This study proposed two exhibition designs intended to bring the visitor closer to artistic creation; one is an exhibition showcasing a collaborative work by a professional artist and novice students, and the other is an exhibition revealing the artist's creative process. We also examined the effects these exhibition designs have on visitors' experience and their image toward artistic creation. Thirteen pairs of participants were encouraged to talk freely while viewing the artwork and were asked to complete questionnaire surveys for both exhibition designs. The results showed that the exhibition of collaborative artwork had the potential not only to alleviate the stereotype that exists surrounding the artist's persona but also to serve as stimuli for creative motivation. On the other hand, the exhibition showcasing the creative process helped to dispel the myth of magical creative genius, helping the visitors feel closer to the artist.

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Many elementary schools put pottery making into their curriculum now. Before, the Museum of Ceramic Art, Hyogo engaged in many collaborative projects (joint class) with elementary schools, however, the author found that many children were not interested in pottery making, and also, through the ordinal school curriculum, they did not fully recognize that the firing changes the quality of clay. This situation led to a development of the "Introduction Program" and putting it into practice to consider its efficiency. In the initial class of ceramic art, the program surely helped students to acquire an understanding of firing, the difference between earthenware and porcelain, and many pottery-making techniques. Also, as a result, it efficiently promoted deeper understanding of ceramic art in following classes.

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Now that the Kindergarten Educational Guidelines and the Curriculum Guidelines for elementary and junior high schools have been revised, a new educational approach in drawing, handicraft, and art is about to begin. The foundation of the educational principles is a new view of academic ability. This new view called into question the past form of guidance and generated new structures of support and environment from the standpoint of children. But have the guidelines and guidance based on the new view of academic ability functioned as two wheels of one cart for twenty years? I will re-examine childhood learning and the guiding principles from the view of childhood development, including the transition from early childhood education to drawing and handicraft education at elementary schools, and I will consider the meaning of Common Topics indicated in the new Curriculum Guidelines.

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This paper investigates the impact of educational philosophy based on multiculturalism on the construction of students' artistic identities. It specifically focuses on the rapid increase of Korean students at the Rhode Island School of Design, RI (RISD) as a case study. With analysis of fieldwork at RISD and extensive interviews with its faculty members and students, my research shows that the majority of the school community regards Koreans as "shy" and "interdependent." It also became apparent that Korean art and culture, despite the large number of Korean students on campus, had little visibility while other ethnic cultures (i.e. Japanese culture, African American culture, etc.) were highly appreciated. Therefore, as counter-action against such discouraging representations, Korean students develop the complex process of identity construction negotiating with their self-consciousness as individual artists, while at the same time appreciating their own cultural origin.

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This paper proves the effectiveness of the art appreciation lesson, which let students compare the two works and extract the aesthetic concepts of the two. Verbalizing intuitive aesthetic concepts makes one's vague impression on the works clear, and deepens one's understanding of the works. By comparing the same artist's works with similar motives, we can examine the aesthetic concept of each work more purely, without reducing the origin of work to the circumstances of the times or the artist. The author designed the high school lesson which makes students compare the contrasting aesthetic concepts of the two Shunso Hishida's works with the similar black cat motive: "Hinkaku (nobleness)" in his "A Black Cat" and "Kawaii (loveliness)" in his "A Black Cat by the Persimmon Tree." This lesson was put into practice by the author, and it proved the effectiveness of the author's demonstration.

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This paper has speculated how to interpret the notion of "kansei" with ambiguity in it based on the results of researches in areas such as perceptual psychology, cognitive psychology and ecological psychology. (1) Interpretations from researches of "Languages and Thinking" long discussed in psychology, Sapia-Whorf hypothesis, and the relationship between culture and languages are verified. (2) "Kansei" is studied in its relationship with metaphors in terms of symbol system theory inheriting affordance theory and the stream of Nelson Goodman, because it is true that artistic thinking and creativity are not described theoretically though affordance theory is highlighted recently. (3) "Kansei" is interpreted semantically in metaphors and analogy based on the achievements by the linguistic researches and image schema researches. "Kansei" unique to the Japanese people has also been studied.

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The present paper is to show that art education is not only one of creation or appreciation but also fits self-understanding to find reasons for it, examining after-work interviews as texts in the series of "Creating Experience of Collage" survey. Producers of collage produce pieces by collecting and arranging disconnected parts through trial and error. When by telling their works, they creatively read the disconnected and make up a well-organized story from them, they understand meanings of recollections and expectations occurring to them and are led to finally understand themselves.

