Considering the situation of children who are surrounded by a media-produced consciousness, this paper reaffirms the fundamental idea that expression originates from within oneself. According to Kenichi Nagata, artistic expression originating from this vernacular level is necessary for establishing an education wherein children, themselves, may generate creative images. Also, according to Junzo Ishiko's 'Kitsch argument', artistic expression from the 'I' is akin to starting from a self-embodied reality. Such expression inevitably must be faced with the problems of the modern time. The photographs and other artwork produced by junior high school students bear out the arguments made in this paper. The conclusion is that it is necessary to provide children with instruction that includes their understanding, involvement and experience of the contemporary world.

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Recently, an interest in collaboration between schools and art museums has arisen, and various forms of cooperation have developed. There are still many problems remaining. The purpose of this research was to find areas of interest in which art museums and school education can collaborate. Therefore, two investigations were made in 1998 and 1999 with school teachers and museum curators for education. Actual conditions were determined from these answers. Subjects for collaboration are identified and described. This paper examines collaboration of schools and art museums on education in art appreciation from various standpoints. Following is an outline of the investigation results, targeting the museum staff where the study was carried out: 1. Museum management It is natural that collection, preservation, exhibition, regard for the interests of citizens and research are given as the purposes of establishing museums. "Contribution to the community" and "service to society" were often seen in the answers from both public and private museums. This reflects the tendency for museums to perform activities to keep in touch closely with their localities. 2. Education and extension Art museums which have special staff for education and extension comprise only 17% of the whole. The rest work without special staff (personnel are included in other sections). They attempt to give children pleasant experiences in art appreciation rather than specialized understanding of the art works. They try to increase an interest in art. 3. Museum activities and school education Education and extension staff develop exhibitions and various workshops which are consciously aware of the needs of children. The staff search seriously for collaboration with schools. It is desirable that both be in a relationship that is complementary. On the other hand, it is important to understand that the roles of curators and teachers are different. Large collaborations are difficult because of distance and the arrangement of hours for appreciation. The present conditions are insufficient, though the opportunity for staff interchange is important for both. In Section II, the results for school teachers and museum curators will be studied. A route for collaboration from that point is included.

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I made teaching materials and managed an experimental art class using web thumbnails. The purpose of this research are to report an example of the way of the teaching material, to verify the educational effect of it and to examine the possibility of the art education subject which the web and CG were used for. From this research it can be pointed out that the concern of the child regarding interpretation of figure meaning, relative interpretation of the work tendency, the difference of the themes of each maker and so on are positively effected by the teaching material.

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This paper deals with the teacher's consciousness and sense of values in art education practice. This consciousness and sense of values are related to the concept of habitus, presented by the French sociologist Pierre Felix Bourdieu. The teacher's consciousness that produces educational practice is based on the measure of value within himself. It depends on some norms, and further, it has the background of the teacher's culture, namely, the accumulated measure of value in him. The teacher's measure of value is restricted by cultural paradigm of the teacher's community. The measure also constructs and reproduces the cultural paradigm of the community everyday. In this paper, (1) I sketch the teacher's consciousness structure in art education practice, and (2) make a proposal for two societies for research. (1) The sketch of consciousness structure has three layers as follows. (1) The first layer is formed by public norm. These norms are the Fundamental Law of Education, governmental guidelines for teaching and educational theory in educational reform. (2) The second layer is formed by the educational environment. The environments are prefectural boards of education and study meetings, the place of employment, academic society, alumni association, university clique and so on. (3) The third layer is formed by the personal history of the teacher. The history includes his home educational and school background professional career. (2) In considering two societis for research, i.e., local study meeting and academic society, in the second layer, it is a pressing need that we have a teacher who can practice and grasp information in a local study meeting. In the academic society, it is important that we have a scholar who interprets the teacher's educational practice and develops the curriculm.

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Essentially there is a clinical relationship between the child and the teacher, and in the relationship there is educational content which is needed for 'the child' at 'the time'. In order to find the content, the teacher has to understand the inside of the child, but this has been ambiguous. This research tries to provide related thigs about the teacher's clinical practice in dealing with children's learning, looking at the field of human science, especially clinical psychology. In the result of the practical inspection of the activity of elementary school second graders, the following were able to be extracted from looking at the widened and developed meaning of the activity : 'inter-subjective approach of the teacher', 'feedback and feed forward of the teacher' and 'moved' and 'moving' consciousness of the teacher'. In education which is more children-centred than today, it will be important that future teachers decide their treatment in the clinical relationship with children.

