This study attention to situation of immerse themselves art creative action by children for aim to get the clue how to foster “pleasure of creating” in children, and how to do “proactive, interactive, and authentic learning” in Arts and Crafts study. On that account it analyzed the creative activities for children that the author had doing project from several years ago that use surplus materials, and defective products that were produced in the production activities of traditional industries in the region by “Flow experience” theoly by Mihaly Csikszentmihalyi. As a result, it could find several conditions for children toward to “Flow experience” in visual arts making activity “clear image, feedback, trial and error”. And in turned out in practice taking these conditions to the one Art education class in the elementaly school on a trial, it was to be “pleasure of creating” situation to many students. And the questionnaire survey and the children’s condition confirmed that the project led to the acquisition of children’s abilities “knowledge, skill”, “ability to think, imagination, judgement”, “Willingness to learn, humanity”.

Eisuke Kashiwazaki visited the islands of Okinawa during the typhoon season every year as he washed away the physical and mental dirt that has accumulated on him over the year. He often talked about his wandering around Okinawa that he had imposed on himself. However, in his book “Okinawa Diary”, published posthumously, I learned that his journey was truly an ascetic experience. In addition, he was very influenced by Josef Hoffmann, an architect and a founder of the Wiener Werkstätte which he studied in Vienna. That should be noted also. In this thesis, I would like to examine why he sticked to Okinawa so much, why he was thinking about life and how he acquired the minimalistic and ultimate shape-forming skill.

At Fukushima University, with the aim of building a next-generation education, “Fukushima-style STEAM education development” was adopted as a priority research area foR-F project research at Fukushima University in 2021–2023. It is in charge. This paper summarizes the background to the formulation of the Fukushima-type STEAM education evaluation index and the problems it presents. As a background to its formulation, I focused on the fact that there are various interpretations of Arts in STEAM education, and in particular that Japan’s Central Council for Education widely considers it to be liberal arts. Based on this, in the main points of the formulation, the basic abilities to be acquired were extracted from the viewpoints of today’s educational ideas discussed centered on OECD, precedent cases, research on creativity and the circumstances surrounding national universities in the region. On top of that, through the knowledge of the art field, which is the author’s specialty, the overall picture was summarized as a tree, and from there it was summarized into 25 evaluation items. Through this process, we sorted out the issues that need to be considered in the future.

A theory called “open form,” which was proposed by Oskar Hansen in the field of architecture, was developed into art education as an exercise in exploring “dynamic background” or “non-institutional space” among teachers and students at the Warsaw Academy of Fine Arts under the communist regime of Poland after World War II. This study examines the characteristics of theory and practice and their relationship with the background of development based on related materials. First, the contrast between “quantity” and “quality” and the logic of “the permeation of objective and subjective elements” are found on the basis of the description of a manifesto. Next, art trends in postwar and Hansen’s involvement in architecture and art are compared. The background of the application of “open form” in experimental works at the art academy was the political situation, as well as the educational aspects or the matter of scalability in “open form.” Another issue is that the trend of young artists in the field who endeavor to confront reality and the effect of using new techniques in works of art is also related.

The present paper describes a pottery class that was conducted in collaboration with the local community as part of a middle school art course. The 2017 Government Curriculum Guidelines advocate “curricula open to society,” and the importance of cooperation between schools and local communities has been emphasized. On the assumption that subjects dealing with traditional culture and local industries in the arts and crafts may be effective in connecting with the local community, local pottery enthusiasts were invited as visiting instructors, and third-year middle school students were given the opportunity to experience making rice bowls on a potter’s wheel and platters on a clay wedging board. In the workshop, communication and cooperation were emphasized, considering the importance of interaction between students and community members from the perspective of art workshops. The experience confirmed that students were motivated to make pottery through communication and cooperation, while interacting side by side with local community members. In their feedback, some of the participants wrote about their own community and traditional culture, in addition to their interest in pottery.

This paper aimed to inspect the stumbling blocks of the drawing expression as part of a study the creating a support method for the art education. In this investigation, we examined the change of will and factor of stumbling blocks based on an inventory survey conducted with 310 students on the drawing expression that the infancy reached for youth. As a result, the types of 10 patterns were shown based on the timing of the will drop. Additionally, the case which will have decreased at the time of the primary schoolchild occupied 40% or more of the entirety, and it was revealed that the recovery rate of that case was lower than other types. 80% or more of the subjects of the survey experienced a mistake for the drawing expression. From the extraction of the characteristic word, a mistake factor in the primary schoolchild period was found to be “oneself and neighboring comparisons.” Conversely, in the case of a junior high student, the characteristic words “teacher and results” were shown, and, in the case of a high school student, “decrease of the opportunity” were shown.

