韓国のデザイン教育はソウル大学校に美術大学が設立されることで始まっており、李順石(い・すんそく)はその設立に貢献した人物である。このような歴史的な背景により、本研究は韓国の初期デザイン教育の特徴を明らかにすることを目的とし、韓国のソウル大学校美術大学の設立と韓国のデザイン教育の創始者として位置付けられている李順石について考察を行った。

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嶋本昭三（1928–2013）は前衛美術グループ「具体美術協会」の中心メンバーとして活躍し，世界的に評価された美術家であった。本研究では，嶋本のさまざまな活動から，教育者としての姿に注目した。とりわけ彼の芸術教育活動のなかに一貫してみられる「アール・ブリュット」への関心に焦点を合わせ，アプローチを試みた。最初に新人教師時代の嶋本に大きな影響を与えた，教育活動の指導者である曾根靖雅との関係について検討した。そして嶋本が関わったふたりのアール・ブリュットの表現者である友原康博と藤山晃代について，その活動を初期の段階から振り返って考察した。友原は中学生の時に，特異で個性的な試作品を大量に創作した。藤山は高校生の時に始めたさをり織りを主体に，旺盛に造形活動を展開した。彼らの活動を通して，嶋本が自身の創作活動と併行しながら実践した芸術教育活動の意義を明らかにした。

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It is a characteristic of art in Japan that there are two styles of painting, Japanese and Western. In nurturing their sense of beauty, Japanese have been influenced both by their indigenous artistic culture and by the expression and way of pursuing beauty on the part of foreign arts. This is particularly true in public art education in Japan, which imported a great many ideas of western painting to enrich the Japanese way of thinking and expression.
The purpose of this paper is to clarify how the ideas of western painting influenced the viewpoint and expression of N. Inamori (1892-1978), who was an ordinary school teacher, that is; a typical Japanese.
N. Inamori, who was brought up in the Japanese culture, nurtured his sense of beauty within its confines. Then, in school, he received ringa (conventional training in copying pictures in the textbook), jiyuga (style of painting free from textbook restraints) education and studied Western viewpoint and expression. However, he could not understand scientific and analytical perception and expression. Later, retiring from teaching, he did Japanese painting and calligraphy as his hobby.
By pursuing the process of nurturing his sense of beauty and analyzing his paintings, the following three points were clarified. (1) The technique of line drawings by ringa influenced the form of his expression for a long time. While, jiyuga education made him perceive and portray the essense of nature and life directly. It put stress on children's individual freedom, inner expression and their subjective activity. (2) Education in Western painting taught him the importance of observing objects attentively and rationally ; scientifically, analytically and mathematically. Technically, it taught himthe lams of perspective and shading, so on. But, he could not understand the Western thought behind the techniques, especially the thought that aimed at the perfected ego and the development of science. (3) He could not perceive and paint nature objectively and concretely as a third party. Because, he does not perceive the world in opposition to ego, but he finds his self in the world. The emotion, viewpoint, and expression that he had experienced in his early days was his basic and fundamental way of perception, expression and sense of beauty.

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　Though not an artist of the Western style of painting, Feng Zikai played an important role in the reception of Western art in China from the 1920s onwards. Having first studied Western art under Li Shutong, the first person to introduce correct training methods for Western art into China, Feng went to Japan in 1921 to further his study in this field. Though on his return home to China, he did not in the end become a Western style artist, he published many works on the topic. In this paper, I focus on his theory of the superiority of Chinese art.

　Feng’s influential essay, “The Victory of Chinese Art in the Modern Era” was published as the opening piece in the January edition of Dongfangzazhi (1930). He asserts here the superiority of Chinese art both formally and theoretically. His views, however, were not originally of his own making but were borrowed from Japan. Since the end of the Meiji period the study of Eastern art had flourished in Japan and scholars, in conscious resistance to the West, had proclaimed the superiority of Eastern art over its Western counterpart. Feng’s thesis took such arguments as its basis.

　Confronted with the West Japan and China were on common ground, and both were in need of values derived from within their own culture which could compete with the West. Japan, through reexamination of its adoption of Western art, discovered values superior to the West in the history of Chinese art. Starting with Okakura Kakuzo, Japanese scholars demonstrated the superiority of Qiyun-shengdong 気韻生動 to the Einfühlung theory. Feng readily adopted the Japanese view; since China as the cultural center of the region was in even greater need of values with which to compete with the West and Japan.

　The idea that Chinese art was superior to the West’s spread, and many Western style painters in China returned to traditional Chinese painting, literati painters like Shih Tao 石濤 and Bada-shanren 八大 山人 were revaluated. Such a return, of course, enriched Chinese painting of the Minguo period, but what is important here is that the assertion of the superiority of Chinese art became a turning point in the reception of Western art in China.

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