美術教育

New fine-arts education in Meiji period nurtured the soil to produce new Japanese painting styles. In Kyoto, following the trends of Tokyo Art School and the vogue of both domestic and foreign artistic trends, the Japanese style painting was breaking away from the old system. This paper will examine the modernization of art schools in Kyoto during the period from Meiji to Taisho, with the trends in Tokyo in perspective. In particular, while paying attention to the internal education of painters at the schools, it will examine the role fulfilled by the psychologist and leader of the ideology in the painting circles of Kyoto, Matsumoto Matataro, and clarify the orientation of the fine-arts education targeted in those days.
It can be said that the modernization of Japanese paintings in Kyoto progressed in parallel to the philosophical teachings of Matsumoto Matataro, which required the painter to draw even the internal part of the painting subjecthrough deep observation and awareness of his association with the society, in addition to the guidance on practical skills by Takeuchi Seiho, who adopted the new painting concept of depicting the world through the perception of the individual.

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The purpose of this paper is clarifying contact with the childcare person and small children in appreciation. In this research, observation of the infantile appreciation activities and qualitative analysis of an observation result were performed.
Consequently, the thing of two points became clear.
As the first point, there is two situation setup required for appreciation and it became clear that it is important that a childcare person performs it.
The situation setup is the following two. One is instruction about the method of confrontation with art work. Another is that a childcare person sets up the situation that other small children observe the dialog of a small child and a childcare person.
As the second point, it is important that the childcare person recognizes about a situation setup affects to appreciation of small children. Moreover, it is important that a childcare person has influence on contact with small children and art work.

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Activities enabling visually challenged people to enjoy works of art through verbal communication with people who can see are spreading throughout Japan. These activities started in response to visually challenged people's desire to enjoy two-dimensional works of art, paintings and drawings, that should not be touched. Participating in such activities, I found some problems. Many people who are not visually challenged feel stress when participating; they don't know how to describe works of art to the visually challenged and are unsure about what to say.
In order to solve this problem, I looked for fundamental factors of viewing works of art, factors that everyone has clues for when discussing a work of art upon seeing it for the first time at a gallery. In this essay, I analyzed spontaneous remarks and conversations of viewers with no specialized knowledge of art or art history when they see works of art. From these analyses, I found that their remarks and conversations correspond approximately to the three factors that Nancy R. Smith indicated as the clues to understanding children's drawings, considering the development of their drawing: narrative/ideological factor, emotional factor, composition factor. Observing what people feel when they see a work of art, instead of trying to find the answer in the work itself or the artist, essentially corresponds with the expression factors of children. We were all artists when we were children. Such remarks and conversation describing works of art go beyond informing people who are visually challenged, resulting in creating shared images.

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