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This paper is a basic research, which makes 3D animation production, as educational material in the real classroom of art education. The center of the contents can be consolidated in the following two points. I examined the meaning of visual effects of the composition of movie taken from life and CG that was attended to today's TV image with the aspect movement as a feature effect of production from the viewpoint of the flow model of perception, and understood meaning 3D animation production as teaching material. I did preliminary guidance activity to achieve the introduction of the peer support as a specific guidance method to 3D animation production, and showed the possibility of relation progress of the expression activity and the desire for the support activity. Moreover, I showed the data collection method that had generality in doing the same kind of research.

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Working with the theme of "from a local to a global perspective," this paper examines the concepts and logic of the thematic view and the formulating of themes. The thematic view encompasses three aspects. The first is the aim of the class based on the Curriculum Guidelines and the relationship with the study themes. The second is the reason the particular art works to be studied were selected from among numerous options and the artistic value of those art works. The third is the universal significance of fine art and crafts from the viewpoint of modern life and its relationship with culture. Based on the thematic view, I have elucidated the basis of five topics that I had previously selected and have again selected art works as subject matter.

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This article considers subject structure through examining the change of contents of art education in the course of study, a formation of the contents constitution process before the introduction of 'zoukei-asobi (Formative Play)' in particular. At first I looked at the change of the contents constitution of art education in the course of study from the 1947 version to the one of 1968. Second, I examined the consideration at the study of the contents, which was carried out in 1955, however was not reflected at the course of study, and the trial introduction of 'zoukei-asobi' at the formulating process. For accepting to the educational practice, three-dimensional structure of contents requested the connection with the ability and talent of children in the structure of art education. The result was confirmed.

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Basically recognizing the West as a different culture, in this paper I consider how understanding the West by using paintings as instructional vehicles should be organized, mainly founded on a current important issue, "international understanding through art." This term appears in the sixth chapter, "Bijutsu (Art)" in the revised version of the Courses of Study for secondary schools. It was taken from the version now in use. In Japan, under westernization of life-style and globalization covering food, clothing and shelter, we feel that we understand the West well. But our understanding is actually vague and to grasp the western cultural depths is still hard. The depths are related to Christian mentality seen in the faith manner believing in Jesus, in a word, Christianity." For Japanese, it generally belongs to a really distant culture. (Staying in Brooklyn to study arts at Pratt Institute during two and a half years (1982-85) made me realize this fact.) So I interpret an enlightening effect required once in Christian Art as a sort of educational function and propose an idea of understanding the West through Christian Art (especially paintings depicting varied sacred subjects) in an art eucational field. This is the main theme of this paper. I selected Leonardo da Vinci's "Annunciation (c. 1472-73)," a fresh-looking masterpiece of his early years, as an object to see. (It is now widely accept ed as Leonardo's authentic piece by E. von Liphart's researches.) I scrutinize various interpretations based on texts (chiefly The Old and New Testaments because of its religious descriptions) and Christian iconography, partially showing mine. After this, I investigate teaching materials to understand the West through it, and at the final stage, try to give an exemplary program, referring to E. B. Feldman's inventive method, the four-steps critical inquiry of arts, which had been frequently adapted as teaching or learning structure in "Instructional Resources" regularly carried in art education.

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The aim of this paper is to consider the Ohara Museum of Art painting appreciation program for young children through conversation. This program is one of ten Ohara Museum art appreciation programs, which are arranged in four categories. Young children develop through interaction with their environment. The conversation in the program promotes interaction between young children and the painting arts environment. Young children not only meet elements in painting arts through these conversations, they also get hints of how to relate to the painting arts. These hints have the possibility to lead them to associate with art and art museums in their daily lives.

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In this research the author tried to develop educational material for school education, focusing abstract shape among a variety of expression of contemporary sculpture. In this case, the abstract shape can be classified into three categories, which are (1) abstract expression from nature, (2) expression of concept by construction and (3) expression of pure image. The author picked the first category to practice the theme 'Find Shape from Nature-Images of Flame' at the art class. The result showed that the students who had often difficulty of solid expression before, could overcome the negative feelings and felt the pleasure of sculpture expression. Therefore, it is clear that the possibility of educational material of sculpture can be extended, showing the effective materials from the variety of expressions of contemporary sculpture.

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In this research, I conduct practical verification focusing on basic skills learning and choice of themes in order to demonstrate a desirable educational method on the basis of the subject "What makes small children enjoy shaping something from clay vividly?", which has come up in the field where they are educated. As a result of the research, it is found out that the following behavior pattern divided into two phases is effective in developing small children's expression skills. In the first phase they enjoy learning the basic way of handling clay after they fully play with it without defining any goal (gradual effort to increase their skills according to their development), and in the second phase they decide and express the themes such as "a world of fairy tale" which can be connected with their life experiences.

