兒童與青少年審美思考之調查研究

作者:陳瓊花(國立臺灣師範大學美術系)

卷期：45卷
日期：2000年10月
頁碼：45-65
DOI：10.6210/JNTNULL.2000.45.04

摘要：

本研究試圖澄清兒童與青少年思考畫作與實物界、觀賞者與畫作、藝術家與畫作、藝術家與觀者之間的關係，並比較我國學童藝術思考之模式與弗利門 (Freeman，1995)研究結果之異同。
研究結果，我國學童審美的思考，隨年級的增長，對於藝術家與觀者的觀念，由二者之間角色的互換而至逐漸分離對立。年幼的學生即扮演著藝術家，亦是觀者，大約在國小5、6年級藝術家與觀者二者之角色逐漸分化，高年級的學生視藝術家是具有特殊能力，可以掌控觀者情感的人，但並非人人可為。對個體而言，當認知到藝術家與觀者之間並非等同時，藝術家與觀者之角色乃逐漸分離，二者之間逐存在著鴻溝。本研究不支持弗利門(Freeman，1995)："思考藝術家角色是先於觀者角色"的觀念，其研究結果不具普遍性。

關鍵詞：審美思考、審美客體、審美教育、審美能力、審美經驗

《詳全文》

Aesthetic Thinking of Young Children and Adolescents: A Developmental Study

Author: Jo Chiung-Hua Chen(Department of Fine Arts,National Taiwan Normal University)

Vol.&No.：Vol. 45
Date：October 2000
Pages：45-65
DOI：10.6210/JNTNULL.2000.45.04

Abstract：

This study aims to examine and clarify the developmental growth of young people's thinking about art. The objectives of the study are to investigate how young children and adolescents at different grade levels think about the relationship between : 1 ) a picture and the world ,2) beholders and pictures, 3) artists and picture, 4) artists and beholders, and to 5) compare the findings of Freeman (1995) with the present study.
The sample population of students were randomly drawn from grades 3,5,6 of elementary public school, and grades 2 of junior and senior high public school in Taipei and Kinmen. The students were asked to respond to ten structured questions from the study of Freeman (1995).
The results of data analysis reveals that the ability to differentiate the roles of artist and beholder increased with grade level. Younger students tend to emerge these roles. They often think of themselves as artists and beholders. Therefore, they feel confident in inferring artists' feelings from the pictures, and agree that artists always think of other people's opinion when they create their works. Younger students also indicate that artists' feelings determine picture qualities. Around grade 5 or 6, the roles of artist and beholder are gradually differentiated. Senior students are able to appreciate the ability of an artist. They think not everyone can be an artist, and feel uncomfortable in inferring artists' feelings from the pictures. When the individuals become aware of the differences between the artist and beholder, the roles of these two become distinct. This finding does not support the suggestion of Freeman who argued that a conception of the role of the artist in picture production emerges before a conception of the role of the beholder.

Keywords：Aesthetic thinking, Aesthetic objects, Aesthetic education, Aesthetic abilities, Aesthetic experience