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Since an exhibition titled 'The 1st Children's Formative Paradise' was held in 1958 in the city of Toyohashi, Aichi Prefecture, many similar exhibitions have been held in various places across Japan. However, even the basic data, for example, as to where such exhibitions were actually held, have not been clarified so far. Therefore, the author carried out an investigation into this matter. The results revealed that open-air exhibitions of formative art works were not the activities limited only to some specific times or regions, but the activities having an everlasting significance even now. At the same time, it was also clarified that such exhibitions were always attended by a criticism that they were a kind of show using children's works. However, the author believes that just in this point, there lie further potentialities of open-air exhibitions of formative art works.

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Children's plastic arts are ways to express their color affection with color. The colors they choose differ according to eivironment, age, sex and so on. I tried to investigate whether children connect color to sex words and affective words. Moreover, if there were relations between words, I note those charateristics. I presented 21 color samples to them, and made them choose one connected to the word I said. The subjects of this research were 122 children of 3-5 years old. The time required was about 30 minutes. This investigation was carried out in Feburuary, 2000. The stereotypical answer of "afraid" with black, and "girl" with pink showed that this stereotype is true. About STDEV, "grandfather" and "grandmother" were small because I thought that it was a difficult general idea to symbolize these words by color. The children responded realistically to words that had a strong association for them, words that show a person with beige and "grandfather" with white. There was a difference in sex as for "favorite color". Girls "favorite color" was connected with "pretty", "kind" and color like "girl". Boys' "favorite color" was correlated with color like "boy", "afraid" and "strong". The children seemed to choose colors according to the distance from themselves, as well as connection to colors for words like "boy", "girl", "older brother", "older sister", "grandfather" and "grandmother".

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The purpose of this paper is to clarify The Intellectualistic Theory and the surrounding problems in the frame of the forming 'art' efucation in childhood through research into infants' drawing focusing on head-feet expression forms which can be observed in the initial character expression. In this paper, the focus is applied to H.Eng. Eng took the standpoint of the intellectualistic theory, which insints "Children do not draw as they see but draw what they know" and he explained an initial structure of head-feet expression forms by the theory. Although a lot of researchers who insisted on the intellectualistic theory exist from the beginning of the 20th century, only Luquet and Eng stated it in background of specific infant run case studies. Nobody has stated like this since then. However, the opinion concerning head-feet expression forms of Luquet and Eng differs definitely. Therefore, it is necessary to reexamine the intellectualistic theory of Eng for its research characteristic. Eng's research, which is given critical consideration by this paper, is the one that his niece Margrethe was selected as the person for the observation, the first edition in English translation was published in 1931. The part concerning head-feet expression forms and the intellectualistic theory is excerpted and is reexamined.

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This research looks at studio work produced by children and young adults from the standpoint of the 'relationship between subject matter and thematic expression' by which subject matter provides an opening into the person's life (the act of living) and world, as well as the motivation to give form to pictorial image (that which one wants to express). While conflict accompanies the process, by looking at the aesthetic sentiments that emerge in the thematic formation of artwork (giving form to what one wants to express), this method aims at giving children and young adults a new grasp on their sense of self, and verifying its effectiveness. I call the approach the 'thematic method'. With this thesis I hope that through methodizing the act of making, art students will discover possibilities for new ways of living. In the seven years between 1988 and 1994, I gave students in the education department of K University the subject matter 'dreams' as a studio assignment. During that period I sensed a dullness in the imagery students embraced relating to dreams, from which I realized students had lost, or shut down, the mechanism for image-related development of subject matter. After a five-year series of thematic practices, I tried reassigning 'dreams' as subject matter - changing it to 'the colors/motifs of dreams' - in an intensive art education methods course at the art department of H University in September 1999 aimed at eliciting new developments to the subject matter. The interest revealed in expressing the absurd or fantastic aspects of dreams is of course noteworthy, as is the recognition of ironic expressions. In this studio assignment 'the colors/motifs of dreams' as subject matter opened up new horizons to the problems inherent in the thematic method. Students were sensitive to the words 'colors/motifs' in the subject title; it stimulated their imaginative powers which elicited original creative expression. They executed the intelligence/criticism associated with ironic interpretations in response to 'color/motifs' and strove to make logical connections to social reality. This also led to the derivation of new modes of expression such as collage combined with illustrative techniques, and color applied to color copies of photographs; the breadth of thematic expression expanded overall. Ordinarily with subject matter that provides an opening into the relationship between life and the world, the thematic method triggers artmaking activities, however with 'the colors/motifs of dreams' as subject matter, the words 'colors/motifs' held the latent power to open doors into real life and the contemporary world and inspire rediscovery of richness within.

