兩岸四地國中階段視覺藝術課程政策發展與現行課程綱要之比較研究

Abstract

因應全球知識經濟時代潮流的衝擊，世界各國皆致力於教育改革，同步追求「多元化、市場化、資訊化」的訴求，以提高國家整體競爭力。在全球性教育改革的背景下，各國藝術教育也展開一連串的改革與進展。作為華人地區藝術教育的領航者，臺灣藝術教育工作者亦應在全球化的趨勢下，放大視野，理解兩岸四地的藝術教育相關變革，逐步打造自發、互動、共好的華人藝術教育圈。 本研究以「兩岸四地國中階段視覺藝術課程政策發展與現行課程綱要之比較研究」為題，透過參考文獻及訪談，比較及分析兩岸四地視覺藝術課程政策的發展與課程綱要的教學理念、教學目標及能力指標，用比較研究的方法進行討論，藉以瞭解過去65年兩岸四地的藝術教育發展出什麼樣不同的面貌。 研究結果顯示，在兩岸四地的視覺藝術教育發展，雖然受到政治、經濟與社會文化不同的影響，但綜觀兩岸四地的視覺藝術教育思潮發展，主要仍隨著國際藝術教育的發展脈絡進行，從創造性取向的視覺藝術教育走向學科本位的視覺藝術教育，進而邁入後現代的視覺文化藝術教育。各藝術教育理論各有其優勢與限制，而兩岸四地的視覺藝術教育變化也同時反應其社會之變遷。兩岸四地的視覺藝術教育發展同樣面臨專業師資缺乏、未能專才專教的問題；香港及澳門則同樣面對欠缺主體性的困境。 最後，根據研究結果提出對臺灣視覺藝術課程發展的建議：（一）加強「審美與藝術評論」能力之養成（二）提昇視覺藝術課程中「分析應用」的能力養成（三）提高「設計教育」的學習內涵比重。擷取兩岸四地之長，補臺灣視覺藝術教育之不足。

Reacting to the impact of the trend of global knowledge economy, all countries around the world have endeavored to educational reforms and resort to “diversity, marketization, and informatization” with the purpose of raising the nation’s overall competitiveness. Under the context of global educational reforms, each country has also started to promote a series of reforms and development for art education. In addition, as the pilot of art education in Chinese regions, and under the inevitable current of globalization, art educators in Taiwan should broaden their vision, perceive the relative reforms in art education among cross-strait four regions, so that the “spontaneity, interaction, and common good” art education can be established gradually. With the title of this research, “A Comparative Study of Visual Arts Curriculum Policy Development and Curriculum Guidelines of Junior High Schools among Cross-Strait Four-Regions”, and on the basis of referenced literature and interviews, this research has compared and analyzed policy development of visual art curriculum and the teaching philosophy, teaching goals, and ability indicators in curriculum guideline among cross-strait four regions. By means of discussing with comparative research approach, this research has tried to understand different contours developed in art education field among cross-strait four regions in the past 65 years. According to the research results, in regard of visual art education development among cross-strait four regions, in spite of divergent influences from politics, economy, and social culture, to cut in from the angle of comprehensive perspective, it can be found that among cross-strait four regions, development of visual art education has primarily followed the context of international art education development—from the Creative Self-expression Approach, to Discipline-Based Art Education, and finally arriving at post-modernistic Visual Culture Art Education. Each educational theory has its advantages and limitations, as visual art education changes in cross-strait four regions reflect the society’s change as well. Actually, art education in cross-strait four regions is stuck in the dilemma of lacking professional teachers and the issue of being unable to teaching professional subject by professional educators. Such difficulty of lacking subjectivity also takes place in Hong Kong and Macaw. Finally, in accordance with the research results, this research has proposed suggestions for Taiwan’s developing visual art education curriculum: (1). Enhance cultivation of “aesthetic and art criticism” competence; (2). Raise the ability of “analyzing and application” in visual art education curriculum; and (3). Elevate the ratio of learning content of “design education”. In this way, the strengths in cross-strait in four regions can be exerted to supplement the deficiency in visual art education in Taiwan.