研究生: |
趙欣怡 Hsin-Yi Chao |
---|---|
論文名稱: |
視障美術教育研究:從視障藝術家創作到視障藝術欣賞資源 Art Education for the Visually Impaired: from A Visually Impaired Artist to Art Appreciation for the Visually Impaired |
指導教授: |
施植明
Chih-Ming Shih |
口試委員: |
伊彬
Bin I 黃海鳴 Hai-Ming Haung 彭雲宏 none 李威儀 none |
學位類別: |
博士 Doctor |
系所名稱: |
設計學院 - 建築系 Department of Architecture |
論文出版年: | 2011 |
畢業學年度: | 99 |
語文別: | 英文 |
論文頁數: | 169 |
中文關鍵詞: | 視障藝術家 、非視覺創作定位系統 、視障美術教育 、視障美術欣賞 |
外文關鍵詞: | artists with visual impairment, non-visual spatial orientation system, art education for the blind, aesthetic appreciation for the visually impaired |
相關次數: | 點閱:522 下載:15 |
分享至: |
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本論文透過美術創作與美術欣賞層面探討視障美術教育,先從觀察視障書法家廖燦誠之創作過程中歸納分析出三種特殊的創作技巧:(1)改變握筆位置至筆尖與判斷墨線乾溼度的「觸覺定位系統」;(2) 利用現有工具作為定位點輔助構圖之「物件定位系統」;(3) 以運用經驗、記憶與心理地圖能力之「心眼定位系統」,作為視障者學習繪畫之基礎技巧。接著將非視覺創作空間定位系統應用於視障兒童之水墨畫學習,評估此創作技巧之可行性,研究發現全盲與重度視障兒童學習此技巧後,掌控水墨畫線條方向與粗細之能力更加,以及物件之輪廓與構圖減少了重疊與失誤之現象,並且從自評問卷與訪談中印證視障兒童學習美術創作活動之成就感與必要性。最後延伸探討社會層面之視障美術欣賞資源,分析國內博物館與美術館自1993年以來舉辦之視障美術展覽與體驗活動,並從中探討2005年起四個不同類型之視障美術欣賞活動的優缺點,再以「展覽空間規劃」、「參觀輔助資源」、「多媒體科技」、「延伸美學活動」四大設計類別,歸納出完整的視障展覽規劃建議。因此,視障美術教育之推廣需以視障者之創作技巧為基礎,學校美術課程規劃與社會輔助資源開發之配合,營造無障礙美術環境與觀念,達到社會大眾鼓勵視障者接觸美術創作與欣賞活動之多元美學價值,並從中建立與世界溝通的橋樑,進而獲得藝術表現與自我肯定之成就感。
This study examined art education for the visually impaired through the aspects of art creation and art appreciation. First, the study generalized three techniques by observing the creative process of Tsann-Cherng Liaw, a calligrapher with visual impairment. These three techniques were: (1) a tactile spatial orientation system which involves changing the grip position from the brush handle to the bristles so as to enable the artist to determine the wetness of drawn lines; (2) an object spatial orientation system which employs existing tools as orientation points to aid in drawing composition; (3) a mental spatial orientation system which employs experience, memory, and mental map. These techniques may serve as fundamental techniques to help individuals with visual impairment learn how to draw. The non-visual spatial orientation system was then applied to the learning of ink and wash painting by visually impaired children. This was followed by assessment of the feasibility of the techniques of this system. Our research showed that totally blind and severely visually impaired children were better able to control the direction and thickness of lines in drawing after learning the technique. At the same time overlapping of lines and figures and mistakes in the outlines and composition of objects were reduced. Self-evaluation questionnaires and interviews confirmed the sense of achievement gained from learning activities in art creation and the necessity of these learning activities for visually impaired children. This study further explored art appreciation resources for the visually impaired. We analyzed art exhibitions and experience activities for the visually impaired organized by museums and art galleries in Taiwan starting from 1993. The advantages and disadvantages of the four different categories of activities of art appreciation for the visually impaired from 2005 onwards were also examined. We then made comprehensive suggestions for the planning of exhibitions for the visually impaired based on four design categories: exhibition space planning, visitor assistive resources, multimedia technology, and extended aesthetic activities. Our conclusion is that promotion of art education for the visually impaired must incorporate the actual creative techniques of the visually impaired. It must also be accompanied by curriculum planning of art classes in schools and development of assistive resources in society to create an environment and attitude that promotes accessibility to art. The final objective is to achieve a situation where society encourages the visually impaired to absorb the diverse aesthetic values of art creation and art appreciation.
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