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In modern day life, we are suffering from the anxiety of not knowing what exactly our problems are whilst living in an environment of excessive energy on all sides. This paper describes the over-intensity of the times, referring to it as 'excessive everyday life'. The author examines issues in art education from such a perspective. In the second chapter, "Communication Insufficiency Syndrome", elaborated by Azusa Nakajima, is taken up to point out critical life problems. Chapter 3 is an exploration of what type of place <suburb> is to us and examines its influence on daily life. Chapter 4 discusses the main theme of this paper, the meaning of 'seeing', while in the concluding chapter, the meaning of 'seeing' in current art education is analyzed.

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In this paper the author considered the 'Jiyuuga' education in Korea based on its history. The history of 'Jiyuuga' education is divided into three periods; the beginning, the development and the decline periods. First, the beginning of 'Jiyuuga' education started from 1920. Kanae Yamamoto's "Jiyuuga Kyoiku-no Yohten" was commonly read by people in Chosen and got wellknown. Second, the development period of 'Jiyuuga' education was from 1921 through 1929. A controversy between 'Jiyuuga' and 'Ringa' occurred in 1920-1921, and then 'Jiyuuga' education was distributed in Chosen around 1924. "Dong-a ilbo" in Chosen dealt with 'Jiyuuga' in its paper in 1925. And 'The World Art Exhibition of Children', planned since 1924, was held in 1928. Children in Chosen applied 'Jiyuuga' as one of the sections in this exhibition. The teachers were enlightened about 'art education' which emphasized free expression and creativity. Third, the decline period of 'Jiyuuga' education was from 1930 through 1937. 'Shaseiga', which is paintings of landscapes and still lifes, took the place of 'Jiyuuga'. Then the students in the lower grades were mainly taught 'Sisooag', which emphasized experiences in actual life. Upper graders were mainly taught 'Shaseiga' and 'Zuan'. "Shoto Zuga" was the textbook published in 1938 based on these concepts. In conclusion, 'Jiyuuga' education in Korea was developed in the 1920's. Therefore, the 1920's was the 'era of Jiyuuga education' in Korean art education before World War II.

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This article is about pre-service art teachers' viewpoints about art appreciation activities and instructional strategies for teaching how to inquire critically into art. I conducted a qualitative study in the Art Education Department at Indiana University, and eight pre-service art teachers in the Department volunteered to participate in the study. In order to understand their perceptions, I observed their behavior and remarks in an art appreciation course, collected their written documents, and conducted semi-structured interviews with them in the period of 1998 to 1999. Based on the data analysis, I discussed how they constructed their perspectives for teaching art appreciation activities; their perceptions were deeply grounded in the past experiences in schools. Also, I discussed what instructional strategies would be more effective in developing critical thinking in art appreciation activities. These strategies were questioning strategies, the form of learning as a gialogue, the selection of art themes, and the adequate length of the learning period.

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This paper focuses on 'image of children' as a feature which is peculiar to modern Japan. In particular 'Kenko-yuryoji-hyosyokai', a selection of healty children according to the physical examination which was held before the war. The results were announced to the Japanese people through pictures in newspapers and magazines. It was early Meiji when Japanese schools first intruduced this kind of physical examination. Tracing back the historical records of the physical examination and pictures of children in the mass media, I aim to examine the processes of the standardization of the image of children's bodies in modern Japan.

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In modern times, 'art education' was formed as the function of three factors: 'art', 'education' and 'child'. In the post-modern framework, however, the trinity relatioship has been deconstructed and melted. The main purpose of this study was to clarify the critical/fundamental issues involved in art education at the time of the millenium transition. The transformation of art education from modernist criticism to post-modernism which was caused partly by the change of art concepts in the post-modern society seemingly impacted on the educational priorities and practices. The result of the 'conceptual analysis' extracted the following implications which may provide an overarching perspective in the new era: 1. To solve the paradoxical relationships between 'evolution of modern art' and 'growth of children' in the curriculum studies. 2. To develop a 'syntactic structures' (Schwab) in the new vision of 'totality' which is observed in today's movement of art, media and technology, surpassing the paradigm of 'formalism'. 3. To develop the practical discourse of 'curriculum criticism', which swings back and forth between art/art education, teachers/children, teachers/researchers, theories/practice, and construction/deconstruction of the curriculum.

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The purpose of this paper is to present a design study plan for junior high school. First I present the change of the children and the problems of design education in the consumer society. From the problems, I expressed that the study that esteems the production process more than the completed work is important on the basis of the design process theory. Furthermore, I believe that it is important to increase the appreciation of design education works and to deepen the recognition of design. Therefore, design education must be done in the junior high school esteeming these two points further. The theme of the concrete design study is proposed in the last part of this paper.