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The Middle Years Programme is one of the three programmes offered by the International Baccalaureate. The International Baccalaureate is a non-profit educational foundation which provides IB schools with an international curriculum and the IB Diploma, which is recognized for university entrance in many countries, helps children studying abroad to be accepted in universities around the world. The MYP is guided by three fundamental concepts; holistic learning, intercultural awareness, and communication. The curriculum contains eight subject groups together with a core made up of five areas of interaction. Students are required to study subjects from each of the eight subject groups through the five areas of interaction: approaches to learning, community and service, human ingenuity, environment, and health and social education. This paper focuses on the role of arts education in the Middle Years Programme and their philosophy and characteristic of arts education. The MYP Arts guidebook states that the arts are a powerful medium for the exploration of the human condition, our society and our world. The MYP's interdisciplinary and comprehensive curriculum will provide a good insight for art education in middle schools in Japan.

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This paper includes literature research and the examination of a case about "Creative Skill" which is one of the guideline concepts in the Art, and Drawing and Crafts departments. From this point of view, the re-training of art teachers for their understanding about the meaning of the 'Creative skill', contriving the ways of guidance based on the 'teaching material set', the improvement of the way of evaluation based on the relationship between 'materials and tools' and the expression of children, and the necessity of the development of the theme which asks limited kinds of skills for expression, were confirmed as the result.

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There are many techniques of "manga". One of them, techniques for scenes, is used many ways for time, space, feeling and atmosphere. In this thesis, I picked up scenes of "manga" to find some clues. First of all, I analyzed "manga" techniques for scenes' history and roles through modern "manga". Next I researched four modern "manga" about each technique of "manga" and trend. As a result, they showed that they were different from each story, trend, history and writer. Then, I showed a plan through Shizuoka Junior High School Attached to the Educational Department of Shizuoka University and Shizuoka Graduate School. I suggested a model class plan about techniques of "manga", in which I showed some different patterns used the same picture. After students can understand how to do, they will try to make themselves.

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Having implemented the practice of a series of subject matters and observed the outcomes, it was found that the art appreciation and evaluative capabilities of those engaged in art production were enhanced by the methodology proposed in this study. This is the methodological hypothesis that the experience of appreciating one's own work via a carefully devised questionnaire is effective in cultivating the abilities in question. The questions basically made the producers of the artworks intuit their expressiveness (synonymous with "thematic formation") and at the same time acted to powerful effect on the art producers to encourage insight into the conditions under which that expressiveness had come about. In each question, sentence templates were effective in making respondents identify the relationship between thematic significance, and its conversion into effective formatic expression.

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In Shiga prefecture, the museum and the artist, in line with the facilitation by NPO, are collaborating to support the art lessons in the elementary school/the junior high school/the high school and school for the handicapped from 2000. These lessons have come to count 100 times per year. Children show unusual expression in the classroom that appears to be some educational effect such as the opportunity to open their mind. Shiga Prefecture assessed the capability of NPO, and then established the Center for Art and Cultural Learning in April, 2008 that helps children develop impression and sensitivity through these new types of experiences.

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This paper investigates and advocates "art writing education" that encourages students to write about art. The main achievements and findings of the paper are as follows. 1. A framework for the research approaches in art-writing education is proposed. 2. Several types of application of art writing are identified based on the analysis of existing cases of its usage in teaching. 3. The background research and ideas for designing the newly established essay contest that promotes art writing in upper secondary education are described and discussed. 4. The effects of art-writing education at the upper secondary level are identified based on the results of the essay contest.

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Recently, more and more schools and museums are advocating art viewing programs through dialogue, whereas in Japan thorough discussion on its educational goal from different points of view have rarely been undertaken. This paper sets the learner model from junior high school to college; facilitating learners who can restructure their "life world" knowledge through discussion on art, exceeding the limits of domain specific knowledge construction. To accomplish this model, art work under themes specifically related to learners' life worlds and the introduction of the art works' contextual information from different eras and cultures into the process of discussion are argued for to broaden the frameworks of their life worlds. In conclusion, it defines the facilitators' role as a creator of debating culture open to both other participants in a classroom, and also cultural and historical others by being exposed to different viewpoints from different contexts.

