In this study, the author examines illustrations showing front-on views of fish, created by the author, through comparisons with natural history illustrations. The study confirmed that existing natural history illustrations incorporate reconfigurations influenced by imagination. It also demonstrated that the author’s work is a reconstruction grounded in both natural historical observation and knowledge derived from earlier natural history illustrations, establishing it as an artwork with a shared foundation in natural history illustration. The study then emphasizes the distinctiveness of depicting front-on views of fish and revisits the author’s creative process, focusing on the subject’s morphological traits and coloration, culminating in a discussion informed by the preceding analysis. The evaluation of the created works was shown in the sales performance of postcards at aquarium’s museum shops—more than 20,000 postcards over a 22-year period. The findings of this study suggest that a deep interest in the subject, in addition to direct observation, along with knowledge and information gleaned from literature, and the understanding and interpretations of predecessors through natural history illustrations, can enhance the quality of observation and improve the overall quality of the illustration.

This research aims to understand the characteristics of the high school art textbook “Bijutsu/sono-seshin-to-hyogen 1” published by Gendai Bijutsu-sha in 1981. “Bijutsu/sono-seshin-to-hyogen” is the title of the book in Japanese, and in English it means “Art: Its Spirit and Expression”. To conduct an objective textbook analysis, in addition to the analysis of “Bijutsu/sono-seshin-to-hyogen 1”, I conducted a comparative analysis of other companies’ textbooks published at the same time from a quantitative and qualitative perspective. In the past, I analyzed the junior high school art textbooks published in 1981. As a result, it was discovered that Gendai Bijutsu-sha’s textbooks had a unique structure, whereas textbooks from other companies had similar structures with no individuality. However, this analysis revealed that all high school art textbooks have a distinctive structure. Among them, “Bijutsu/sono-seshin-to-hyogen 1” is the most conspicuous editing content, and from the analysis results, I was able to summarize its characteristics into 5 points. The most distinctive feature is that each topic has a large number of characters, and the writing style is carefully designed to convey ideas and techniques related to art and production.

“Sunpu Traditional craft facilities Takumi-shuku” in Shizuoka City, Shizuoka Prefecture, is collaborating with the Art and Environmental Design laboratories of Tokoha University’s School of Art and Design to provide classes in which students think up and propose plans, events, products, etc. based on their experiences and research. Takumi-shuku is a comprehensive facility where you can experience Shizuoka’s traditional crafts. Takumi-shuku’s role is to promote and pass on traditional crafts of the region. I believe that university education consists of learning expertise and learning to cultivate sociality. I visualized the background of modern crafts and students’ impressions of crafts, and also conducted prior research on regional collaboration activities of universities in Shizuoka Prefecture. I considered what kind of learning students could get from this class by organizing the content of the practical class and their reflections. As a result, it was a good experience for students specializing in the field of three-dimensional expression to cultivate sociality. However, we also found that further consideration is needed to connect what they learned to their own expertise.

The purpose of this paper is to examine the effects of drawing posture and spatial distortion on the first 10 minutes of taking shape phase of a drawing motif through video observation point. The participants in this study were seven students who had mastered the basic skills of drawing. The study consisted of a one-hour drawing session conducted by those students, assuming a normal school educational setting. The focus of the analysis was (1) evaluation of the finished drawing, (2) changes in the tilt angle of the posture during the drawing, and (3) simplified drawing of the posture changes through tracing. The results suggest that the skill of accurately representing the shape of the motif may involve the painter’s adjustment activities through physical movements that create the angle of viewing and the angle of the upper body to eliminate distorted spatial perception in order to match the drawing environment. In other words, teaching learners to correct their stooped drawing posture may help them improve their drawing skills.

This study analyzed the formative elements of sculpture and reconsidered their aesthetic value. In this study, we have examined the volume of formative elements, performing a terminological analysis and classification. First, we analyzed the perception of each term, dividing it into “quantity as volume” and “quantity as mass” based on the statements of Japanese sculptors. As a result, the former includes two perceptions: the volume of a solid body and sense of quantity, and latter being further divided into three perceptions: sense of weight, centrifugal sense of quantity, and centripetal sense of quantity. Next, based on the discussions of Herbert Read and Roger Eliot Fry, we clarified the difference in meaning between “volume” and “mass.” Furthermore, we conducted a literature review to understand how Rodin perceived volume and mass, which revealed that the meaning of the word sense of quantity was not included. Based on the above examination, we classified the terms for quantity in sculpture based on their characteristics.