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Most of the advocates of 'Musische Erziehung (education)' which is peculiar to modern Germany look to F.v.Schiller (1759-1805), a humanist of the German classical period, for their thoretical foundation in Aesthetic Education Theory. Schiller thought that Aesthetic Eduacation can free a man from both his material desires and his rational constraints, so that it can cultivate a man into a humane being. Namely, he had a political intention. His concrete method was to build communities with humane freedom through the aesthetic communication (beautiful social relatiohs). In this treatise I show this by quotations from many works on 'Musische Erziehung' between the 1840's and the 1970's and by my analyses of them. Incidentally, 'Das Musische' means not only the Things Musical, but also the aesthetic-artistic sense of persons too. Therefore, we can think that 'Musische Erziehung' is a political way to create a free society through social relations based on the sense of 'Das Musische'.

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We have regarded the development of the child's individuality or individual expression as important for a long time in art education. But we tend to forget contradiction the art teachers require each child to express his/herself 'freely' in the 'restriction'. In this article, I explore the restriction that agrees with the child's will to express because children cannot develop their life force by mere 'given' restriction. One important viewpoint is the motive of the child's expression. W.Grozinger and R.Steiner said that the child's (especially the infant's) expression appears from inside their body. So they began the education of form drawing on some restriction based on physical sense. In physical sense, there is our inside nature, namely the history of man. We can find a source of restriction in physical sense and experiences through it. They make the motive of the child's expression natural.

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In this study I consider the relationship between art and society which is characterized by 'publicness'. The question of 'publicness' affects art and art education. On the one hand, 'artist - the art work - appreciators' are autonomous, and they have interaction theory immanently. In the model of the appreciation which Umberto Eco had shown they were connected with each other. One the other hand, a public theory of Jurgen Habermas and Hannah Arent was examined in the theory model of 'public'. Common to the model of appreciation and 'public theory' is 'participation possibility'. Today we can see the various kinds of art on the popular formative environment. 'Publicness' of art is that art begins to make a relationship between the self and others. The art represents ideas by intuitive images.

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For the purpose of establishing art education implementation aiming for the future in conventional schools, it is considered that consideration for others has a significant meaning in class and in making the curriculum. It is because the individual, who has been regarded as a separated existence, is going to find it more important to live and harmonize wih others. Under this circumstance, multi level partnership is required for the teachers who are advancing the implementation. When the teachers establish the partnerships in analyzing the fact that they are facing and letting students realize the meaning of education, it naturally enables them to establish an educational network with the teachers and schools at the core. Since the partnerships and the educational network, both of which are established by the teachers, are closely connected, the quality of them greatly depends on the value of the actual implementation. From this point of view, 'art' as media has the meaning of existence, which lets learners join that network. Therefore, 'art' must be equipped with the contents, the means, and the characters so that it can gain the sympathy of the people. This paper is mainly focused on discussing the importance of the partnerships of the teachers and that of 'art' as media.

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The progress of electronic media such as computers and a great variety of valuation has a lot of influence on 'image' and education. 'Image' is changed into a variety of areas and the context of those areas may be much different from the origin. 'Image' has a lot of meanings and it is vague. Its representation is the perception of aspect. The progress of computer medium helps 'image' change into many areas and makes the context changeable. But this reality, this condition, is both a crisis and a good opportunity. 'Image' released from the context has some possibility to improve creative power. And that gathered creates new possibilities about all kinds of knowledge. 'Image-Literacy' will be an important idea as it shows the individuality and importance of art education.

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A course on 'Expressions' would be an appropriate addition to a modern art education curriculum, and how we think of these expressions is proving to be an increasingly important issue. The reason for this is that, growing out of post war perceptions of creative art education that place emphasis on developing children's potential for self expression, a problem has arisen with regard to how art education has responded to works which have come to be recognized as belonging to the contemporary art idiom. The objective of this thesis to discuss the similarities and difference between contemporary art and the latent meaning of expressions used in art education to describe it, with regard to the problems surrouding the development of a methodology for teaching contemporary art. As one can see from present teaching documents, the words that are used reflect a tendency to describe art in the modernist terms of Expressionism, where the emotions and idiosyncrasies of the inner self are given external expression. This disregards such contemporary genres as Dada and Pop Art, however, which are more concerned with relating the externally manifested properties of works, as well as with using the media to further disseminate them. I believe that it is thus necessary to address these particularities and disparities in developing a methodology for teaching contemporary art.

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[in Japanese]

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