國小學童對快樂與生氣情緒圖像之繪畫表現研究

Abstract

本研究旨在調查國小學童對快樂與生氣情緒圖像之繪畫表現，並探討不同地區、年級、生理性別的國小學童快樂與生氣情緒圖像之繪畫表現是否有顯著差異，進而分析不同階段學童繪畫表現特徵。本研究採問卷法，依方便取樣，以臺灣北、中、南、東地區，公立小學低、中、高年級為研究對象，計取得有效問卷1360份。資料以SPSS22.0進行分析，研究結果顯示:一、國小學童對快樂與生氣情緒圖像表現方式，依調查結果發現大致可分為四大類：表情體態類、經驗敘事類、擬物象徵類、其他類。經驗敘事類為國小學童對快樂與生氣情緒圖像最常見之繪畫表現方式。二、不同地區、年級、生理性別的國小學童對快樂與生氣情緒圖像繪畫表現，有顯著差異。中部地區學童以表情體態繪畫表現，顯著性高於其他地區；在經驗敘事與擬物象徵繪畫表現，顯著性分別低於其他地區。隨著年齡增加，國小學童在表情體態與擬物象徵繪畫表現，呈現增加趨勢；但經驗敘事繪畫表現卻呈現減少趨勢。對快樂情緒圖像，男性學童以表情體態及經驗敘事繪畫表現顯著性高於女性，而生氣情緒圖像，男性學童以經驗敘事及擬物象徵繪畫表現顯著性高於女性。三、在表情體態類繪畫中表現人物形象，愈高年級學童愈能畫出眼、口、頭髮及圓形或橢圓頭型來表現人物臉部細節，且能以幾何形狀（混合型）、衣服或其他配件來畫出正面身體姿態。若以經驗敘事類繪畫表現詮釋快樂與生氣情緒圖像時，多數國小學童並未主動表現空間概念。若有主動表現空間概念，相對於多數低年級學童能表現「基底線」、「X光畫」、「重疊」空間表現，高年級學童更能表現「三度空間」。This research was to investigate the patterns and differences from the gender, grades and regions of the elementary school children’s expressive drawings concerning their emotional image of happiness and anger in Taiwan. An analysis of the pupils’ representations along their learning stages as indicated by this case was subsequently made. This research adopted a questionnaire survey, having collected 1,360 convenience sample participants from first, third, and fifth grades of the public elementary schools in the northern, central, southern, and eastern Taiwan. The findings laid bare by the SPSS22.0 were as follows. First, the expressive drawings concerning emotional images according to the frequency of occurrence consisted of “facial expressions& body gestures,” “narrative treatment of experience,” “metaphoric narrative,” and the “miscellaneous.” The narrative treatment of experience is the most common way of expressive drawings of happiness and anger in elementary school children. Second, there existed significant differences among expressive drawings concerning emotional images of happiness and anger with respect to regions, the grade distribution, and gender. This research reported that students from the central part of Taiwan proved more inclined to exhibit happy and angry images employing facial expressions& body gestures than those from other regions of Taiwan. They, by contrast, proved less inclined to express their emotion through the practice of narrative treatment of experience, or metaphoric narrative. When it came to the gender perspective, the male interviewees proved more significant in expressive means of facial expressions & body gestures, and narrative treatment of their own experience in dealing with the emotional image of happiness than the female. The male interviewees also proved more significant than the female ones when presenting the image of anger via the narrative treatment of experience and metaphoric narrative. Thirdly, when it came to facial expressions& body gestures, the male students in the high grade of the elementary school proved more capable of presenting fine parts of the facial image including the eye, the mouth, the hair, which were portraited in a round or oval-head style. They also prove more capable of drawing body gestures from a front view, where the hand, foot, attires, and accessories lively figured in a geometric but mixed form of the body image. It was also important to note, however, that there was a general lack of spatialconcepts in most cases when the narrative treatment of experience was in application to denote the emotional images of happiness or anger. It is nevertheless fortunately to report here that as a contrast to students from the low grade that proved capable of performing the techniques of setting base lines, and good at superimposing and overlapping as well as the X-ray painting, students from the higher grade excelled in three-dimension expressive drawings.