In this study, I attempted to analyze and clarify the type of environment that children are placed in and the types of things that they are involved in when they are engaged in modeling activities, by analyzing and clarifying the details of the awareness and learning that they display. A video recording was made of the scene of the modeling activity, and a transcript was created. Then a descriptive analysis of the environment setting and the types of exchanges that took place between the instructor and children was conducted in an effort to qualitatively analyze children’s awareness and learning. It was confirmed that environmental factors, such as the influence of teachers’ and leaders’ remarks on children’s activities, interaction with surrounding children, and materials led to awareness and learning. In addition, the transcript demonstrated that children’s utterances and gazes, laughter, nods, surrounding utterances, gestures, positions, and manipulations of materials and tools, and the surrounding environment interact with each other when awareness and learning occurred.

“Mary Magdalene” by Carlo Crivelli in the collection of the Rijksmuseum is the most fulfilling period of Crivelli’s life, both in public and private. Like Crivelli’s many multi-winged altarpieces, painted in 1475, his craft techniques are remarkable, such as stacked halos, attributes, jewelry such as hair ornaments, and garments. This time, we focused on the stacking technique of the halo part of “Mary Magdalene” by tracing the technical process and transition of the style of halo applied to board painting in general during the Italian Gothic period, we will approach Crivelli’s unique method of accumulation.

An analysis of the free interpretations of Domenico Ghirlandaio’s “Adoration of the Shepherds (1485)” submitted by 29 students of ‘Introduction to Appreciation Education’ of Basic Fine Arts Seminar has clarified the reality of the description, which has accumulated many questions. There were 130 question marks here and there. The basic factor that caused this situation was that the object of appreciation was a foreign painting belonging to the Christian cultural sphere, whose languages, customs, and lifestyles were different from those of Japan. That painting itself is originally a question aggregate, and the barrier to understanding is extremely high. In this context, students challenged free interpretations. There is the option of only praising the question as a proof of independent study attitude and refraining from commitment. However, the author regards the question as an essential opportunity to advance art reading, and with a view to PISA-type reading comprehension, has come up with a method of art reading that connects diverse knowledge to free interpretations through questions students have. This is question-mediated development, and author presented five response examples based on his own class practice.

A survey of attitudes toward animal representations in environments in preschool children’s daily lives revealed inconsistencies between the representations of animals recognized by nursery teachers and trainee students as suitable for children and those used. Based on these findings, the author concluded it necessary to focus on issues with animal representations that permeate art-related environments in children’s daily lives, initiating the study and constructing methods toward supporting the development of environments in tune with children’s powers of observation, curiosity, and aesthetic sensibility.

Based on the previous paper that clarified the unique logic and style of Norio Nishino’s “Biiku Bunka” series, this paper analyzes Nishino’s career and writings from his childhood to just before he became a senior specialist for curriculum of the Ministry of Education, and explores the concept of “Zoukei Asobi”. I clarified how his unique writing style and the idea of not distinguishing between inside and outside the school arose and developed. First, the concept of “formative play” arose when he was working at Bancho Elementary School, and when he was involved in the creation of the course of study, I clarified it as a concept proposal for all grades of formative play. Due to the disappointment that the plan for all grades did not come true, he started to theorize the theory of formative play based on play theory etc. during his university working days. Although there were signs of his unique writing style from the beginning, it was not conspicuous, but there was a clear one-off case when he was working at Kogakkan University. The idea of not distinguishing between the inside and outside of a school arose when he was in a public elementary school in a downtown area, and later strengthened as I envisioned a self-contained curriculum.

In this study, the first author of an incumbent dispatched teacher captures and reflects on the self-transformation that she experienced in the process of her own drawing act, and we clarify the effect of learning of the drawing act that brings about that reflection. We selected the third author’s subject “Free Drawing”, which the first author took in April 2019, as a research case. In the case study, an abundant amount of paints and tools that the participants had never used before were provided, and the activity environment was created in which the participants could draw freely and immerse themselves in the colors and shapes they drew. Analysis of the research cases was conducted by reviewing the image records the first author’s vivid memories and awareness during the activity, and by describing the actions and utterances extracted from the image records. Through the analysis of research cases, we clarified the effects of the act of drawing, in which learning is practiced as changes in the way of drawing, and learning in which the way of seeing and feeling changes when encountering tools that have never been used before is experienced.