This paper examines the practical significance of design thinking as a methodology for STEAM Education through a comparative analysis of educational practices in 2012 and 2024 in Korea, a country that is making advanced efforts in STEAM Education. First, there was a difference in the perception of “Art” as a subject related to STEAM Education between the “means” of art expression and the “essence” of the subject in terms of subject-specific views and ideas. Second, for children to learn in an inquiry-based manner in STEAM Education practice, it is necessary to design lessons based on the stages of learning in a reciprocal and integrated manner. Third, design thinking has a role as a driving force that facilitates “back-and-forth” between steps rather than having a role in each of those steps. Fourth, in the role played by design thinking, there is a shift from problem solving to problem posing, and this is where the subject-specific nature of “Art” is located.

Since the 1970s, the word kosei has disappeared from the descriptions of art education in the Courses of Study. On the other hand, outside of the Courses of Study, there are discourses that regard kosei as a key concept of art education, as if such a fact did not exist in the Courses of Study. The purpose of this paper is to clarify the development process and background of the absence of kosei in the Courses of Study since the 1970s. To this end, Chapter 2 discusses the development process of the absence of kosei, Chapter 3 discusses the avoidance of the use of kosei, and Chapter 4 discusses the simultaneous progression of the external transplantation of kosei as a background to this process. The conclusion of this paper is as follows: The absence of kosei in the Courses of Study since the 1970s has developed over a period of about 40 years in elementary schools, about 20 years in junior high schools, and about 30 years in senior high schools, and the background of this development is the simultaneous avoidance of the use of kosei and its external implantation.

A substantial body of research has been conducted on the flow of Japanese art and artefacts abroad, the production of artefacts for export during the Meiji period, and Japan’s involvement in international exhibitions in the modern period. These research has been based on the assumption that there was ‘an acceptance of the Japonisme vogue that took place in the West in the late 19th and early 20th centuries’. Nevertheless, the precise extent of the Japanese arts and crafts trade remains undetermined. Following the succession of the Industrial Revolution, London became a global leading place in terms of material wealth, a consequence of the expansion of transport, communications, and finance in the latter part of the nineteenth century. As if to reflect the colonial culture of the British Empire, various items, including works of art and artefacts, were being collected from all over the world, and the art market rapidly expanded. This paper identifies the prices of Japanese-style painting, nihon-ga, by Watanabe Seitei, Suzuki Kason, Yokoyama Taikan, and Hishida Shunso, which were exhibited and sold in commercial galleries in London.

The aim of this study was to conduct an on-site investigation of three modern figurative wood sculptures—Katsura no Kage by Choun Yamazaki, Seishou by Unkai Yonehara, and Nai Nai by Denchu Hiragushi—and perform numerical analysis using 3D models. Focusing on “movement,” an essential formative element in sculptural art, this study aimed to provide a more objective assessment of these works. We used tools not previously applied in this context, Blender and the SMPL model, for the creation of the 3D models, and examined their validity. Our findings confirmed that artworks can be analyzed based on the reliability of their structural data. The analysis also revealed a consistent numerical distribution, which contrasts with the visual impression of movement. This finding suggests that sculptors of the time enhanced the impression of movement by overlaying expressive elements, such as clothing and facial details, onto the underlying corporeal structure. By collecting and accumulating data on other works, we aim to contribute to the evaluation and contextualization of modern figurative wood sculptures, providing an objective, data-driven perspective on their characteristics and artistic value.

