• 문화기술의 융합
• /
• 제6권2호
• /
• pp.49-54
• /
• 2020

본 논문은 현대미술 감상을 통한 환경교육이 유아의 환경보전지식, 환경보전태도 및 미술 감상능력에 미치는 영향을 알아보고자 경기도 평택에 위치한 D어린이집의 만5세 유아 총 30명(실험집단 15명, 비교집단15명)을 대상으로 현대미술 감상을 통한 환경교육을 실시하였다. 사전검사와 사후검사의 차이를 분석한 결과, 실험집단의 환경보전지식, 환경보전태도 및 미술 감상능력에 긍정적인 영향을 미치는 것을 알 수 있었다. 따라서 본 연구의 결과를 활용하여 유아교육현장에서 유아의 환경보전지식, 환경보전태도 및 미술 감상능력을 증진 할 수 있는 기초자료 및 교수방법을 제시하는 것에 그 목적이 있다.

• 한국생활과학회지
• /
• 제23권5호
• /
• pp.807-823
• /
• 2014

The purpose of this study is to verify the effects of storytelling-centered arts educational activities based on the famous painting appreciation on young children's appreciation ability of pictures and creativity. The study was conducted with a total of 50 5-year-old young children in two classes of B Day Care Center in the city of J, Jeollabukdo. The children were randomly divided into an experimental group(25) and a control group(25). The storytelling-centered arts educational activities based on the famous painting appreciation was conducted for the experimental group for 12 weeks from April 29, 2013 to July 19, 2013. The activities were composed of 3 steps of 'appreciation-expression-exhibition & assessment' on the basis of 2-week basic units. The appreciation activities were composed basing upon the types of the famous painting appreciation and storytelling, and expression and exhibition & assessment activities were composed of 4 areas of arts(music/movement/language/art). The results of the study are as follows. First, the storytelling-centered arts educational activities based on the famous painting appreciation generally improved young children's painting appreciation abilities in all sub-areas(observation and description/artist's intention of subject expression/mood of a work/material and technique/artistic factors/attitude to the work). Second, the storytelling-centered arts educational activities based on the famous painting appreciation generally improved young children's creativities in all sub-areas(originality/fluency/flexibility/imagination).

• 아동학회지
• /
• 제26권3호
• /
• pp.97-110
• /
• 2005

This study of the effectiveness of various art programs took place in Gwangju with asample of 60 four- to five-year-old children from three kindergartens. The children were assigned to one of three experimental groups : 20 children in the picture book group(experimental group 1), 20 children in the famous paintings group(experimental group 2), and 20 children in the traditional group(control group). Data were analyzed by ANCOVA using the scores of the pre-test as covariance. Results showed that the picture book and the famous painting art programs affected young children's art ability more positively than the traditional art program. The picture book art program showed particularly high educational effectiveness.

• 한국조경학회지
• /
• 제24권3호
• /
• pp.79-95
• /
• 1996

The traditional gardens of China were constructed on the basis of the common aesthetic consciousness between designers and users. As designers and users communicated each other through the medium of garden, they give suggestions to our design and appreciation of modern landscape architecture. The traditional gardens of China pursued to reach the state of Yi Jing(意境), and this state formed the keynote of the whole field of Chinese culture. Yi Jing is the aesthetic theory originated in Pre-Qin Era, and established in Tang-Dynasty. After this, this theory become the very important aesthetic category of Chinese aesthetics. Yi Jing is the process from conception to appreciation, and requires the three parts of designer, a work of art, and appreciator. To reach Yi Jing, designers must be well grounded and persevere in their efforts. They also had to have the ability of corresponding the inner order of environment and landscape, and expressing their own feelings and emotions into gardens. So ultimately, they were in pursuit of constructing the gardens as if something naturally created. The garden itself is the meeting place of designers and users. The space in which users can think of life, nature, history, and cosmos. In order to do this, designers design the real landscape and non-visual landscape. This design can give appreciators more fertile imagination. Appreciation perfects the Yi Jing of gardens. Yi Jing is created by co-work of artist and appreciator with common aesthetic consciousness and sense. Therefore, it is subjective, and it may be vary with man and time.

• 한국보육지원학회지
• /
• 제12권3호
• /
• pp.99-119
• /
• 2016

The purpose of this study is to develop art activities using famous painting parodies in hopes of enhancing the creativity of 5-year old children. A total of 11 program activities were developed consisting of a preliminary activity (understanding the notion and ideas behind parody), introduction (view and analysis of famous paintings), development (theme selection, idea construction, and parody production), and conclusion (view and review of parody). Participants were 50 (24 in the experimental group and 26 in the comparative group) 5-year old children from a kindergarten located in G city. TTCT of Creative Thinking (TTCT: Figure A and B) was used as a research tool, and the listening abilities paintings test tool was applied to teachers of the groups. First, excluding accuracy, which is considered to be an unimportant factor in determining one's creativity, results showed positive effects on fluency, originality, abstractness, and persistence. Second, the program also showed positive effects on children's overall ability in appreciation of paintings as well as the sub factors including observation and expression, understanding painter's intention, atmosphere, materials and techniques, art elements, and attitude towards art piece.