The purpose of this analysis of the works of John Atkinson Grimshaw, a British artist of the 19th century, is to clarify the method of his moonlight paintings so that we may make better use of his techniques for our own oil paintings of night views. This paper focuses on works of the 1870’s as the second part, and the content is based on examination of his works and catalogues. His moonlight painting style changed to a more emotional one with soft tones in the 70’s. This analysis of Grimshaw’s methods shows the importance of applying a gray tonal scheme using complementary colors, the appropriate use of undercoats in white and brown depending on composition. In general, Grimshaw’s method emphasizes the importance of layering oil paint. As a remarkable example, this paper focused on “Manchester”, the work that was painted on top of a black-and-white landscape photograph. The author painted a production based on their analysis and verified his techniques. As a result of this study, we were able to confirm the effect of the hard matière of the painting medium composed mainly of copal varnish that Grimshaw is said to have used, and the effect of the brown line.

The purpose of this study is to clarify the necessity of design education based on problem solving and the potential of project-based learning (PBL) as a methodology. First, I looked at changes in the current situation surrounding design, such as the expansion of the view of design ability and the domain of design, and confirmed the necessity of design education based on problem-solving. I then surveyed previous research on design subjects in secondary education, and clarified the situation in which many standardized “design-like” subject matter with even color expression have been used. Furthermore, I compared the descriptions of design in “Art and Design I” and “Information Study I” in the Courses of Study of senior high school to clarify the direction of design education aimed at by art as a subject, and to confirm that design education is required to face social issues. Based on the above, a classification was made linking design subjects and the use of PBL in secondary education. As a result, I confirmed the necessity of design subjects and showed the possibility of using PBL based on design as a subject for learning problem-solving methodologies.

Based on Dewey’s play theory, this article presents a theory of appreciative learning that encourages qualitative enhancement of children’s interests as a means to foster their overall development. We begin by defining the current status and issues of learning instruction in relation to children’s interests through a review of the literature. We then examine the interests that, according to Dewey’s philosophy of education, ought to be fostered in students. According to Dewey’s notion of interest, it is not only a fleeting sensation of pleasantness that is produced by external stimuli, but it is also a reflection of the self-development that occurs in conjunction with activities which include learning. This paper presents a new theory of appreciative learning which makes use of the four stages of Feldman’s critical appreciation method. It demonstrates the process of interest development in appreciative learning in three stages, as well as the characteristics of a learning structure that incorporates play theory. It is also based on the curriculum of the Kettering Project at Stanford University. The theory of appreciative learning proposed in this study is centered on the idea of fostering the development of a continuing intellectual interest from a fleeting emotional drive.

The importance of learning about local traditions and culture has become a focus of school education, and there has been a need to create teaching materials that are suited to the actual conditions of each region. While regional teaching materials have been mostly incorporated into social studies, life environment studies, and other forms of integrated study, such materials have also been used in arts and crafts and fine arts. This study focuses on and examines regional teaching materials such as teaching plans, research bulletins, and practical reports from classes in arts and crafts and fine arts from elementary to high schools in Gifu Prefecture. A total of 768 materials from the “Catalog of Educational Research Materials” of Gifu Prefecture and the website of Gifu Prefectural General Education Center’s Library and Educational Resources Office were surveyed, of which 57 were regional teaching materials. An analysis of these materials showed that the incorporation of regional teaching materials has four objectives: (i) the transmission of local culture, (ii) improving motivation and interest among children and students through the use of regional teaching materials, (iii) nurturing the skills of teachers through the development of regional teaching materials, and (iv) facilitating cross-curricular learning.

The purpose of this research is to focus on sculptor Churyo Sato as a leading figure in art education, and to reconsider professional education and art education for nurturing artists from modern times to the present. At Tokyo Zokei University, founded by Yoko Kuwasawa, Churyo Sato explored a new form of art education. After retiring from an important position at the university in 1972, Yuzo Iwano, a sculptor who studied under Churyo Sato, understood Churyo Sato’s intentions and implemented and complemented them. After that, in the 1980s, he began to talk again about his many experiments at Tokyo Zokei University in books, magazine interviews, and talks. At that time, he used the term “craftsperson” in discussing problems with the university system and curriculum, referring to Rodin, who said, “To learn, one must be an apprentice, not a student.” The term “craftsperson” has given rise to many misunderstandings and criticism in understanding Churyo Sato’s education. Therefore, in this paper, After rereading “Rodin’s Words” translated by Kotaro Takamura, Churyo Sato’s favorite book, I consider what Churyo Sato wanted to convey with these words.

