Abstract
This paper aims to resolve the confusion in the image that has been presented of the Souzo Biiku Movement and to establish a more accurate definition of it based on facts. In this paper, I discuss four representative types of discourse regarding the Souzo Biiku Movement that have been prevalent up to the present time. I also attempt to verify facts through corroboration with existing literature and results of prior research. Consequently, the following two factors become apparent: 1) The Souzo Biiku Movement aimed to reform art education in Japan after World War II, based on a distinct intention to spread awareness of and promote art education based on children's creativity. Significant, qualitative differences can be seen in the form of this movement and organization before and after the founding of the Souzo Biiku Kyokai. 2) Art education based on children's creativity, which is the fundamental principle of the Souzo Biiku Movement, is a type of art education unique to Japan that focuses on children. It was designed by Kubo Sadajiro following his studies of the thoughts and practices of Homer Lane, Franz Cizek, and Kitagawa Tamiji, and based on comparative studies of pictures drawn by children in the United States, Europe, and Japan.
