抽象絵画の類型化の試み : 絵画教育の基礎研究
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概要
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Abstract painting is generally recognized as "difficult and unreadable art" and the theoretical base of this art form has not been established yet in the field of painting education. So in this paper, the author experimentally categorized it for much clearer recognition in conformity with 13 basic indexes. Making reference to varied types of abstract painting, and based on some art theories which are relevant to the matter, the author set up 13 indexes by some standards like formal distinctive features, the condition of mediums and materials, technical methods, principles and concepts, and so on. By the way, the range of what abstract painting means is actually wide, therefore the author arranged following 7 items as its general definitions. : (a) extracting essential elements, (b) the visualization of something invisible, (c) the creation of unrecognizable figures, (d) simplifying shapes, (e) dismantling and vanishing shapes, (f) organizing space, (9) the emphasis on literally physical surface (transforming into an object). The main issue of this paper is the visual analysis of the formal side of abstract painting which has lots of features. 13 indexes as mentioned above are basically the variations of formal characteristics of abstract painting. The following is the list. :(1) the compositional disposition of formative elements, (2) dividing the space, (3) geometric manner, (4) painterly manner, (5) marking the surface, (6) filling in the space, (7) making textural effects on the surface, (8) collage, (9) the autonomous organization of color, (10) introducing figurative images, (11) presenting simple and minimal shapes, (12) shaped canvas, (13) the emphasis on materiality, action, systemic methodology, working process and its temporal nature. Confused recognition with abstract painting might become clearer by 13 indexes. The application of 13 indexes could bring viewers concise and well-organized understanding on its many peculiar qualities. These indexes are "useful tools" for entering the area of abstract painting, observing necessary parts to see and detailed analysis and examination. The author hopes that 13 indexes would be appropriate viewpoints to help teachers formulate good teaching and learning plans, and also would be proper frames to help students observe well and enjoy interpreting its many specific features. However, the method of categorizing is double-edged. It would present a fine perspective of complicated phenomina such as abstract painting. On the other hand, it would simplify that phenomina too much. So we must be cautious about a worrying situation where the knowledge of 13 categories will cause narrow and limited views and stereotyped ideas. 13 indexes should be wisely used by a teacher under a goal that students and even a teacher him/herself can enjoy both sensuously and intellectually the abstract painting world.
- 美術科教育学会の論文
- 1997-03-31
美術科教育学会 | 論文
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