This study investigates appreciation as an essential theme of Fukumi Shimura, developed through dyeing plants and trees, following the idea of the daily concept being shaken, using Japanese language teaching materials. Furthermore, how the viewer and the creator’s physicality overlap are examined. I also explored these topics using the theory of Sumio Hamada and N. Hartmann, which derive from Saimaru (2020). A comparison of Shimura’s writing to Hartmann’s multilayer, an awareness of the inner spiritual layer was found, and the world’s showed expansion and contact on the occasion of Shimura’s nature experiences. The meaning of the expression “black cherry blossom skin” was understood as skin dyed pink, which students could not follow in the context of their Japanese language class combined with art class. Here also the phrases “not only pink” and “the branches are filled with various colors” were encountered. In the practice for correspondence high schools, even his negative experiences, such as seclusion, could take the form of mental homogeneity, which is linked to Shimura’s essential theme, which led to the point of view that changed the meaning of his experience.

Art education in Singapore, which is a multi-ethnic and multi-cultural nation, has been involved in nurturing each ethnic identity through the development of educational programs that reflect the Chinese, Malay, and Indian cultures. Simultaneously, nurturing of the national identity beyond ethnicity has been sought, and for this purpose, it has become essential to create a national culture. Although it is challenging to create a new symbolic culture with national cohesion, the large-scale promotion of art and culture has been planned and implemented to establish the presence of Singapore’s art and culture in the global society. The five-year plan “Our SG Art Plan”, implemented in 2018, demonstrates the policy’s intention to create a new symbol of a creative community that embraces the ethnic culture and to form the national identity of Singapore. Such a policy goal is reflected in the art education curriculum implemented in 2018. In art education in Singapore, the function of nurturing both the national identity and creativity is recognized for its similarity with the concept of “Societal Creativity,” which regards creativity as a potential of the society as a whole.

This study organized a co-creation workshop between artists and a business manager, with the aim of deepening business managers’ consciousness with regards to management philosophy, using an art educational approach. Upon completion of the workshop, interviews were conducted and diagrams were created based both on observations made during the workshop, as well as the outcomes of these interviews. The effects were then analyzed. Management grounded in a philosophy in which managers consider the significance of their company’s existence within society, is called “Purpose Driven Management”, and its social significance has been gaining attention in recent years. As a result of the workshop, this study observed a process in which managers’ own aesthetic sensibilities are reaffirmed through dialogue with others, which is then illustrated and internalized into a new concept, thereby increasing the participating managers’ consciousness with respect to Purpose Driven Management. It is highly likely that, in particular, analogies brought up by the artists and the dialogues that emerged from a questioning of the managers’ personal sensibilities influenced this change in consciousness. This suggests that art workshops may be useful in supporting Purpose Driven Management, and this study is significant in that it specifically describes and analyzes the process.

This study examined “creative programming learning” for creating formative structures and functions as suitable educational content for childcare and education majors and sought to clarify changes in their perceptions and learning processes. The research subject was a group of sensitive representations with “spinning around” as the lecture theme and exercises focusing on methods of teaching artistic expression (Time 5) in May 2022 as well as pre- and postquestionnaire surveys. Findings showed that the “spinning around” of surrounding objects expanded various dynamic perceptions. In addition, this study demonstrated the group of sensitive representations, embodied by the team’s collaborative activities, as different emphasis points for the three aspects and charted a model of the rising process for each period, which clarified the expressive subject matter. Specifically, an aesthetic methodological awareness was raised from the conceptual world that leaps from reproducibility in the content aspect, the structure that maximizes block modeling in the formal aspect, and the combination that leads to the strengths and weaknesses of programming operations in the formative aspect, all of which are positioned as the unique educational content of the “creative type.”

In this study, we examine how a “creative situation” is formed through collaboration and the use of dialogue by engaging in an art activity intentionally. The study involved two lower elementary school children who were not acquainted with each other and were brought together to work on an art activity. The activity involved drawing and painting by using the same drawing paper, materials, and tools. The dialogue between the children was facilitated by two researchers who posed questions to them, and it was analyzed by three researchers using qualitative analysis through the use of triangulation. The results of our study clearly showed that through the use of dialogue, the students shared their perspectives on the artwork with each other spontaneously. They also established a relationship after they accepted each other and shared their thoughts openly. Our study also indicated the importance of facilitating a dialogue. We also identified the educational significance of creative situations formed through collaboration.

