawing scores of participants based on their field‐dependence‐independence and self‐esteem. Area, stratified and multi‐stage random sampling were used to select a sample of 600 10–15 year olds residing in Kolkata city, India. The sample comprised three age‐based strata: 10 and 11 year olds; 12 and 13 year olds; and 14 and 15 year olds. Each stratum comprised 100 girls and 100 boys. Participants’ actual age‐ranges were 10 years 1 month – 11 years 10 months (first stratum); 12 years 4 months – 13 years 10 months (second stratum); and 14 years 3 months – 15 years 9 months (third stratum). Goodenough‐Harris Drawing Test, Group Embedded Figures Test and Coopersmith Inventory were administered for assessing participants’ human‐figure drawing, field‐dependence‐independence and self‐esteem respectively. Results revealed significant positive relations among pertinent variables. Participants’ human‐figure drawing scores could be significantly predicted by their field‐dependence‐independence and self‐esteem. 相似文献
17.
把＂艺术生产＂作为人异化的生产方式来认识只是研究马克思艺术生产理论的一个角度,不能完全解释艺术理论和实践中的困惑,也不利于我国文化产业的发展。对马克思＂艺术生产不平衡＂的判断,不应从艺术和社会条件关系的角度进行理解,而应从如何审美及如何进行艺术创作的角度进行分析。艺术是人把握世界的实践方式,目的是实现人自由的本质,审美某种意义上是对人对象化世界的水平及为对象化所付出努力的反思。艺术的意义是展现人自由自觉的能力,这不仅为审美提供新的视角,也为推动当代文化产业多种所有制共同发展提供了理论依据。 相似文献
18.
Linda Ashton 《The International Journal of Art & Design Education》2001,20(1):75-85
Racism has often been expressed in the form of physical violations of human rights, soul destroying emotional taunts and deliberate policies of social exclusion. Many educators who oppose such an approach would be horrified to find racist origins embedded in the aesthetic discourses which they have taken up as their own. In this paper I trace racist imagery and ideology in my own childhood, early schooling and adult art learning, and connect this with the persistent silencing of the black ‘other’ in the story of modernist art. As an educator of future art teachers the deconstruction of racist discourses is as essential as it is for pre‐service students in their own emergent art pedagogy. 相似文献
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电影和电视，综合了戏剧、文学、绘画及音乐等多种艺术的特点，是集体智慧的结晶。同时，电影与电视艺术又各有其自身的美学特性，分别按照自己特有的美学轨道运行。 相似文献
20.
Children's ability to modify their canonical representations of the human figure was assessed by presenting them with a model in three different orientations. The subjects were 4‐year‐old tadpole‐drawers and conventional‐drawers aged 4, 6 and 8 years. Although the 6‐and 8‐year‐olds were more able to adapt their drawings so as to depict the figure's different orientations, many of the younger children and even the tadpole‐drawers also attempted to modify their figures. 相似文献