This examination considers the alignment between Norio Nishino’s ideas and the revised curriculum guidelines of 1998. Nishino has persistently advocated transforming external standards in art education into intrinsic ones meaningful to children. Upon becoming a professor at Joetsu University of Education, Nishino expanded his ideas to include broader theories of school education, incorporating modern thought. However, his writing style became increasingly complex. Nishino led discussions as the chief examiner during the compilation of the 1998 guidelines, delegating management to Inspector Itarashiki. While editing the “Explanation,” collaborators ensured alignment with Nishino’s ideas. There is concern that Nishino’s aim to integrate school and life may disregard the external frameworks of schools, educational goals, content, and methods, potentially opposing the principle of self-limitation of power in public education. Nishino’s ideological base is linked to Shimoda Shizuo and A. S. Neill, with roots in Jodo Shinshu sensibilities. However, his absolute emphasis on children’s autonomy may invert the traditional Jodo Shinshu doctrine of ‘other power’ into a self-centric approach.

This study considered the structure of the insight-type story framework developed by Hosoda as a means of developing problem-discovery skills in design education and conducted a demonstration experiment targeting universities studying design. First, we clarified what kind of qualities and abilities the ability to discover problems is based on previous research. Next, I considered the structure of Hosoda’s insight-type stories and summarized the importance of the process up to defining the problem. Design proposals were made using design research such as behavioral observations and interviews in the actual field. The results showed that by using insight-based stories, it is possible to improve the ability to discover customer insights and improve the ability to make proposals that are consistent with design concepts.

This study examines the learning of performance in order to examine “becoming/vewing” in art education. Through a review of prior practices related to “becoming (performance)” learning, this paper reviews the beginnings of performance in the context of fine arts to its descendant, SEA (socially-engaged art). The characteristics of performance, while premised on the intervention of the body in a specific place, include: (1) resistance to existing values (art), (2) transcending dichotomies from the theory of “becoming” and transforming the participants together, and (3) transformation through active involvement in social issues in the case of SEA. By further examining these characteristics, we have come to organize the contents that can be connected to art education in terms of i) physical intervention, ii) trial, iii) mutual transformation of participants, iv) totalization of art, and v) social issues.

How have Asian countries and regions cultivated original art? What role does creativity through art play in this process? In Singapore, pioneering artists who were Overseas Chinese and Strait Chinese established the “Nanyang Style”, a distinctive painting approach that depicts the indigenous landscapes and cultural practices of tropical regions called “Nanyang” meant “South Sea”. The development of Nanyang style based on the idea of Nanyang art from the World War II was significantly shaped by the societal and collective creativity fostered at the Nanyang Academy of Fine Arts. Lim Po Tek, who began his career as an artist in the late 1980s, continues to produce contemporary art works deeply rooted in his Asian heritage. Lim embraced the Nanyang Style as a spirit rather than directly employing traditional and indigenous Asian motifs, expressing people’s lives in modern society. His art reflects a profound awareness of the social and collective creativity inherent in local communities and people’s daily lives. Furthermore, his works and artistic activities underscore the strong relationship between cultural identity and art expression in a multicultural society.

Children’s making activities are central to art education and share similarities with tinkering, which is gaining attention in programming learning and manufacturing in science education. The author created a space at a university where children can regularly interact with various materials and has been conducting participating observation of the process of children’s making activities. The purpose of this study was to examine the process of a child’s making activities with a focus on the materials which he used. This research was based on the case of an elementary school boy participating in the Creative Art Lab set up at the university. The methodology of this study was ethnographic participating observation and interview over two years. The results revealed that the making activities involved two different approaches: either realizing ideas by finding available materials or generating ideas by drawing inspiration from the materials. These making activities were observed to diverge into two ways of how to use materials: one leading to art and the other to science. And this ethnography suggested the importance of focus time and continuous time for children’s making activities.

In the educational outreach projects of museums, programs are often devised according to the content of special exhibitions and special exhibitions. There are only a few museums that have a dedicated staff member in charge of educational dissemination, and the curator in charge of special exhibitions has no choice but to take charge of educational dissemination projects in addition to the preparation of exhibitions. It is difficult to continue the educational dissemination program of special exhibitions after the exhibition is over, and to study and improve the content. In light of this situation, we planned an exhibition based on the premise of an educational dissemination program utilizing the museum’s collection. From the museum’s collection, we selected works that allow us to imagine the meaning and value of the works through interactive viewing, and works that can be viewed from a cross-disciplinary perspective, including arts and crafts and art departments, and devised an exhibition based on children’s appreciation activities. The significance of the exhibition, which is based on the premise of an educational dissemination program utilizing the museum’s collection, will be clarified based on practice.

