Contemporary artist David Hockney's (b. 1937) trips to Japan were connected to the works he created in the 1970s and 1980s. However, prior studies have not analysed these works in detail. This report re-examines Hockney's interest in Japan by collating the Japanese art that he encountered during his travels. Some scholars identify the works that Hockney created after first visiting Japan in 1971 as the impetus for his moving beyond naturalistic composition based on one-point perspective. This report additionally compares his works with Japanese paintings he may have encountered and indicates their similarity in terms of techniques depicting time. In the 1980s, Hockney created collages of photographs, which require time to shift the viewer's gaze across multiple points of focus. He called this visual sense "reverse perspective". Although preceding studies have referenced 'reverse perspective' theory, they have lumped together Chinese and Japanese art. Hockney has stated that his visit to Kyoto's Ryoan-ji Temple inspired his "reverse perspective" theory, the background of which requires further examination. Hockney explained this theory by referring to Chinese scrolls; however, when his works from that period are analysed in detail, they reveal that he might also have gained knowledge from his exposure to Japanese scrolls.

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While expression and appreciation are said to be “both sides of a coin” or “one andindivisible”, in our art education, the latter is paid less attention than the former. Thequestionaire to collage students on the utilization of the cultural institutions (mainly aremuseums) we conducted recenetly supports such a situation. Furthermore, from the fieldyear of elementaly school to the last year of high school, education in intelectual field ismuch more emphasized than one in sensible or emotional field. And the neglect ofeducation for human heart has distorted the formation of children's character. It is thesensible early years of life in which the chances should be provided to see many greatarts and be aspired by them. Though such experiences, they come to hold the longing forthe truth, good, and beauty.
For the reason stated above, I'd like to conduct further study on the education in thisfield as one of the most important issues in education for children.

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Naruto Channel located at the edge of Awaji Island and Shikoku is a scenic beauty known for whirlpools.In this study, we considered the historical change of landscape recognition of Naruto Strait based on the analysis of paintings.We analyzed 56 paintings drawn at the present since the Edo period.As a result of analyzing the composition of paintings and the viewpoint on which paintings were drawn, the paintings were divided into four periods.And, as a result of extracting landscape elements and actual landmarks around the Naruto Strait from paintings, we considered the following the landscape recognition.In the first period, the panoramic landscape that depicts a lot of landscape elements in a wide area was mainstream.In the 2nd period, the image of the picturesque landscape of whirlpools was established.The 3rd period was the times of exploring new natural landscape images with the theme at the center of the frame.In the 4th period, there were many landscapes that focused on the dynamic whirlpools from the ship.

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