반응 중심 이론을 활용한 중학교 전통 미술 감상 지도 방안 연구

Abstract

전통 미술은 시간을 초월하여 현재에도 공감할 수 있는 고유한 가치를 내포한 문화적 소산이다. 이는 비단 역사를 증언하는 문화유산으로서의 가치를 지닐 뿐만 아니라, 그 자체로 미적 가치를 지니는 것이며 오늘날의 우리와 함께 존재하는 하나의 생명체라 할 수 있는 것이다. 그러나 우리의 미술 교육 안에서는 이와 같은 전통 미술을 지금을 살아가는 우리의 삶과 연계시켜 다루고자 하는 시도가 부족하였다. 본 연구는 이와 같은 문제의식을 바탕으로, 현재의 삶에 유의미한 것으로서의 전통 미술의 가치를 일깨우는 미술 교육의 가능성을 모색하는 것에 그 목적을 두었다. 이에 따라 본 연구는 전통 미술이 지니는 현재적 가치에 주목하고, 그것이 학습자 개개인에게 의미 있는 대상으로 받아들여질 수 있도록 안내 하는 학습자 중심 전통 미술 감상 수업의 지도 방안을 고안하였다. 이를 위한 주요 교육 소재로서는 전통 산수화에 주목하였다. 전통 산수화는 오늘날의 우리에게도 감동을 전할 수 있는 고유한 미적 감수성을 내포하고 있으며, 그 철학적 사유세계의 발견은 삶을 변화시킬 다양한 가치를 발견하는 기회를 제공할 수 있다. 따라서 전통 산수화는 학습자들이 전통의 살아 있는 의미를 깨달을 수 있도록 독려하는 교육을 위한 소재로서의 가치를 지닌다고 볼 수 있는 것이다. 또한 전통 산수화 감상 교육의 구체적 접근 방법으로서 반응 중심 학습법의 활용 가능성에 주목하였다. 이에 따라 개인의 반응과 감상 과정을 존중하는 반응 중심 이론의 관점과 방법을 전통 미술 감상 교육에 적용함으로써 얻을 수 있는 기대 효과를 밝혔다. 그리고 이를 바탕으로 반응 중심 전통 산수화 감상 수업을 위한 교수․학습 지도안을 제시하였다. 이와 같은 반응 중심 전통 산수화 수업의 기대효과는 다음과 같다. 첫째, 종래의 전통 산수화 감상 수업에서 비교적 소홀이 다루어져왔던 학습자의 개인적인 생각과 반응을 수업의 중심요소로서 끌어올 수 있다. 이를 통해 학습자들은 무의식적으로 지나쳐버렸던 자신의 다양한 반응들을 의식하고, 명료히 하여, 전통 산수화 작품에 대한 자신의 관점을 수립할 수 있다. 둘째, 작품과의 깊은 교감을 나누는 경험을 통하여 전통 산수화에 대한 친밀감을 형성하고, 그 내면적 의식 세계를 더 깊이 이해할 수 있다. 이로 인하여 학습자들은 고유한 미적 감수성과 선조들의 가치관을 발견하고 이를 선택적으로 받아들여 자신의 삶을 고양시킬 수 있다. 본 연구에서 제시한 지도안이 학교 미술 교육 현장에서 학습자 중심의 전통 산수화 감상 지도를 위한 구체적 지침으로 활용될 수 있기를 기대 하는 바이다. 나아가 학습자들이 전통 미술을 고리타분한 과거적 산물로 인식하는 고정 관념에서 벗어나, 삶의 가까이에서 전통 미술을 애호하며 존중하는 태도를 갖고, 이를 통해 궁극적으로는 자신을 변화시켜 나가는 경험을 제공하는 일에 일조할 수 있기를 바란다.| Traditional art is the product of culture which connotes a unique value that can be sympathized today beyond the time frame. This indicates not only involving a value as cultural heritage that gives testimony to history, but also having aesthetic value and one of the creatures that are present with us these days. Within our art education, however, there is lack of the attempt to deal with traditional art in conjunction with the lives of whom lives now. The purpose of this study is to explore the possibility that art education reminds the significant value of traditional art in the current life. Accordingly, this research pays attention to the current value of traditional art and devises learner-based teaching methods and guiding them to help them accept the value of traditional art as a significant subject. For that, this paper concentrates on traditional landscape paintings as a major teaching material. Traditional landscape paintings pose unique aesthetic sensibility that can tell us today about the impression and its philosophical world of thoughts can provide an opportunity to find out a variety of values that can change many lives. Therefore, traditional landscape paintings have a value as a material of education encouraging learners to realize the live meaning of tradition. What’s more, this study focuses on the possibility of utilizing the response based approach as a specific approach of the appreciation education of traditional landscape paintings. As a result, it was illuminated that the expected effect can be achieved by applying the viewpoint and methods of response based theory that respects the appreciation process and individual reaction to the appreciation education of traditional landscape paintings. On the basis of this, furthermore, instructing methods for appreciation learning of traditional landscape paintings were presented. The expected effects of response based traditional landscape paintings learning are as follows: First, personal thoughts and reactions that have been fairly neglected in the conventional appreciation education of traditional landscape paintings can be drawn as the central element of class. Thus, the learners can establish their own point of view about traditional landscape paintings by being aware of their diverse reactions by which they unconsciously have passed in the meantime and clarifying them. Second, the learners can form intimacy for the traditional landscape paintings through experiencing deep sympathy