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This thesis deals with the situation of the drawing education in Akita prefecture before "zenken zuga kenkyuukai" was held in October, 1923. The following matters were found out by this research. 1. The drawing education in Akita prefecture accepted the "jiyuga kyouikuron" of Kanae Yamamoto, and studied the guidance method of "jiyuga". This is the influence of the Japanese painter Hyakusui Hirafuku and Sasuke Misawa, the teacher of Akita-ken jyosi sihan gakkou. 2. "Art education", the movement led by Yonekichi Akai, and "seinen kyouikusya dousikai", were a base of "jiyuga" education, but those gradually declined.

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The author paid attention to the differences between the description in the Guidance Book, published by the Ministry of Education in 1960, and in the Course of Study of Elementary School. The first consideration proved the Guidance Book functioned, in an invisible-extended way, as a standard for the curriculum. It was confirmed that there were conflicting statements and arbitrary manipulations between the Guidance Book and the Course of Study. Next, the author tried to define the concept "Inconsistent-Standard" and to describe it concretely. In conclusion, the function of "Inconsistent Standard" was confirmed and divided into three classifications: Positive subjective inducement; Positive objective inducement; and Points not explained passively. In this research, the conclusion is valuable only to the Course of Study of Elementary Schools in 1958 and is invaluable for other versions. Therefore, it is incorrect to assume that the conclusion is applicable to all versions as a proposition. However, the proof-method of how this research was devised is effective in other Course of Studies.

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In this paper the author considered the aspect of practical conflict which came from the contrast between the view of traditional study in the academic training and the view of learning theory in the situation, and made difficulty for the understanding of school art education. Next, the author tried the construction of art education, which includes feedback from the practical research, which clarified the aspect while thinking of the system theory, extracting the special property of learning by art activity.

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This paper, based on the data of the author's past study "Analyzing Representational and Non-representational Characteristics in Drawing," considers the drawing behavior in children from a cognitive viewpoint. Further, this paper refers to and studies the view of "a dual structure of fine arts" from a constructive viewpoint. As a result, there are two groups of children. One goes in the direction of Representational Behavior (majority) and the other is of Exploratory Behavior (minority group). It is suggested that there are children who show different types of cognitive characteristics and configurative characteristics. It can be a way to stop "dislike of art" by developing art educational materials to establish a dual structure of fine arts and to support exploratory behavior.

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The Bauhaus-pedagogy was introduced in the United States by Bauhaus people from Germany during the period between the 1930s and 1940s. Through its educational contribution, Bauhaus pedagogy significantly influenced art education in the United States, and after World War II, the art colleges in major cities such as Chicago and New York, were reformed. This report examines the reformation of art colleges in Chicago. This change was realized by the pedagogical theories and practices that were proposed by L. Moholy-Nagy during his New Bauhaus years (1937-1946). The report also describes the manner in which he incorporated the essence of the Bauhaus pedagogy into the educational program at die New Bauhaus.

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This research tries to clarify the effectiveness of teachers' aural reception of children's descriptions of their drawings as a means of evaluating children's drawing activities. The present author asked teachers of six preschools who are taking care of 5-year-old children to take notes of the children's descriptions of their drawings. Three preschools out of six belong to the "continuous" group, where the children's descriptions of their drawings are taken notes of daily. On the other hand, the other three preschools belong to the "ad-hoc" group, where no note taking is done. In this experiment, similar types of drawing activities were given to the pupils of the six preschools three times. Then the children's drawings and the children's descriptions were evaluated from several viewpoints. When the results of the two groups were compared, there were slight differences. Interviewing and taking notes of children's descriptions of their drawings after drawing activities is considered to be a realization of preschool teachers' receptive and sympathetic attitudes towards children's drawings.

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By this report, I considered concept "Strand" in the curriculum formation based on an example of American art textbook Art in Action. The textbook was written based on a DBAE theory by art educationist Guy Hubbard of the Indiana university. Therefore I clarified five concepts and the componentry which did an authority of bottom of art treated with the textbook. They are elements of the learning, and it is arranged to a curriculum systematically. The constitution of the fabricated lessons is Strand systematically then. I got a suggestion when I guaranteed a systematic relationship and continuity between subjects beyond a domain and the field of the art education in our country by this. I examined such Strand concept and got a suggestion to the curriculum study of the Japanese art education.

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In previous studies, I have made a theoretical examination of the significance of art management methods in expanding the possibilities of art education. As a continuation of those studies, in this article I study and examine two actual art exhibitions that I helped present in Hokkaido, exploring ways of applying them in art education. These exhibitions took the form of art projects, the "Shinro Ohtake, Bekkai Project" and "Tadashi Kawamata, Mikasa Project," and were held at a farm and a former coal-mining town in Hokkaido. In these exhibitions, emphasis was placed on site-specificity, communication, and the human qualities of the artist, and the process of creating the exhibition, from the earliest stages on, was made into an educational tool. Through this study, I show the significance and effect of a "comprehensive art appreciation experience" in art management education, in which a site for art appreciation is created.