This study investigated the effects of adding activated carbon, bone char, wood charcoal, and bamboo charcoal to glue water on its transparency and absorption properties. The findings suggest that the cloudiness observed in glue water is likely caused by high-molecular-weight glue proteins that cannot be solubilized, rather than impurities introduced during the manufacturing process. Furthermore, it was observed that adding wood and bamboo charcoal to glue water significantly improved its transparency, demonstrating these substances’ effectiveness in clarifying the solution. Bamboo charcoal exhibited an exceptional adsorption capacity due to its unique conduit structure and residual functional groups, effectively eliminating cloudiness from glue water. Conversely, the addition of activated carbon and bone char to glue water resulted in a notable decrease in transparency, which could only be partially restored through centrifugation, rendering these substances less suitable for Japanese paintings. These findings underscore the importance selecting the appropriate type of charcoal and understanding its specific properties for achieving effective glue water clarification. The insights gained from this study will provide valuable knowledge for improving the glue solutions used in Japanese paintings, revealing new perspectives on the material’s refinement process.

This paper examines the influence of sensing in classes in junior high school art classes on the generation of subject matter from the students’ plastic acts. For this purpose, a class was conducted in which students expressed what they perceived from the flow of wind in the school by making wind chimes using ceramic clay was conducted, and the students’ appearances were analysed and discussed based on the answers to a questionnaire and videos of the class activities. A mixed research method was used to collect and analyse quantitative and qualitative data. The results showed that the [direct/impressionistic] students, who created the subject matter from the wind they perceived and the appearance and impressions of the objects they observed, tended to create their artworks sensitively. On the other hand, [indirect/conceptual] students who generated themes by connecting the sensed wind with their own memories and concepts tended to produce works conceptually. Although both groups of students tended to generate themes and repeatedly reformulate them, the [direct/impression] students tended to search for images, while the [indirect/concept] students relied on the realisation of images.

The rapid development of Information and Communication Technology (ICT) in recent years has significantly impacted the field of art education, highlighting its convenience and potential benefits. Following the COVID-19 pandemic, various methods for individualized applications have been explored, particularly in remote learning and personalized art education. This study focuses on the introduction and use of pen tablet devices in two-dimensional art. This study discusses insights gained from two stages of experiments that examined basic drawing activities using these devices. The questionnaire survey in Experiment 1 revealed the perceptions and experiences of learners using pen tablets for digital drawing. Opinions on digital drawing were mixed, with negative impressions due to the device’s non-intuitive and complex operation. In Experiment 2, participants’ eye movements during digital drawing were measured and visualized. The characteristics of eye movements varied by proficiency, suggesting that practice and the acquisition of tacit knowledge could enhance ICT utilization skills. Both experiments underscore the importance of scrutinizing whether the use of IT and ICT aligns with the objectives of the activity, assessing the adaptability of the artists, and ensuring opportunities for practice.

In this paper, the term “Art through repurposed materials” is frequently employed. The meaning of “Art through repurposed materials” refers to artworks and creation methods that incorporate objects typically used in everyday life, rather than materials traditionally associated with art-making. Initially, this paper examines the thoughts and works of three artists who exemplify this method—Pablo Picasso, Vladimir Tatlin, and Marcel Duchamp. These artists, who began their careers as painters, turned their attention to sculpture in the 1910s. Their experimental methods in sculpture execution marked a significant shift in the conventional understanding of materials within the cultural realm of art. This study explores their motivations for making sculpture, the social context of their time, and the artistic movements surrounding them. The concept of “Art through repurposed materials” derived from their work provides a multifaceted framework for interpreting contemporary sculptures. In the latter half of the paper, educational approaches related to “Art through repurposed materials” are discussed, followed by a reflection on the lessons conducted as a development of these ideas. This leads to a consideration of the contemporary pedagogical significance in the field of sculpture.

