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水彩畵 表現技法에서 效果的인 色彩指導에 관한 硏究

水彩畵 表現技法에서 效果的인 色彩指導에 관한 硏究
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교육대학원 미술교육전공
이화여자대학교 교육대학원
現代의 美術敎育은 건강하고 심미적이며 조화로운 人間像, 즉 자주적이고 자율적인 사람으로서의 全人敎育을 강조하고 있다. 특히 繪畵 영역에서는 美的 直觀과 상상을 솔직하게 표현하는 능력과 태도를 길러 스스로 삶의 기쁨을 느끼고 예술적 情緖를 향유할 수 있도록 하는데 그 目的을 두고 있다. 本 硏究에서는 중등학교 미술수업중 가장 빈번하게 다루고 있으며 많은 표현가능성을 지닌 水彩書에서의 다양한 色彩表現法을 연구해 보고자 한다. 지도방법에 대해서는 여러가지 방법론이 제기될 수 있겠으나, 현장수업에서 학생들이 가장 곤란하게 생각하는 색의 번짐, 물의 조절 문제에 착안하여 연구에 임했음을 밝혀두며, 이러한 방법이 色彩 表現 지도에 한 방향점을 제시할 수 있기를 기대한다. 이상의 연구결과를 기초로 하여 다음과 갈은 결론을 얻었다. 1. 중등학교 학생들은 예민한 감수성과 계속적인 知的 成長을 보이고 있어, 창의적인 이미지 발상을 위해서는 창조적인 힘의 기본인 시지각의 잠재력을 계발해야 한다. 2. 실제 수업의 중심적인 미술교과서의 분석결과, 繪畵영역은 높은 비율로 편재되어 있으나, 일반학생들이 접근하기에는 쉽지않게 구성되어 있어서 좀더 다양한 방법이 체계적이고도 자유스러운 분위기가 살려지도록 충분한 검토가 필요하다. 3. 指導-方法論에 있어서 繪畵 단원수업에서는 敎師의 指導役割이 방임되어질 위험이 있으므로 교사 스스로 창의적인 방법을 연구하는 적극적인 자세가 요구된다. 4. 水彩書 色彩表現을 위한 方法에 있어서 學生들이 가장 곤란하게 느끼는 물감의 번짐과 물의 조절 문제를 해결하기 위해 반점으로 찍는 방법을 시도해 소기의 성과를 거두었으나, 이것이 기계적으로 반복될 경우 단순한 技術이 될 취약성이 있다. 점차로 브러시의 큰터치로의 전환을 자연스럽게 유도해 주는것이 바람직하다. 연구의 결과 위와같은 結論을 얻었으나, 본 연구의 중등학교 水彩畵 지도의 일반적인 현황에서 탈피하여 좀더 다양한 개선책의 찾기 위한 시도를 했을 뿐 한정된 시간과 범위에서 좀더 깊이있는 연구를 하지 못한 아쉬움이 있다. 현장수업을 통해 본인이 느낀 것은 미술학도를 지망하는 소수를 제외한 많은 수의 일반학생들이 좀더 회화적 감성에 접할 수 있는 수업의 방법이 요구됨을 느꼈기에 美術敎育的인 측면에서의 繪畵 表現技法의 문제가 일선 교사들에 의해 연구 제기 되었으면 하는 바램이다.;In our modern society where we can easily lose our humanity by the affect of ever-increasing industrialization, the main purpose of art-education will be to recuperate our humanity and to develop our aesthetic sentiments enhancing the education of human personality, ensueing the bringing of the person who can desirably lead our new age with creativity. Especially, the purpose of painting-education will be to develop the capacity and the attitude to express frankly one's aesthetic intuition and imaginzation, and finally lead the person to be able to feel the joy of life and to indulge himself or herself into the world of aesthetic sentiments. Accodingly, in this paper, I directed my view-point towards the water colour-painting which they deal with most often in artclasses of middle schools and which can be a step-stone to other categories of fine-art, and tried to figure out varieties of colouring methods in water colour-painting. Of course there could be several teaching methods in water colour-paintings, but the main concern was how to teach and guide the students so that they could easily control and adjust the quantities of water included in water colour paintings. 1 wish that these methods in water colourpainting could be any help to the teachings of colour-expression in the class rooms and wish that these methods could indicate a new direction in art-education. Based upon the studies above, following results and conclusions could be obtained; 1. Considering the fact that middle school-students are in the course of growing their, sensitivity and intelligence, we must try to develop their visual-potentialities which are the basis of creative-power, to make them acquire the spirits of creative image. 2. Based on the Analysis of art-texts which are a main-guidance in the actual art classes, 1 found the fact that the category of painting-methods appears in the book with a high-frequency. However, the structuring is very poor and vague for the students to approach these methods. Consequently we need a close examination of these methods, so that the students can approach and acquire the methods in a systematic and free atmosphere. 3. In terms of teaching-methods, there is a danger, in unit-classes, which can neglect the role and the responsibility of teachers. Consequently teachers must try to find out for themselves how they can guide the students, with creativeness and active attitudes. This agressive attidude of the teachers will be a demanding factor in guiding the students about water colour-painting. 4. There was a little success to solve the problem of adjusting the quantities of colours and water, which the students feel most difficult. And the solving-method was to paint with putting spots successively. However, if this procedure is repeated mechanically, there is a danger that this method can be nothing but a simple technique, having no aesthetic senses and creativities. To this problem, for example, natural guidance with a gradual and big touch of the brush could be one of the desirable solutions. Based upon this study, I could obtain the results which I mentioned above. However, due to the limited time and category, I could not study more deeply and broadly, only limiting my studies about the general current situations in the water colour-painting classes of the middle schools and I regret this point. Based upon actual classes which the writer has experienced in person, I had a feeling that, except few students who are willing to go into art-studies, most of the students were hard to approach the sense of paintings, and personally felt that a new teaching method would be needed for the students. Finally, in terms of art-education, I wish that the problems in teaching-methods could be studied and proposed by the actual school teachers who are currently teaching the students in the front line.
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