• 미술이론과 현장
• /
• 제1호
• /
• pp.71-92
• /
• 2003

This study examined the condition of an educational discourse, relating the concept of creativity, culture, culture-centered, and critical thinking, to explore Culture-based Art Education(CBAE). In particular, art education practice was examined using interpretations of creativity and critical theory positions from the field of education. Discourse analysis was used as the research method to contextually situate and analyze the ways in which art education theory and practice of creativity and of critical studies encoded meanings. The study helped build an understanding that creativity was formed as a modernist discourse in the humanistic stance. In education, creativity became the fundamental concern for progressive educators who pursued innate ability of individuals. The way to enhance creative potential of students was to induce their motive, as was the same case in art education, while in artist training, free expression was its main method. In this way, as creativity was intimately connected with the concept of expression, in art education art making is the only course for enhancing creativity. However, because creative process cannot intelligently be regarded as logically distinct from the creative product, and creativity can only be said by product, it seems valid to think that creativity is the quality not to be achieved by teaching. Furthermore, its emphasis on art making resulted in unbalance of art making and art appreciation in art education. It was the late sixties when several alternatives for creative education were made their appearance. Critical studies in art adopted critical theory as its theoretical background has developed as an alternative of creative art education, when research and theory for creativity could not be adequate to deal with the problem of practice. Critical theory is a broad and diverse field of theory and practice drawing on aspects of the modernist perspective of the later Frankfurt School, feminism, Freirean pedagogy, postcolonial discourse as well as postmodernism to construct a practical approach to education. It is very this eclectic nature to provide the mosaic that need to experience cultures from different perspectives in a pluralistic society. Because one's personality is formed by multiple aspects of culture which is very complex and is made up of what we do and value, creativity cannot make part of educational discourse with the philosophy of culture centered. On the other hand, critical studies, as a school art program of critical theory, can perform the role of CBAE, because it would have to deal with the investigation of social and cultural issues form multiple personal, local, national, and global perspectives.

• 시큐리티연구
• /
• 제25호
• /
• pp.131-146
• /
• 2010

본 연구의 목적은 그간 사회의 요구로 인하여 발전을 거듭하고 있는 경호 경비학의 전공과목으로서 무도의 역사와 함께하는 경호무도의 학문적 체계 정립이 부족함을 인식하고 경호무도의 철학적 가치 연구를 위하여 그 한 방법으로 경호무도 구성원리 내에서 발견될 수 있는 미학적 가치를 탐색해보고자 하였다. 본 연구의 목적을 달성하기 위해 경호무도관련 학위논문 및 무도와 미학 관련 문헌을 광범위하게 조사였으며 이를 바탕으로 미학의 개념과 무도에서의 미학을 살피고 이를 토대로 경호무도 수련자의 반복 수련을 통한 기술습득과 경호원의 실제현장에서의 기술구사능력이 미학적 구성요소에 대한 체험을 가능하게 하고 심미적 감흥을 획득할 수 있음을 확인하였다. 궁극적으로 경호무도는 상대성 반복성 정신수양 신체일치성 힘의 방향 충격의 강화 및 완화 힘의 극대화 중심자세와 타격점 호흡조절 및 정신집중 등 그 구성원리를 따라 완성되어가는 기술연마 과정 속의 심미적 요소들로 인하여 미학적 가치를 구현할 수 있다고 여겨진다.

• 조형예술학연구
• /
• 제12권
• /
• pp.97-124
• /
• 2007

본 논문은 도가(道家)의 대표적 철학자인 "장자(莊子)"의 "소요유(逍遙遊)"에 제시된 '유(遊)'란 개념이 미술교육에서 필요한 것인지를 연구하였다. 우선 장자의 '유(遊)' 개념과 미술교육의 배경 및 필요성을 정의하고, 동양미술에서 활용된 '유(遊)'의 의미를 미학적으로 분석하여 오늘날 '유(遊)' 개념이 현대동양미술교육에 응용되고 표현될 수 있는지 탐색하는데 역점을 두었다. 논문의 전개 중 제2장은 장자의 철학적 '노닐음(유(遊))'의 개념 및 사유, 제3장은 미술교육의 배경 및 필요성을 연구하였다. 제4장은 장자의 노닐음(유(遊))'을 통한 동양화실기교육 접근을 연구하였다. 우선 노닐음(유(遊))'을 통한 동양화실기교육 접근을 2장에서 연구된 사유방법으로서 공간개념인 '허실(虛實)'과 표현기법으로 '필묵(筆墨)', 작가의 정신적 화면의 경지는 '사의(寫意)'로써 각각 분석 연구하였다. 첫째, '유(遊)'와 동양화의 상호관계성을 허실(虛實)의 조형이념으로 고찰 했을 때, 허(虛)는 그외 대상이 본질로 드러난 실(實)의 부분으로 하여금 감상자들에게 연상과 암시, 상상을 불러일으켜 예술가가 표현하고자 하는 적극적인 잊음(유(遊))의 경계를 뜻하므로 '허(虛)'는 '유(遊)'와 서로 같은 경계의 맥락이라 할 수 있다. 따라서 허(虛)와 실(實)은 조형 활동의 경험을 통하여 표현 및 감상 능력을 길러, 창조성을 계발하고 정서를 함양시켜 미술교육에서 필요성이 나타남을 알 수 있었다. 둘째, 필묵으로 음(陰)과의 양(陽)의 걍약으로 신(神), 기(氣)(심제(心齊)), 전신(傳神), 사의(寫意)등을 각각의 예술적 경지를 표현하는 것이다. 따라서 필묵은 형사(形似)와 사의적(寫意的)적인 예술형상의 창조까지 연계되어 있는 중요한 것이다. 따라서 정신적 '노닐음'의 경계를 통한 자유로움은 사유에 의한 표현 할 수 있는 창조력과 자연 감상능력 및 미적 문화의 가치를 판단할 수 있는 교육을 탄생시킬 수 있는 것이다. 이상의 결과로 볼 때, 미적 안목의 육성, 창의성 계발, 감성능력의 함양, 조형능력의 함양 등의 인성교육으로 복합적인 미적 논리가 다양한 현대미술 속에서 동양미술교육의 정체성을 지킬 수 있는 하나의 방법론이라 본다.