This study positioned art activities conducted in cooperation with others as “jointly art activities,” dealing with the content of activities in which multiple children worked on the same object, assuming direct interaction between children. To consider how each child’s behavior in the activities takes into account the presence of the other child, the author examined whether those behaviors included elements of cooperation. In doing so, the author attempted to use the framework of conversation analysis in pragmatics. Specifically, the author summarized the stances of the study and the lineages of pragmatics, organized the main theoretical frameworks, and used them to analyze a case study of “jointly art activities” by pairs of primary school students. If cooperation is considered the act of adjusting differences in opinion, seeking harmony with the other person, and joining forces, the behavior of the two children in the case study could be considered cooperative.

“Visual language” refers to a method of combining textual content with graphic elements such as diagrams or illustrations to convey ideas and information. Proponents of this approach regard drawing as a systematic process whose vocabulary and grammar can be learned, similar to spoken or written languages. The author reviewed studies related to visual-language-based learning structures proposed for systematically teaching drawing. Based on this analysis, the author designed and developed the “Visual Language Drill,” a supplementary educational tool for art education, particularly in the domain of arts and crafts. This paper outlines the contexts that resulted in the creation of the Visual Language Drill. It also presents practical examples of the proposed tool, detailing its application at the elementary school affiliated with Saitama University’s Faculty of Education, where the author serves as a part-time arts and crafts instructor. This study aimed to evaluate the educational impact of the Visual Language Drill by obtaining participants’ feedback. Thus, the paper presents the educational benefits of the tool based on the outcomes of a questionnaire survey conducted with students and their parents in conjunction with the study.

From 1925 to 1930, Nichi-Futsu Geijutsu-sha (lit. The Franco-Japan Fine Arts Company) held, or in some case contributed to, exhibitions of French paintings, sculptures, and crafts throughout Japan. The company expanded the range of its activities in accordance with the company’s policy statement of the “promotion and improvement of general aesthetic taste.” Exhibitions in provincial cities were part of such activities, and in addition to annual exhibitions in Tokyo and Osaka, more than 20 exhibitions were held in more than 10 provincial cities. In the Hokuriku area, exhibitions were held in Kanazawa in 1925 and in Kanazawa, Takaoka, and Toyama from 1929 to 1930 in the form of a tour that terminated in Sapporo. This paper provides details of the exhibitions at Kanazawa and Takaoka, including their exhibit contents, side activities, initial event proposals by local influential men, censorship of lewd paintings and sculptures by the local police, and the public reception of the exhibitions as described in newspaper reports. This study also seeks to identify features common to these three exhibitions, together with the distinctive points of each exhibition.

Based on the question of what kind of support can be provided to children in their early childhood to enable them to remain independent, we analyzed and considered the environment and support that encourages the expression of autonomy in children by observing video recordings of art appreciation activities at a kindergarten. The children’s speech and reactions became more active in their relationships with the nursery teachers, and expanded when inspired by the speech of other children. This suggests that it is necessary for nursery teachers to observe the speech, behavior, and facial expressions of children not only individually, but also in relation to other children. We also found that an environment in which children are more likely to express autonomy is one in which children and nursery teachers, and children and children interact with each other while affirming each other.

In this study, as part of a project-based art curriculum that was undertaken in the form of inter-university exchange, an activity with the common goal of “creating an exhibition to present the results of learning” was attempted. This paper reports on the participants’ narratives regarding their experiences in terms of how they perceive the activities, centering on the creation of the exhibition and what each participant gained from the project experience. The results of the retrospective interviews with participants who worked through the project were analyzed using SCAT—namely, “for Steps, Theorization and Coding,” a qualitative data analysis method—to write story lines and theoretical descriptions. The results of the analysis confirmed that each participant sincerely confronted himself/herself through dialogues with peers and exchanges centering on his/her work. It was also suggested that the activity was influenced by the experiences and values of the participants as well as the content of the project. It is thus suggested that this is an important viewpoint to consider when analyzing the design of inquiry-based learning environments through art, and it is important to continue examining this issue.

