The purpose of this study is to propose the step-form learning method of the rough sketch lesson considered to characteristics of a high school student, to confirm the learning effect through the class practice, and to prove the utility of the method.
It is pointed out that a student depending on “ media expression ” devotes himself to the sight recognition of symbolic logic is pointed out. It is considered the cause that a student cannot feel the reality to the rough sketch expression. The idea of a step-form learning method for the purpose of educating “ the point ” is suggested, and the class practice is reported. The summary and the problem are described.

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The community separates the world into the exterior and the interior world, and continuously suppresses and removes what has no meaning into the exterior world. In this thesis, I think of M.Duchamp as a person who would like to be in the exterior world and I also regard the scribbling of a child something in the exterior world. Also, I think the work of Duchamp and the scribbling of a child are impossible to put into words. Furthermore, they require infinite interpretation and should not be regarded as meaningless. I consider them not to be transcendent of this world, but to be familiar to us in our daily life. Moreover, these two sorts of exterior things make the possibility clear that they will nullify the system of community which divides the world into two parts; the interior and the exterior worlds. In other words, they can clearly show the world without the border.

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Nakai Sotaro (1879-1966) played an important role in the modernization of aesthetic education in the Japanesestyle painting circles of Kyoto. In the Meiji period, in the face of emerging Western influence, the artists of Japanese-style painting in Kyoto gradually realized that interiority should be important in modern Japanese art. The spread of this idea was promoted in 1907 by the first opening of Bunten, an annual nationwide art exhibition sponsored by the Ministry of Education. In response to this trend towards interiority, Nakai told his students that decorative elements, an important aspect of Japanese-style painting, did not only have exterior qualities, but could express new sensitivities to individuality and subjectivity. Tsuchida Bakusen, one of Nakai's students, understood this theory, but he felt conflicted because Japanese painting materials could not express interiority as easily as oil paintings. For Bakusen, the answer to this problem was for artists to project their own lives onto their works by focusing not only on techniques and materials but also on living itself. This philosophical innovation enabled Bakusen to create a new style of Japanese-style painting.

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The purpose of this research is to clarify what teachers support should do closely to infants in order to build up activities with thinking and tackling their own behaviors.Using the analytic way of “ Flanders ”, I classified the conversation into some categories and reviewed them.
As a result, infants' thoughts diffused and we had to create such as an inquiry which does suggestion with expectations of development on each infants. It was effective way to help children that teachers accepted various thoughts from the inquiries. Moreover, it was clear that the reliable relationships between teachers and infants were essential to the inquiries from teachers.

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This report will try to figure out Hyakutake's way of considering oil painting mainly focusing on his stay in London, from 1876 to 1878. Just before Hyakutake, another Japanese artist, Kunisawa, studied oil painting in England. That's why, in order to know more about Hyakutake, this report will take up Kunisawa's works. As a result of this study it can be said that both Hyakutake and Kunisawa developed a similar way of thinking European oil painting. In fact it can be concluded that both artists believed that the technique of European painting was truly necessary to Japan. That's probably why Hyakutake decided to continue to study oil painting in Rome and in Paris.

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The purpose of this paper is planning a systematic teaching program of art education over themes in Junior high school and verify the hypothesis by the practice of the Junior high school attached to the school of education in Okayama University in 2006.
The word of Kousei as basic education was proposed by Rensitiro-Kawakita in Japan, but in fact it was originated by Johannes Itten. It is an education of fundamental art in general, and for the possibilities of general-purposes.
In Japan, most people don't interpret Kousei as basic education correctly, construe it as an art education in a narrow sense. So I looked the acceptance and transition of Kousei as basic education in Japan. I considered the ideal method of Kousei as basic education and the systematic teaching program of art education based it in Junior high school.

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To make the interconnection of art making and art appreciation, we propound the concept of curation. Curation is a process of identification and organization of artworks in order to make an exhibition, also it includes decision what things will be shown, verification and additions to the existing documentation for objects.
In these lessons, Kohoku junior high school students (Grade 8) tried to make representational pencil drawings of a familiar-looking cup, at first. Then the teacher guided them how to give their works reality. But exactness was not a goal in this lesson. After students had finished their works, they applied a frame to the picture and removed ineffectual part to find some new images that fascinate themselves. Finally they took some shots of the images by digital camera, and gave them surrealistic titles.
Students could discover new visions in their pencil drawings. It can be said that framing consists of a schema of interpretation and functions as the beginnings of curation.

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[in Japanese]

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