초등학교 전통미술교육을 위한 수묵화 지도에 관한 연구

Abstract

미술은 느낌과 생각을 시각적으로 표현하고 상상하며, 그 시대의 문화를 기록하고 반영하기 때문에 미술문화를 통해서 과거와 현재를 이해하고, 나아가 문화의 창조와 발전에 공헌할 수 있다. 오늘날 미술교육의 목표는 다양한 체험, 표현, 감상 활동을 통하여 창의적으로 나타내며, 문화를 이해하고 계승, 발전시킬 수 있는 전인적 인간을 육성하는 것이다. 그러므로 미술 활동을 통해 바람직한 인간 형성을 돕는 전통미술교육은 중요한 의미를 지닌다고 하겠다. 수묵화는 먹의 농담으로 선과 여백의 미를 나타내는 전통회화 장르이다. 전통회화의 하나인 수묵화를 통해 한국의 미의식을 발견하고, 예술정신을 고취하며 함양 시킬 수 있다. 특히 아동기에 있어서 수묵화 미술교육은 전통회화재료와 미의식을 통해 관심을 가지고 올바른 가치관을 정립해 준다는 의미에서 교육적 의의가 크다. 그러나 일선 교육현장에서의 수묵화 교육은 전통 회화적 기법을 답습하는 상태에 머무르고 있거나 기피하는 경향이 있어 수묵화에 대한 흥미를 가질 기회가 학생들에게서 멀어지고 있다. 본 연구는 현 초등학교에서 수묵화 교육에 관한 전반적인 현황을 파악하기 위해 교사들을 대상으로 설문조사를 하였다. 또한 방과 후 미술교실에 참여하는 학생들을 대상으로 교수-학습 지도안을 작성하여 지도하고, 분석하였으며 연구 결과 나타난 일반적인 특징은 다음과 같이 요약할 수 있다. 첫째, 수묵화에 대한 이해를 위해 생활 속의 접목 할 수 있는 다양한 미적체험으로 흥미 유발이 되었다. 둘째, 수묵화 재료를 통한 자기 주도적인 표현 활동으로 개인의 느낌과 생각을 창의적으로 표현하였다. 셋째, 지도 계획을 수립하고 수업한 결과 차시가 지날수록 전통미를 인식하며 수묵화에 대한 이해도가 높아졌다. 이러한 결과를 종합해 보면 초등학교 수묵화 지도에 중요한 것은 관심과 흥미를 유발하는 일이다. 교사는 수묵화에 대한 전문적인 지식과 기능을 갖춰 우리 고유의 정서를 느낄 수 있는 표현방법을 제공해주어야 한다. 또한 수묵화에 대한 올바른 인식을 갖도록 초등학생의 수준에 맞게 지도하여야 한다. 본 연구는 초등학교 학생들이 자아를 성장시키고 한국문화의 주체성과 전통미를 표현하는데 수묵화가 도움이 되고자 한다.

The rapid development of telecommunications in the 21st century has made it necessary for elementary school students to establish their own identity and understand their own tradition and culture. For this purpose, the art education should help them understand cultural diversity without prejudice and be proud of their own culture and tradition. It is a regret to say that the art education of culture and tradition has been swept irresistibly by the current of times. Currently, we Koreans are faced with many historical challenges including Koguryo history distortion and the territorial disputes about Dokdo Island, issued by the neighborhood countries. Especially, Namdaemun Gate, Korean National Treasure No. 1 was burnt down in the early February, 2008. Nevertheless, the current situation of education has given more importance to successful entrance examination than to the education of identity, emotion and value of culture and tradition. Despite this, the current reality of art education has not satisfied the needs of traditional and cultural education. It is caused by the disorders of sovereignty and independence regarding the art education. This study tries to find a desirable method to cultivate elementary school students' to understand Korean traditional aesthetics, the beauties of emptiness and separation and express their own feelings, based on teaching paintings in Indian ink. It also tries to help them understand the past and present, and contribute to creating and improving new culture through the traditional art education, giving importance to the necessity of teaching paintings in Indian ink. To find a desirable teaching method, the preceding theses, academic journals, and literature concerning paintings in Indian ink were analyzed and speculated. The lesson units regarding paintings in Indian ink in the 3rd and 6th grade art textbooks of the 7th curriculum were also analyzed. Secondly, to analyze the reality of teaching paintings in Indian ink, the questionnaires were applied to the elementary school teachers and the students in Jeju city. Lastly, to promote students' understanding of paintings in Indian ink, the lesson plan of art and calligraphy was applied to the students who participated in the after- school program, especially based on paintings by literary artists. The results from this study are as follows; Firstly, it is suggested that teachers should make lesson plans of traditional art as well as Western art, with more interest and understanding. It is also desirable that more related teaching materials should be developed and distributed. Secondly, a new curriculum is required for stimulating students' interest and creativity. The style of teaching paintings in Indian ink should be based on practice, rather than on prentice. For this reason, students should be taught through painting in Indian ink along with craft and calligraphy. Thirdly, most schools are well equipped with art classrooms, which are inappropriate for painting in Indian ink. So it is suggested that the ministry of education should take more interest and give more financial assistance. Fourthly, the system of long-term and expert educational programs should be given to teachers. In addition, the teaching materials for painting in Indian ink should be shared with each other through teachers' associations. Fifthly, continual classes should be given to students through extra school programs including educational visits to museums on Saturdays, and prominent figures' lectures to improve students' special talent. Sixthly, students have tendency to be less familiar with paintings in Indian ink, compared to western paintings. So it is suggested that students should have more opportunities for mediation by exposing them to paintings in Indian ink. It is observed that the participants in the after-school program which consisted of 40 classes has improved their postures and attitudes to paintings in Indian ink. They are more familiar with using tools. In addition, they show more interest in our tradition and culture. In summary, traditional art education can have an effect on students' aesthetic experience. Through this, students can acquire more desirable attitude toward Korean culture.