中美兩國藝術教育鑑賞領域實施現況之比較研究 作者:郭禎祥(國立臺灣師範大學美術系)

摘要：

傳統的創作取向藝術教育因過度強調學生的自我表現，未能為藝術教育活動提出有效、合理、又實質的方針。由於缺乏有力的活動指引，藝術教育不易在以智能測驗為主的教育浪潮中引起人們的注意力與重視，因而產生諸多弊端。當今藝術教育取向強調「藝術是一門學科，具有學科之特質，為普通教育之必要科目，應與學校之其它科目同視之」。並主張「藝術教育之目標在於提昇吾人對藝術之了解與鑑賞，實兼顧感性與理性能力的培植。課程內容涵蓋藝術創作、藝術史、美學和藝術批評 四個藝術領域，而要求嚴謹、具體而形諸於書面的課程；教學活動已藝術品為統合中心、課程之效度和學生之成就可以透過適當的評量方法得到證實」。這種藝術教育取向涉及目標、內容、活動和評量，具有一般教育之特質。葛利爾（Greer，1984）便把這種藝術教育取向之特質定名為「學科取向的藝術教育（Discipline Based Art Education）」。
DBAE的觀念確立於1965年之賓州會議，許多課程發展計劃和師資在職訓練方案都以此理念為基礎。近七年來更由蓋迪中心的努力推展，成為當今藝術教育思想之主流。然而究竟當今學校藝術教育有多少能反應、實施DBAE之理念教學？基於探究實際與理論的銜接性、本研究以比較文化實徵研究法，有系統的進行中、美兩國藝術教育鑑賞領域實施現況之剖析。
本比較文化實徵研究係試圖了解中、美兩國各年齡層學生在學校實施藝術教育後，如何構成一個體系去影響文化力量。因此進行藝術鑑賞領域──藝術史、美學、藝術批評等三層面的學習成效測驗，以驗證是否學校藝術教育能具體提供涵蓋廣泛而完整的藝術教育內容。
本研究之實驗對象為中美兩國國小二、四、六年級，國中二年級，和高中二年級學生共1201名。其中台灣學生722名，美國學生479名。根據學科之內容及本質設計並配合最適當的教學評量法，而採取筆試與視覺辨識法進行測驗。
中美兩國學生測驗結果顯示：
一、中美兩國學生藝術鑑賞學科綜合總平均分數，在兒童不同的認知發展階段皆有顯著的差異，學生藝術鑑賞之知能隨年齡的增長而日趨增加。
本研究結果提供並驗證皮亞傑學派兒童知覺發展與美感判斷及藝術知能層面發展在比較文化實證上獲一定而確認的一致性。
二、中美兩國學生藝術鑑賞測驗分數大體上在具體運思期與形式運思期之間無顯著差異。
本研究雖基於發展心理學與兒童藝術發展階段發現學生之藝術鑑賞能力於具體運思期與形式運思期之間無顯著差異，然而若能透過美感教育，藉由積極適切完善的教學，亦能促進並提昇學生之審美反應水準。
三、根據統計分析顯示，美國學生在各不同認知發展階段之藝術鑑賞測驗分數皆高於中國學生之分數。
國內藝術鑑賞教學績效不彰與觀念偏差之存在因素可歸納如下：
（一）國內缺乏藝術鑑賞教育之理論基礎。
（二）國內中小學階段藝術課幾乎侷限於藝術創作的傾向，不過藝術教育還有其他重要層面。學習鑑賞視覺藝術，學習了解藝術在當代和過去文化中如何發揮功能也都很重要。學習從審美觀點來看視覺形式不是一件簡單的事。因此需要透過藝術課程的安排教導與學習，始能獲得複雜的審美認知技巧。美國自從蓋迪中心努力推展 全國藝術教育八年來已顯現生機與績效。
（三）國內各級學校皆缺乏專業的藝術教師，且職前教育缺乏涵蓋廣泛整體性的藝術鑑賞領域課程，師資進修管道也極其有限。
（四）專業師資在藝術鑑賞領域之教學品質低落。
（五）藝術教育在一般教育中不被重視及不正常化。
依據本文之研究結果，研究者提出下列七項建議，作為落實並改進我國藝術教育之參考。
一、確立並提昇藝術教育在一般學校之地位與品質。
二、正視藝術鑑賞教學在藝術教育中的重要性。
三、根據兒童認知發展過程與藝術學習心理發展之特徵，設計適當的藝術過程。
四、積極改善師資品質及師資職前訓練課程。
五、發展具體的教材資源並改進教學和評鑑的方法。
六、研究並建立適合國情的藝術教育理論。
七、設置藝術教育學術研究中心，以提昇各級學校之藝術教育品質。

《詳全文》

Theory and Practice in Art Education -Art Appreciation Domain Among Students in Taiwan and America: A Cross-Cultural Study Author: Ann CS Kuo(Department of Fine Art Department, National Taiwan Normal University)