I analyzed my previous research on the development of materials that integrate art and craft into programming education for small robots. I discovered that a theme combining programming and creative activities can stimulate self-regulated learning and foster creative programming thinking. However, I was unable to fully clarify which instructional model for creative activities could enhance self-efficacy and creative programming thinking. Therefore, I decided to focus on and utilize the “studio thinking” framework (including studio structure and studio habits of mind) which has been introduced by the OECD Centre for Educational Research and Innovation as an educational model to promote “creativity and critical thinking”. I used this framework as a reference for the necessary teaching model. I conducted a class on plastic arts and robot programming activities that incorporated a “studio structure” for upper elementary school students. I analyzed and evaluated the educational effects of this practice from the perspective of the intersection between the “self-efficacy and creativity evaluation model” and “studio habits of mind.” As a result, I found that enhancing the critique learning process can improve self-regulated learning and creative programming thinking.

This study aims to clarify part of the practice of brush painting education in the Taisho era, focusing on the Japanese-style painter, Jippo Araki, whose artwork is considered to have been the model for many graduation commemorative art pieces left at elementary schools in Takaoka City. The methodology of the study involves a literature review of Jippo Araki, an analysis of his art textbooks, and how students used these textbooks to create their individual graduation commemorative paintings. The results of the study revealed that Jippo Araki energetically promoted brush painting education and contributed to art education by publishing several secondary art textbooks, inspecting school art programs in some regions, and giving lectures to teachers. Araki’s textbooks were mainly composed of brush paintings and included designs and reference pictures for sketches, particularly with many illustrations of flower and bird paintings of his specialty. In addition, the study confirmed accurate copies and ingenious expressions by students in their copy works of his textbooks. These findings suggest that Jippo Araki influenced, to a certain degree, the practice of brush painting education implemented at elementary schools in the Taisho era.

This study clarifies the functions of childcare workers by analyzing their engagement in group activities with young children and the transformations occurring therein. Through observations of four young children, this study examined how the nature of childcare workers’ engagement influenced the nature and direction of group finger painting activities. Analysis using the Trajectory Equifinality Model (TEM) and interviews with childcare workers identified three types of engagement that shaped the nature of activities: (1) intentional and explicit, (2) intentional but implicit, and (3) incidental and unintentional. The findings also revealed that childcare workers adjust their responses during activities, thereby demonstrating a reflective childcare practice. However, their engagement does not always influence the nature of children’s activities. The results suggested that if the engagement aligns with the activities or intentions of children at a given moment and functions appropriately and in a timely manner, it serves as one of the factors in promoting the activities.

This research aimed to propose improvements for the issues of the art exhibition at S kindergarten to examine the effectiveness by analyzing the transformation of awareness among a childcare-teacher and parents before and after the improvements, which were (1) repositioning the role of the exhibition as a “field” for childcare, (2) alleviating guilt regarding activities centered around creating artworks, (3) addressing parental doubts and anxieties regarding the evaluations, and (4) reducing the burden on childcare-teachers. The research methodology involved conducting interviews with childcare-teacher A in Survey 1 and analyzing the responses using text mining. In Survey 2, descriptive questionnaires were administered to parents who participated in the art exhibition, and the responses were analyzed. As a result, after the improvements, the art exhibition was integrated into daily childcare, leading to an expansion of children’s freedom in artistic activities. The burden on both childcare-teachers and young children decreased, and parents also showed acceptance of the changes in the art exhibition. Consequently, it is considered that there were positive effects of the improvements in the art exhibition.

This paper examines the meaning of Zukō and the children’s attitude toward it based on the five episodes described from the point of view of the classroom teacher. The episodes were examined from the perspective of the co-evolution of community and art, and theory of the insideness of place. Through the examination of the episodes, we found that they would aid in the creation of a common area, where children are equipped with the materials, time, and space to encourage free interaction and exploration of every single individual. This environment supports the development of arts and crafts and classroom activites that would provide a platform to children to actively participate and explore unique stories and themes. The children’s attitude toward Zukō reflects their trust in the creation of a common area and anticipation of engaging in events that encourage exploration. The discussion of the episodes suggests that engaging in Zukō is more than just an academic activity and is deeply related to the formation of a classroom community and exploration of the children’s life experiences.