Several painters in the modern era in Kyoto, Japan, were involved in writing textbooks on drawing and painting that were used in general and specialized education. This study focused on the book “Shogaku Mouhitsu Gajo” and examined the roles of the painter Kose Shoseki, who wrote the book, and the educator Miyoshi Osamu, who requested Shoseki to write it. It is positioned as the first brush painting textbook in Kyoto. In addition, one of the remarkable features of this book is that Miyoshi was not a drawing teacher, and Shoseki was not a painter belonging to the Maruyama-Shijo school, which was at the center of the Kyoto art world. First, the study examined the process of the book’s publication by researching the relevant documents. Then, it investigated the relationship between the characteristics of Shoseki’s expression of painting and the origin of the idea of the book indicated in Miyoshi’s lecture transcripts. The findings revealed that the combination of Miyoshi’s belief of the purpose of art education as a means of visual communication and Shoseki’s drawing techniques form the distinctive features of this book.

The first contrast (regionality/locality) is a feature of plastic expression. This paper deals with the question of how many students can identify this contrast. The number and percentages among those successful in the viewing experience (60) and unsuccessful (40) were 39 (65%) and 13 (32.5%) respectively, a sizeable disparity thus emerging, of around 30 percentage points. Of the three abilities to identify contrasts, the most effective when it comes to appropriate apprehension of theme is the first contrast, second is the third contrast (partial focusing/overall grasp), and third is the second contrast (realistic expression/conceptual expression). Working back from this result with the aim of guiding students toward a successful viewing experience, it was found that actions that promote awareness of the first contrast are the number one factor in the successful apprehension of theme. The ability to grasp theme is deemed central to art appreciation ability, and this paper examines the efficacy and validity of the hypothesis holding that the three aspects of identifying ability function as part of art appreciation ability in order to realize this.

In recent years, museums have been required to take advantage of the local characteristics and cultural resources of the area in their efforts to disseminate information and educate people. There is also a trend toward the creation of art museum complexes as part of city planning, and the relocation or establishment of new facilities in central city areas to form centers for cultural activities and information. This study focuses on the relationship with local resources in the educational dissemination of two public cultural facilities established as part of a city center revitalization plan, and examines the role of curators and the skills required for their duties. The curators in charge of educational dissemination at each institution will be interviewed, and their responses analyzed, to reveal the conditions necessary for educational dissemination in terms of staffing, budget, and mission, as well as the challenges specific to the field of curation. This study aims to contribute to the utilization of local resources through educational dissemination, and to provide clues to solving problems in educational dissemination that are common to museums and other cultural facilities in other regions.

This study is to investigate the influence of coloring materials on the screen composition and expression of pine needles in “Landscapes under the sun and moon”, which is a technique unique to the Four Seasons paintings of the Muromachi period. Tree expression in Japanese painting is rooted in Kan-ga and Yamato-e, and I argue that the characteristics of this piece are influential in the development of tree expression and also in the contemporary development of summer scenes, normally represented by flowers and grasses. As a result of a detailed analysis of expressions of pine needles in each season, I classify them into five types: (1) Suito-ten, (2) Shoyo-ten, (3) Gyoto-ten, (4) One-tone flat expression using a thick brush, and (5) Two-tone flat overlapping expression using a thick brush. In addition to these five types, from the viewpoint of depiction technique, the layers of paint were classified into three. With these results, I discuss summer scenes and trees representing the seasons and the corresponding changes in pine needles and I find that the piece exhibits diverse expressive effects on the screen.

This study attempted to elucidate the effects of engaging parents and their children in activities for artistic expression and play together, in dual-income households. A set of teaching materials (instruction manual, materials, and tools) developed to promote activities of artistic expression and play at home was provided to 20 working households, and a questionnaire survey was conducted before and after the activities. The results of the analysis revealed that the activities that parents and children engaged in together were effective in helping parents understand their children’s special characteristics, such as their strengths and weaknesses and personalities, and in helping them feel their children’s growth. In addition, it was found that the experience of having fun with both parents and children led to an increase in the number of activities that parents and children worked on together, and provided an opportunity for parents and children to become aware of new ways of using materials and tools.

