Relationship between Art Appreciation Ability, and the Stipulation of “Setting” and Identification of “the Expression of Love”

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  • 鑑賞能力と「場面」規定及び「愛の表現」箇所の指摘活動の関わり
  • 鑑賞能力と「場面」規定及び「愛の表現」箇所の指摘活動の関わり : マルク・シャガール作『青い天使』の鑑賞(中学3年生)を題材として
  • カンショウ ノウリョク ト 「 バメン 」 キテイ オヨビ 「 アイ ノ ヒョウゲン 」 カショ ノ シテキ カツドウ ノ カカワリ : マルク ・ シャガールサク 『 アオイ テンシ 』 ノ カンショウ(チュウガク 3ネンセイ)オ ダイザイ ト シテ
  • : Taking as Thematic Material Marc Chagall’s Blue Angel (Third-year Junior High School Students)
  • ―マルク・シャガール作『青い天使』の鑑賞（中学3年生）を題材として―

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Abstract

<p>The stipulation of “setting” and act of identifying “the expression of love” were investigated from the viewpoint of how they relate to art appreciation ability. These investigations led to the following conclusion: in order to ensure students have a well-rounded aesthetic experience, first of all encourage them to take an interest in a way of looking that deems the setting of the picture something like “the recollections/dreams of the protagonist,” or “a tale from the underworld”; second, guide their attention from that direction toward the formative realm of the work; and third, have them sense the aesthetic properties and theme of the work from its formative features. Following this path will stir their sensibilities. In the case of a work like this (i.e. one with a high degree of cultural dependency), if making students aware of this knowledge (i.e. “the recollections/dreams of the protagonist,” or “a tale from the underworld”) is deemed a precondition for viewing of the work, various abilities are able to intertwine to exercise synergy in an aesthetic direction. Reigniting the senses by a method in which an underpinning of intellectual understanding eliminates any sense of discomfort, clears the way for this painting to be accepted as a narrative rich in content.</p>

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