This study attempts to verify a method for visualizing and analyzing students’ “proactive attitudes toward learning” (hereinafter, “proactive learning attitude”) in junior high school art classes. Specifically, we examine the usefulness of the “fan of learning” a technique that represents the relationship between “play,” which is self-determined learning, and “direct instruction,” which is learning acquired from teachers and textbooks, as shown by Kiyota, Ohashi, and Fujita in their previous studies. The research was conducted through (1) a questionnaire survey using the “learning fan” and (2) an analysis based on video recordings taken by the students. This study yielded three main findings. First, the results suggest the usefulness of this method for visualizing the students’ “independent learning attitude.” Second, the results of the “learning fan” showed that students tended to think about what they wanted to learn through expressive activities. Third, students who acquired knowledge and skills through self-determined efforts were more likely to actively engage in expressive activities. We hope that the findings of this study will help teachers to see students’ “proactive attitudes toward learning” and realize instruction that is in line with each student’s learning style.

The purpose of this research is to promote the creative inquiry of university students by utilizing the “knowledge construction type jigsaw method” in the appreciation and planning phase of design learning during the university class “Teaching methods for art in junior high schools”. To this end, I was considered that creative inquiry would be promoted by collaborative conception in which the specialized knowledge acquired in the “expert activities” of the “knowledge construction type jigsaw method” is utilized in the “jigsaw activities” where opinions are exchanged from various perspectives. The relationship between the creative inquiry of university students in these classroom practices and the “knowledge construction type jigsaw method” was examined using a qualitative analysis of the university students’ “sensational and rational evaluations, worksheet and questionnaire descriptions, behavioral records, and deliverables.” As a result, it was found that university students who acquired specialized knowledge in the “expert activities” also utilized their specialized knowledge in the “jigsaw activities” to advance creative inquiry. In this way, it became clear that design learning using the “knowledge construction type jigsaw method” is effective in promoting the creative inquiry of students.

The author of this paper conducted a study of an active learning program in the field of plastic arts subjects for the purpose of professional development of childcare workers. As pointed out in the August 2012 Report of the Central Council for Education, undergraduate students are now required to engage in their studies independently, and to achieve this goal, various active learning programs have been implemented at the university level. A large body with prior research on active learning programs in the field of arts and plastic arts subjects has been accumulated, with a particular emphasis on workshops and practical learning. However, comparatively little research has been done on speaking activities, such as group discussion and debate, probably because of the lack of readily manageable active learning methods for such activities in the field of arts and plastic arts subjects. Therefore, this paper discusses the implementation of active learning that includes speaking activities in the plastic arts expression subjects, taught by the author.

This study aimed to clarify the tendencies of students in two types of expressive activities in art class: using material provided by the teacher according to industry standards, and with material selected by the students themselves as the expressive actors. The two activities were conducted with a class of junior high school students: one wherein drawing paper was handed out for the students to draw on, and another wherein the students cut rolls of drawing paper into arbitrary shapes and drew on them. A qualitative analysis of the activities revealed that students who used rectangular paper tended to try to put together what they wanted to express using their own techniques and prior knowledge, whereas students who used non-rectangular pieces tended to consider the shape of the drawing paper as part of the work and attempted new techniques of expression. The findings suggest that students changing their involvement with material according to the qualities and abilities they want to cultivate may be an effective accompaniment to expressive activities, based on the teachers’ understanding of the constraints, and the position and content of thematic expression.

In an increasingly complex society, there is an unprecedented need for involvement in society through art. There is already active practice in the context of art. Nevertheless, the arts and crafts department, which aims to be a “curriculum open to society,” has yet to fully engage with society. Therefore, the purpose of this paper is to reexamine the nature of art, which is a prerequisite for bridging art education and art, in light of the growing need for art education open to society. In response to this objective, this paper presents the essence of art as an important core premise that is linked to actual human life and society through a discussion of trends aimed at constructing a basic theory of art education. In addition, by sorting out the gaps in art due to historical background, we presented the context in which the essence of art is contained. Furthermore, by referring to the debate on the changing nature of art, the paper also captured the social and educational value of art education and the increasing role it plays in educational issues.