This study focuses on the painting materials and techniques used in primary art education in Japan and Poland, with particular attention to the field of painting, which is compared and discussed in this paper. Regarding oil pastels, it was found that in Japan they are used mainly in the lower grades, while in Poland they are used mainly in the middle and upper grades, as painting materials for multilayered and descriptive depiction. The use of watercolors was also found to emphasize the multilayered nature of the paint. Based on the way these painting materials were used, we concluded that there is a difference in the way of thinking in painting production between Japan and Poland, rather than a difference in the painting materials themselves. In Japan, since the free painting education in the Taisho period (1912–1926), free expression rather than imitation has been emphasized in art education. In Poland, art education emphasizes children’s independence, skills through copying, and the acquisition of ways of looking at and thinking about things through art production, and the differences between the two have led to a search for a better form of art education.

This article reports on what the work of Hokkai Times in the field of drawing education based on the publication of the “Hokkai Times” in 1923. “Jiyuga” appeared in “Hokkai Times” only once, in the year of 1923, and the Hokkai Times did not hold exhibitions of “Jiyuga.” However, the “Hokkai Times” published in 1923 contained advertisements by various companies related to the holding “Jiyuga” exhibitions. Some crayons companies and Tokyo-based pharmacies collected “Jiyuga” for exhibition, and Hokkai Times sometimes supported these activities. Further, the “Hokkai Times” published a number of articles about art education by leading persons in 1923. Naohiko Masaki, the head teacher of Tokyo School of Fine Arts, had the idea that a child’s creativity was like a plant, and we must not try to change the direction in which they develop. The Hokkai Times continued to publish information about drawing education until the Great Kanto Earthquake occurred on September 1st.

The Arts and Crafts Portfolio Tablet Notebook (ATPN) is involved in the development of the following children’s qualities and abilities in the arts and crafts: “knowledge and skills,” “thinking, judgment, and expression,” and “the ability to learn.” The function of the ATPN was analyzed by text-mining the free-response statements of 182 students in the “Questionnaire on APTN,” which was conducted at the end of the school year for the past 3 years. The analysis of frequently appearing words and co-occurring phrases in the free descriptions revealed the following: APTN encourages children to devise their own ideas, concepts, and production methods, and to create works of art with a clear vision. This has been shown to play a significant role in the development of “thinking, judgment, and expression,” and “the ability to learn,” respectively. In addition, the study considered several future issues for the APTN. It became clear that it is necessary to shorten the time required to fill out the form, and to create ways to set individual goals.

By identifying the students’ artworks that appear to be replications, this study attempts to reveal the relationship between the artworks created by the regular-course students during the Taisho era and the illustrations in art textbooks, among the commemorative graduation artworks preserved by Bakuro Elementary School, Takaoka-city, Toyama. As a result, the study found that the students, at that time, made reference not only to the national art textbooks but also to certified elementary school art textbooks published before the national art textbooks and to secondary school art textbooks published in the Meiji and Taisho eras. Based on the findings of the art themes, the artworks included such subjects as flowers, birds, fish, life tools, vegetables, and landscapes. Some students also added colours to the original images while others combined other illustrations to the original images; therefore, this study found expression in the students’ originality and ingenuity. Since the students used many art textbooks to create their artworks during the era of the national art textbooks, the study was able to grasp the reality of visual arts education at that time and of using the textbooks for student art expression.

This paper aims to explore the essence of pre-modern Japanese painting through specific examples of the use of mineral pigments in pre-modern Japanese painting in order to reexamine post-modern Japanese painting that relies on mineral pigments. Through reading the painting method books of the Tosa and Kano schools, “Honcho Gaho Taiden” and “Gasen”, it was found that the two schools used mineral pigments of different colors and coarseness on the assumption their coloring philosophy: “using the right painting materials and colors for the painting subject,” “changing the tints of the painting materials according to the Shin-style, Gyo-style, and So-style underpainting,” and “favoring light colors.” In addition, dyes were used in cases where mineral pigments were not suitable for expression, indicating that the two schools were flexible in their use of different color materials. Such use of mineral pigments was confirmed by observation survey of their works. Thus, the use of mineral pigments in the Tosa and Kano schools suggests that the essence of pre-modern Japanese painting was not to rely on one color material but to understand and utilize each available properties.

This paper examines junior high school art education in Indonesia. Indonesia is a multiethnic and multicultural society, and has formed its own culture based on the traditional culture of each ethnic group, influenced by Western culture. Under these situations of cultural influence, education around the world is shifting from teaching certain content to cultivating competencies. In Indonesia, which has a diverse art culture, this study examines what art education at the junior high school level teaches and what kind of competencies are cultivated in art education. This study took a holistic structural view of traditional and contemporary art in Indonesia, and in the context of this view, examined current curricula and analyzed the latest textbooks based on these curricula. Finally, the paper proposes a model for art education about the relation of learning materials and competency in a multi-ethnic, multi-cultural society.