Abstract：

"Why should art students be exempt from studying the history of art, learnmg about artists, writing, critiques and descriptions of art, learning art vocabulary, and accepting outside drawing assignments as legitimate homework?" (Young-blood, 1987).
The doubts concerning school art education voiced in the above-cited passage by the American art educator, Youngblood (1987) were directed towards the situa-tion in the United States, but they are equally appropriate in discussing school art education in Taiwan. There phenomena indicate the unfortunate fact that art education in both the ROC and the USA today lacks comprehensiveness of content, and that in school education art teaching has dwindled to a marginal subject of a merely ornamental nature.
Traditional studio-oriented art education places excessive emphasis on sutdent self-expression, and so it cannot provide an effective, ratonal and substantial direc-tion for art education activities. Since it gives no srong guidance for activity, arteducation cannotreadily attract people's attention and due regard at a time when education based on intellectual training is paramount, a fact which lies at the root of the problem. In art education today we stress that "art is a discipline, it has thd characteristics of a discipline and is an essential subject in general education, and should be regarded in the same light as other school subjects." We also propose that "the objectives of art education are to embance understanding and appreciation of art, and to be equally concerned about the nurturing of emotional and rational faculties. The curriculum should consist cover the four artistic domains of produc-tion, art history, aesthetics and art criticism. If these are conscientiously and con-cretely reflected in written course material, and if art activities center on works of art, then course effectiveness and students' achievement can be evaluated through appropriate assessment methods." This approach to art education involves objectives, content, activites and assessment, and has all the features of normal education. Greer (1984) defined this approach to art education by the term "discipline-based art education" (DBAE).
The DBAE concept was established at the 1964 Pennsylvania state Conference and many curriculum development plans and teacher inservice training programs are based on this concept. Because of its pursuit of improvement and its energetic promotion by the Getty Center over the past seven years, DBAE has now become the mainstream of art education concept. And yet how far does shcool art educa-tion today actually succeed in reflecting the DBAE concept and implementing DBAE teaching.
In order to investigate the linkage between practice and theory, the present study used a cross-cultural empirical survey method to carry out a systematic analy-sis of the actual implementation of art education in the ROC and the USA.
The purpose of this cross-cultural empirical study was to understand to what extent students of different age groups in the ROC and the USA, once exposed toart education in school, form a systematic force for influencing culture. Thus the students' achievement test on three domains of art appreciation - art history, aes-thetics and art criticism - was conducted in order to verify whether shcool art edu-cation actually provided a broad and conprehensive art education.
The experiment used 1201 subjects, 722 Chinese and 479 American public school students. Both Chinese and American subjects were randemly selected from five groups of sutdents that were seven, nine, eleven, thirteen, and fifteen, years of age and corresponded to the academic level of the second, fourth, sixth, eighth and tenth grade. Within each culture group, both male and females were almost equal-ly distributed.
A suitable method of sutdents' art appreciation achievement tests were de-signed and devised based on the content and nature of courses between both cul-tures, and the surveys were carried out using written test and visual identification. The results of the sutdy in relation to the stated hypotheses were: .1. In this sutdy, evidence was obtained that children at various developmental levels had a transcultural stability when making art appreciation judgments of cer-tain global stimulus dimensions in works of art and art history test. Differences were, however, found for the five developmental level tasted. Young children were able to perform some accuracy across the art appreciation achievement tests, but older subjects were able to perform this task with significantly greater accuracy. This finding supports the study of Hardiman and Zernich (1985); Kuo (1986) and is consistent with Piaget's principle of greater flexibility and adaptability with develop-ment.
2. No significant differences were found between Chinese and American sub-jects at the concrete and formal operational levels in the ability to perform the task of art appreciation achievement tests. Piaget (1969) had stated that differences in perceptual processing were basicall non-existent by the time the concrete opera-tional level ended. Consequently, subjects at that level or beyond attended to simi-lar cues and properties. From this point of view, when viewing works of art, chil-dren at the concrete operational and formal operational levels must, make a classifi-cation or preference judgment based on their own understanding of the stimulaus, being viewed (Hardiman & Zernich, 1982; Kuo, 1986).
However, the results of this sutdy suggest that sensitivity to painting styles, or art appreciation is not solely a function of maturational development. The experi-menter believes that relevant cultural and artistic experiences also contribute to the emergence of this skill. It is hightened awareness that helps Children learn and form a general notion of style, sensitivity to works of art that can be applied to the visual arts.
This study adds to evidence that there is some degree of transcultural validity in aesthetic judgments, as well as some constancy accross cultures for the Piagetian description of children's perceptual development.
3. Statistical analysis revealed that American students at all stages of cognitive development achieved higher mean scores in the art appreciation survey than Chi-nese students. Four possible explanations could he given for these findings.
(1) The public schools of ROC lacks a theoretical basis for art appreciation education.
(2) The characteristic of art programs at both the elementary and secondary level in ROC is their tendency to place almost exclusive curricular emphasis on the making of art. Learning to see visual forms aesthetically is not a simple task. At-tention to the use of such skills and to the utilization of aesthetic frames of refer-ence surely deserves an artistic learning and experiences in art programs. In the past eight years Getty center has certainly promote American's education in the arts more substantive, rigorous, and intellectually meaningful.
(3) Schools at all levels in ROC are lacking professional art teachers, andhigh quality pre-service and inservice educational programs are urgently needed.
(4) The place of art education in general education at all public schools in ROC need to be promoted and normalized.
According to the results of this study, the researcher put forward the following proposals for reference in improving and advancing art education in the ROC.
1. Redefining the status and quality of art education within normal school ed-ucation.
2. Recognizing the importance of art appreciation learning and teaching within art education.
3. Designing suitable art programs based on the process of children's cognitive development and features of psychological development in the sutdy of art.
4. Urgently improving teacher quality and teacher preservice training courses.
5. Developing concrets instructional material resources and improving teaching and evaluation methods.
6. Studying and establishing an art curriculum theory appropriate to the ROC's current social-economical condition.
7. Establishing an academic research center for art education in order to pro-mote the quality art education in public schools and university.