with artworks and understand their inner world of consciousness more deeply. Due to this experience, they can make their lives better by discovering unique aesthetic sensibility and the ancestral values and selectively accepting them. I hope that the educating plans presented in this study would be utilized as specific instructions for learner-centered appreciation education of traditional landscape paintings in the field of school art education. I also wish that the learners would have a loving and respectful attitude toward their lives and are able to ultimately contribute to offer experience to change themselves, being rid of the stereotypes of recognizing traditional art just as antiquated product of the past.; Traditional art is the product of culture which connotes a unique value that can be sympathized today beyond the time frame. This indicates not only involving a value as cultural heritage that gives testimony to history, but also having aesthetic value and one of the creatures that are present with us these days. Within our art education, however, there is lack of the attempt to deal with traditional art in conjunction with the lives of whom lives now. The purpose of this study is to explore the possibility that art education reminds the significant value of traditional art in the current life. Accordingly, this research pays attention to the current value of traditional art and devises learner-based teaching methods and guiding them to help them accept the value of traditional art as a significant subject. For that, this paper concentrates on traditional landscape paintings as a major teaching material. Traditional landscape paintings pose unique aesthetic sensibility that can tell us today about the impression and its philosophical world of thoughts can provide an opportunity to find out a variety of values that can change many lives. Therefore, traditional landscape paintings have a value as a material of education encouraging learners to realize the live meaning of tradition. What’s more, this study focuses on the possibility of utilizing the response based approach as a specific approach of the appreciation education of traditional landscape paintings. As a result, it was illuminated that the expected effect can be achieved by applying the viewpoint and methods of response based theory that respects the appreciation process and individual reaction to the appreciation education of traditional landscape paintings. On the basis of this, furthermore, instructing methods for appreciation learning of traditional landscape paintings were presented. The expected effects of response based traditional landscape paintings learning are as follows: First, personal thoughts and reactions that have been fairly neglected in the conventional appreciation education of traditional landscape paintings can be drawn as the central element of class. Thus, the learners can establish their own point of view about traditional landscape paintings by being aware of their diverse reactions by which they unconsciously have passed in the meantime and clarifying them. Second, the learners can form intimacy for the traditional landscape paintings through experiencing deep sympathy with artworks and understand their inner world of consciousness more deeply. Due to this experience, they can make their lives better by discovering unique aesthetic sensibility and the ancestral values and selectively accepting them. I hope that the educating plans presented in this study would be utilized as specific instructions for learner-centered appreciation education of traditional landscape paintings in the field of school art education. I also wish that the learners would have a loving and respectful attitude toward their lives and are able to ultimately contribute to offer experience to change themselves, being rid of the stereotypes of recognizing traditional art just as antiquated product of the past.