The Italian artist Bruno Munari was involved in continuous workshops for children’s art education activities for children through workshops from 1977 until his death in 1998. Currently, a discourse exists Though scholars in Italy that introduces consider some of Munari’s works as Montessori teaching aids. This study confirms that, this discourse was formed after the death of Munari and Montessori and it is not publicly acknowledged. This study. Our study investigating the relationship between the social perceptions of Munari and Montessori’s art education was conducted mainly through literature sources and interviews with persons involved in Munari education in Italy, with the aim of clarifying the relationship between Munari art education and Montessori education in Italy and social perceptions. As a result, it was. The results confirmed that Munari’s educational activities have been widely appreciated in Italy in recent years and that Montessori educators have learned Munari’s educational methods and incorporated them into their educational practices.

The purpose of this paper is to analyze the results of a survey of 406 junior high school students regarding their act of touching three-dimensional objects to understand the patterns in their shape preferences and their manner of touching. In the survey, we set up a place where students would encounter six types of three-dimensional objects and video recorded their activities. Specific acts of touching were extracted individually from the recorded data and the worksheets that the students filled out after the recording, and “the number of students who touched the objects,” “duration of touching,” “object touched first,” “frequency of touching,” “order of touching,” and “induction of action” were counted for each object to analyze the patterns in the act of touching induced by the objects’ shapes. As a result, students tended to touch the “sphere” regardless of its position in the arrangement; a tendency that was observed across all the grades. The results also indicated that “sphere” was the most preferred shape for students to touch, the object’s shapes induced varied actions, and that they first tended to touch objects placed on the left, except the “sphere.”

ESD clarified the actualization of the 17 goals of the SDGs towards “ESD for 2030” at the 40^th session of the UNESCO General Assembly in 2019. ESD learning and activities aim in order to create a sustainable society by considering various issues in modern society as their own problems. This type of learning also gears towards the familiar places for creating new values and behaviors that lead to their solutions. In this study, I examined the general qualities and abilities to contemplate the problems of modern society as Research I, especially for the Department of Arts and Crafts using manga expressions that penetrate the world beyond the language barrier. While examining the practice of junior high school and high school students, I consider the overall practice of “sustainable society through manga” from the elementary school to high school. Because of interests change in social issues and feeling changes towards the own works according to the developmental stages, the possibilities of deepening creative thinking occur in order to communicate the content of thought and expression by using visual language.

Today, ICT devices have become indispensable in our daily lives. Even at schools, one tablet terminal has been introduced for each student, and it can be said that learning communication methods and expression skills using ICT is an important element for children living in the next generation. This research is an overview of the practice of self-portrait expression using stop-motion animation for primary school students in 2022, and considers its effects and problems. We will show examples of teaching materials development and practice of expression using video media in elementary schools, and analyze and consider works. By using the child’s own photo as a motif, we aimed to create a theme that would encourage active self-expression and draw out and express the child’s thoughts and wishes. We clarified the possibility of a new self-portrait expression that is different from the self-portrait subject that draws one’s own solvent phase using pencils and paints, which has been practiced in conventional art education.

The purpose of this research is to enhance the independence of students by utilizing the “knowledge construction type jigsaw method” in the planning and appreciation phase of design learning during middle school art course instruction. To this end, students are encouraged to deepen their way of viewpoints and feelings through reference data for learning and worksheets used in “expert activities” that incorporate specialist viewpoints, and to encourage students to speak out in “jigsaw activities” that exchange opinions from diverse perspectives. I inferred it would make the students more interested in learning. Using quantitative analysis of student questionnaires and qualitative responses analysis of students’ free descriptions and observations, I considered the relationship between students’ awareness in these class practices and the “knowledge construction type jigsaw method”. As a result, it was found that the students who deepened their professional viewpoints and feelings in the “expert activities” actively spoke out in the “jigsaw activities” and increased their motivation to learn. In this way, it became clear that design learning using the “knowledge construction type jigsaw method” is effective in enhancing the independence of students.

