「文検図画科」試験問題の研究 : 「用器画」の場合

抄録

In the early 20^<th> century, the Secondary Education Teacher Certification Examination in Art consisted of three subjects: traditional Japanese (brush) painting, Western-style (pencil) drawing, and instrumental drawing. This paper analyzes the last subject, instrumental drawing, considering the nature of examination questions in relation to members of the Certification Committee and syllabi, in relation to the required competency for art teachers. Instrumental drawing corresponds to present-day graphics (or descriptive geometry), and the examination questions tested applicants' skill of projection drawing method (constructing silhouette figures). Among the five members of the Certification Committee who determined examination questions, this paper focuses on three members; Noriyuki Kojima, Shinichi Suzukawa and Tomio Hirai, all of whom served long consecutive terms on the committee and were affiliated with the Tokyo School of Fine Arts. Kojima's questions tested examinees' ability to apply basic graphic theory through the use of everyday objects. Mock lessons tested the examinees' capacity to provide appropriate explanations in as realistic a manner as possible, as well as emphasizing the ability to draw accurate figures. Suzukawa's questions ranged evenly through the fundamentals of instrumental drawing. In practical tests, examinees were required to explain graphic theory and terminology as well as to construct figures. His questions required examinees to assume that they stood in front of the class. Owing to an emphasis on the basics, his questions tended to be comparatively easy. When, in 1927, a drawing component was added to the Secondary Education Teacher Certification Examination in Art, Hirai joined the Committee, and Suzukawa and Hirai began to work as a team. Examinees were required to have the skills to draw accurately and aesthetically. A new trend in examination questions emerged, such as auxiliary projection. In consequence, the range of questions in technical and theoretical aspects was extended and applicants were required to be more skilled and knowledgeable. This paper highlights three characteristics of examination questions for instrumental drawing. First, this paper shows the correlation between the makeup of the Committee and the changes in examination questions, confirming member influence over examination questions. Regardless of the committee members, the apprehension of fundamental concepts of graphics and ability to draw accurate figures remained the basis of the examination. Second, regarding the connection between syllabi and examination questions, the components of examinations clearly aligned with the syllabi. Third, the nature of examination questions reveals that applicants were expected to have particularly fundamental abilities as art teachers.