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This paper is a consideration of the following two subjects: 1. Why artistic expression as a medium enhances and develops the child's ego. 2. Why artistic expression as a medium helps recover body sense and bring about a return to natural behavior. I considered the two subjects using knowledge of psychology. I analyzed the children's expressions. Also I gave a questionnaire to children. Conclusion: 1. The physical act of drawing and using drawing materials satisfies the feelings of challenge, curiosity, control and imagination and it will enhance children's spontaneous motivation. 2. Children's body sense and sense of security changes with the quality of children's play and the environment that surrounds them. This could result in a loss of both. They try to retrieve their body sense and sense of security by themselves through die act of artistic expression.

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In this study, the author tried to verify the ideas and methods of the 'analyses of old masters' by Johannes Itten, who was a teacher at the Bauhaus and directed the preliminary course there. His analyses of famous paintings were practiced by students for the purpose of re-experience of the creation, and re-discovery of color, form and structure of the masterpieces. Itten's way of appreciation education by painting or collage, which was carried out by using the hand at the same time, was started from emotional feeling and led to rational construction. The author tried also to find the actuality of Itten's appreciation education for today. Using computer and software as image media, the image data of paintings are analyzed by filters which are used to attempt to change the appearance. This new kind of appreciation education by computer also illustrates the possibility of alternatives of Itten's educational ideas and methods.

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The Tokushima Modern Art Museum has positively promoted programmes to support audiences to improve their ability of appreciating modern and contemporary art works. In this report, I referred to the ways mainly to support children who were unfamiliar with art appreciation, from the viewpoints of appreciative mechanisms such as analytical elements, expressive aspects, and communication capability. In the process of development of various abilities of children mainly from 4-5 to 10-12 years old such as cognitive skills, physical ability and so on, I tried to sort out on the basis of children's reaction, how their way of appreciating art had been changed. I also suggested the importance of making a different programme for children of different ages by shifting emphasis of the above three mechanisms, bearing in mind that the time of big change in the way of art appreciation of the children would come at the age of around ten.

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The PISA research of OECD greatly influences the new educational guidelines. This discourse considers the meaning and the possibility in the fine arts education about "Key competency" and "Literacy" that are the academic attainments concept of the PISA research. First of all, the explication of the theory clarifies that literacy in the PISA type academic view emphasizes the "Positive posture". Next, considering the findings such as Vygotsky's "The Zone of Proximal Development" and Giroux's "Critical Literacy" as the clue, it refers to the importance of contrivance bringing "Awareness" in practice.

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In this paper, I consider interactive gallery talk method type appreciation in school education. Since the interactive gallery talk was introduced to Japan, the movement to apply it to school education has become active. Enlightenment books and guidebooks about interactive gallery talk method have been published recently. In those books, it is stated that knowledge about art is not important to facilitators. Will it be so as expected? I analyzed the practice for primary school children (recorded on CD-ROM), the interactive gallery talks by Amelia Arenas (on video), and literature on interactive gallery talk appreciation. As a result, it is found that when a teacher practices interactive appreciation in school education, knowledge about the works of art is necessary for the teacher as a facilitator.

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In this article, I focus on the theory of an art education of Moholy-Nagy, who was an artist and an art teacher, and on his artworks with light. The objectives and methods of his education in the preliminary course of Bauhaus aimed at the development of a "standard" based on human nature. His theory for art plastic with light did not classify what was a light work was, but clarified what we could do with light. That links together art and technology. And I explore the possibilities of the theoretical structures related to the procedures of abstract expression.

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This study aims to identify (1) how far the students' proficiency with appreciation skills could be improved, (2) that appreciation skills could function as a kind of seeking strategy, and (3) that the phenomenon of transfer links with expertise in the learning of appreciation skills. We developed a 5-unit program (about 10 hours) for college students, and examined the results of their writings with quantitative and qualitative data. The proficiency of appreciation skills has been improved according to the three indices of expertise. Students learned how to appreciate and write about art with the help of appreciation skills, which functioned as seeking strategy. In the final unit, they were able to use the skills better without support by worksheets and software. The phenomenon of transfer has been confirmed while we are convinced the proficiency of appreciation skills has been improved. However we believe some differences exist between cases, because of the difference of students' disposition.

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