This study aims to verify the use of handmade stamps in Zokei-Asobi, a method of art educations in Japan. Handmade stamps in this study refer to educational material devised by the author of this paper, intended for use in training nursery school and kindergarten teachers and at actual nursing sites. I first taught university and graduate students to use handmade stamps during this study, and thereafter analyzed the students’ worksheet data through a co-occurrence network analysis. A “positive awareness” toward the effect of faint parts is identified, which justifies the development of this educational material. However, given the constraints of space, only a part of the data is considered and analyzed in this paper for efficacy. Therefore, the remaining data and analysis will be undertaken in a separate study. The broader significance of this study is its relation to debates between art education and contemporary art. I consider it important to comprehend Zokei-Asobi from a perspective of contemporary art. Thus, this educational material was also devised based on the viewpoint of MONO-HA, a form of Japanese contemporary arts from the late1960s.

The teacher-training support curriculum has positively adopted ICT for its practice and research programs in the background of the government’s promotion and the under the Covid-19 pandemic. This study will identify the progress of the student’s understanding by using a web-based ICT tool, an image appreciation program. The comments from students were analysed with text mining. An Art and Handcraft practice in course of study for Elementary School and the keywords from the images they saw were the main aspects of this analysis. The analysis discovered a change in their comments on the program, from abstracted opinions to detailed ones. In combination with the standard course study and the image appreciation program, students spotlighted the crux of the course and its keywords. Students’ words and writing for the work of the Art and Handcraft practice have been enhanced expressively, and a reduction in commenting time was found. In three more times of exercises, students identified their own changes in the degree of their understanding. ICT tool, an image appreciation program, may have a certain degree of effectiveness, and it would be feasible to implement as part of out-of-class learning.

The field of design that solves social problems, such as universal design, sustainable design, and social design, is getting more and more attention today. The course of curriculum guideline for art class in primary school also emphasizes the relationship with society, and the improvement of the teaching system is required. This study aimed to develop teaching materials for art class in primary school that explore methods of discovering and solving problems in our life and society, and planned creative activities that lead to presentations through the process of “thinking while making” while exchanging opinions repeatedly. First, after examining the way design should be in the art classes in primary school, it followed the process of shaping the ingenuity for the solution done by children who give examples of difficulties in life and society, and by sharing emergency occasions that they imagine, they will independently expand their ideas and clarify their images, using various materials. We created the “manual” together with their works, and clarified the importance by which children learn the charm of thinking from ingenuity for problem solving by mutually appreciating while organizing the functions into words.

The purpose of this study is to create musical instruments using PC and USB interface “Makey Makey”, sound source software “Soundplant”, and waste materials in a class for graduate students, and explore their potential as teaching materials for the art education. The production is carried out through the steps of appreciating the preceding works, understanding the interface, creating the musical instrument (controller), mastering the application, creating the sound source (sampling), connecting to the PC and assigning the sound source, playing and appreciating. By combining ICT equipment with waste materials such as corrugated cardboard, wire, and sponge, students designed a free images and assigned environmental sounds to it to complete unique musical instrument works. In the process of searching for a sound source, they noticed that there are many environmental sounds that are elements of music in the living space around them. By cutting them out and connecting them to production, they were able to broaden the range of ideas.

Visual Vernacular (VV), a field of Deaf Art created by deaf people (linguistic minorities who use sign language), is an expressive technique that uses body movements, facial expressions, and symbolic signs to tell a story like a movie. This study aimed to present research trends and prospects for VV, which has developed in the UK and the US. By reviewing papers that have not been translated into Japanese, this study investigated national and international literature published from 2012 to 2022 and identified seven papers. These papers reviewed and organized the definition, history, characteristics, and main figures of VV from the following six perspectives: (1) Definition of VV, (2) background and history, (3) prominent performers, (4) characteristics, (5) differences from pantomime, and (6) types. Introducing VV has an educational significance as it promotes an understanding of deaf culture and deaf art and increases awareness of physical expression in the process of VV creation. This study suggests the possibility of introducing VV to exchange activities between deaf and non-deaf people.

The purpose of this paper is to clarify the nature of inquiry-based and cross-curricular learning through art by practicing lessons based on the concepts and methodologies of arts-based research and a/r/tography. Based on these methodologies, a cross-curricular learning unit was created in the arts and crafts and Japanese language classes. The verification revealed that the cross-curricular unit based on the Arts-Based Research concept and methodology led to individual examples of learning activities; in these, children explored their senses while using them, and reflectively explored expressions, crossing imaginative and linguistic representations. This resulted in a synergistic expansion of expressions and appreciation activities. As challenges, the authors noted that the practical application of this method requires a high level of expertise on the part of teachers, and that the evaluation method is complicated.