This study aimed to summarize the developmental stages from infancy to adolescence as observed in expression activities using clay. In the present research, which is the third study in a series, I consider whether the tendency of the expression is attributed to the developmental stage or learning environment and social value. I attempted expressing with clay while blocking out information from the visual to the students who are in the developmental stage of becoming aware of the recipients of their expressions. As a result, when the students did not work on activities that are felt through touch and worked on expressive activities without themes, they tended to reproduce shapes based on their own previous experiences. However, when they worked on activities that are felt through touch and expressive activities on the theme of invisible touch, neither the students in the fifth grade of elementary school nor those in the third grade of junior high school tended toward realistic expression. These two practices confirmed that expressive objects changed depending on the learning environment and the value of the expression shared with the self and those around it.

The practical use of ICT to create attractive expressive activities is promoted for art classes in junior high school. It is becoming possible for students to use tablet devices to freely select ‘fonts’ that are designs of a set of typefaces and layout them based on the image they want to express. With this background, this study aimed to develop themes and teaching materials for expressive activities using fonts as well as to demonstrate teaching methods in the field of design at school art classes. In educational practice, we focused on the activity of “typesetting using tablet devices,” and conducted a class in which students created book covers with letters and illustrations, and recorded and analyzed the making process. In the class, students expressed themselves by focusing on the effects of fonts and colors that communicate the image of the book. They also found it interesting that this was their first time working with fonts, and that they were able to change and try colors and shapes. It was also thought to be important to gradually teach functions such as layers and spacing.

This study examined the influence of caregivers’ actions on young children’s decisions to act and their subsequent development of play in situations where children encounter materials for the first time. Using milk carton pieces as the material for the study, we compared the actions of older children in a class who had prior experience with the material with children in a class encountering the material for the first time as their caregivers performed the same “pile and play” action. As a result, it was inferred that the milk carton pieces were regarded by the former class as “a material to search for fun through free interaction” and by the latter class as “a material to find new fun by imitating the caregiver’s actions.” The latter was considered “a material for finding new interests by imitating the caregiver’s actions.” The study also distinguished imitation by infants as a result of longing or the pursuit of better things for themselves. Furthermore, the study considered that infants learn new things by imitating others’ actions when they pursue their own potential for worthy goals.

This study aims to elucidate the development and characteristics of secondary art teacher training in early 20th century Japan, focusing on Tokyo Higher Normal School and Tokyo Fine Arts School. Through a detailed examination and comparative analysis of curricula, faculty composition, and educational content, five key features were identified: emphasis on specialization, focus on practical education, implementation of comprehensive education, fusion of Western and Japanese art education, and differentiation according to educational objectives. Tokyo Higher Normal School emphasized a balance between art and handicraft, aiming for more practical education, while Tokyo Fine Arts School focused on specialized art education. These characteristics reflect the educational policies and social demands of the time, representing the search for a unique Japanese approach to art education amid rapid modernization and the introduction of Western culture during the Meiji period. This research provides important insights for considering contemporary art education and teacher training methods.

This study explores the emergence of cocreation in the collaboration between design students and community activists. Typically, students visit local activists’ workspaces, being invited into their activities, and engaging in active learning through small-scale collaborations. The research focuses on how students and activists come to accept one another and cocreate their activities through shared experiences. With building dialog and collaboration between them, a mutual sense of reciprocity and trust develops, moving beyond a simple client-provider relationship. This trust becomes a catalyst for both learning and civic activities to start redefining their practices. This study presents this process as a model of cocreation emergence and examines the theoretical framework supporting it. We found cooperativity, a relationship where both parties take responsibility for their involvement, learning, and mutual growth.

This study aims to further promote the training of teachers capable of practicing disability awareness education by facilitating direct and profound interactions between university students aspiring to become teachers and individuals with disabilities. To this end, an art appreciation program utilizing Visual Vernacular (VV), facilitated by a Deaf individual, was developed and implemented for undergraduate students in an elementary school teacher education program. The results indicated that following the program, students’ perceptions of Deaf individuals shifted positively, and these changes were sustained over time. For future development and implementation, it is necessary to enhance the program by incorporating foundational gestures, Deaf art, and elements of Deaf culture to further strengthen its impact.