臺灣博碩士論文加值系統

本論文透過美術創作與美術欣賞層面探討視障美術教育，先從觀察視障書法家廖燦誠之創作過程中歸納分析出三種特殊的創作技巧：(1)改變握筆位置至筆尖與判斷墨線乾溼度的「觸覺定位系統」；(2) 利用現有工具作為定位點輔助構圖之「物件定位系統」；(3) 以運用經驗、記憶與心理地圖能力之「心眼定位系統」，作為視障者學習繪畫之基礎技巧。接著將非視覺創作空間定位系統應用於視障兒童之水墨畫學習，評估此創作技巧之可行性，研究發現全盲與重度視障兒童學習此技巧後，掌控水墨畫線條方向與粗細之能力更加，以及物件之輪廓與構圖減少了重疊與失誤之現象，並且從自評問卷與訪談中印證視障兒童學習美術創作活動之成就感與必要性。最後延伸探討社會層面之視障美術欣賞資源，分析國內博物館與美術館自1993年以來舉辦之視障美術展覽與體驗活動，並從中探討2005年起四個不同類型之視障美術欣賞活動的優缺點，再以「展覽空間規劃」、「參觀輔助資源」、「多媒體科技」、「延伸美學活動」四大設計類別，歸納出完整的視障展覽規劃建議。因此，視障美術教育之推廣需以視障者之創作技巧為基礎，學校美術課程規劃與社會輔助資源開發之配合，營造無障礙美術環境與觀念，達到社會大眾鼓勵視障者接觸美術創作與欣賞活動之多元美學價值，並從中建立與世界溝通的橋樑，進而獲得藝術表現與自我肯定之成就感。

This study examined art education for the visually impaired through the aspects of art creation and art appreciation. First, the study generalized three techniques by observing the creative process of Tsann-Cherng Liaw, a calligrapher with visual impairment. These three techniques were: (1) a tactile spatial orientation system which involves changing the grip position from the brush handle to the bristles so as to enable the artist to determine the wetness of drawn lines; (2) an object spatial orientation system which employs existing tools as orientation points to aid in drawing composition; (3) a mental spatial orientation system which employs experience, memory, and mental map. These techniques may serve as fundamental techniques to help individuals with visual impairment learn how to draw. The non-visual spatial orientation system was then applied to the learning of ink and wash painting by visually impaired children. This was followed by assessment of the feasibility of the techniques of this system. Our research showed that totally blind and severely visually impaired children were better able to control the direction and thickness of lines in drawing after learning the technique. At the same time overlapping of lines and figures and mistakes in the outlines and composition of objects were reduced. Self-evaluation questionnaires and interviews confirmed the sense of achievement gained from learning activities in art creation and the necessity of these learning activities for visually impaired children. This study further explored art appreciation resources for the visually impaired. We analyzed art exhibitions and experience activities for the visually impaired organized by museums and art galleries in Taiwan starting from 1993. The advantages and disadvantages of the four different categories of activities of art appreciation for the visually impaired from 2005 onwards were also examined. We then made comprehensive suggestions for the planning of exhibitions for the visually impaired based on four design categories: exhibition space planning, visitor assistive resources, multimedia technology, and extended aesthetic activities. Our conclusion is that promotion of art education for the visually impaired must incorporate the actual creative techniques of the visually impaired. It must also be accompanied by curriculum planning of art classes in schools and development of assistive resources in society to create an environment and attitude that promotes accessibility to art. The final objective is to achieve a situation where society encourages the visually impaired to absorb the diverse aesthetic values of art creation and art appreciation.

INDEX OF CONTENTS
CHINESE ABSTRACT Ⅰ
ENGLISH ABSTRACT Ⅲ
ACKNOWLEDGEMENT Ⅴ
I NDEX OF CONTENTS Ⅶ
INDEX OF FIGURES Ⅹ
INDEX OF TABLES Ⅻ

CHAPTER ONE
INTRODUCTION 1
1.1 MOTIVE 2
1.2 PURPOSE 4
1.3 BACKGROUND 5
1.3.1 Research on arts and the visually impaired 6
1.3.2 Visually impaired artists in the field of visual arts 9
1.3.3 Categories of drawing tools for the visually impaired 11
1.3.4 Art education resources for the visually impaired 13
1.4 RESEARCH ASPECTS 17

CHAPTER TWO
TSANN-CHERNG LIAW’S NON-VISUAL SPATIAL ORIENTATION SYSTEM IN THE CHINESE CALLIGRAPHY 21
2.1 INTRODUCTION 21
2.2 THE PROCEDURE OF LIAW’S CHINESE CALLIGRAPHY CREATION 25
2.3 NON-VISUAL SPATIAL ORIENTATION SYSTEMS
29
2.3.1 Tactile Spatial Orientation System 30
2.3.2 Object Spatial Orientation System 33
2.3.3 Mental Spatial Orientation System 36
2.4 TRANSFORMATION BETWEEN 2D AND 3D MATERIALS 37
2.5 BRIEF SUMMARIES 38

CHAPTER THREE
INK AND WASH PAINTING FOR CHILDREN WITH VISUAL IMPAIRMENTS 40
3.1 INTRODUCTION 40
3.2 APPLICATION OF LIAW’S SPATIAL ORIENTATION SYSTEM IN THE CHINESE CALLIGRAPHY 44
3.3 TASKS ON INK AND WASH PAINTING FOR VISUALLY IMPAIRED CHILDREN 47
3.4 RESULTS AND EVALUATION 49
3.4.1 Comparison of Two Tasks 49
3.4.2 Self-Evaluation of Children with Visual Impairment -52
3.4.3 Interviews with Children with Visual Impairment 54
3.5 DISCUSSION 54

CHAPTER FOUR
THE DEVELOPMENT AND TYPES OF DOMESTIC MUSEUMS OF VISUAL ART EDUCATION FOR THE BLIND
58
4.1 INTRODUCTION 58
4.2 THE DEVELOPMENT OF MUSEUMS’ VISUAL ART EXHIBITIONS FOR THE BLIND 61
4.3 THE TYPE OF VISUAL ART EXHIBITION FOR THE BLIND 67
4.3.1 Architectural Exhibition for the Blind 67
4.3.2 Exhibition of Contemporary Art for the Blind 72
4.3.3 Regular Touch Tour of Replicated Collection for the Blind 76
4.3.4 Comparison of Louvre’s Two Tactile Educational Exhibitions for the Blind 80
4.4 MULTI-SENSORY DESIGNS OF VISUAL ART EXHIBITIONS FOR THE BLIND 84
4.5 DISCUSSION 88

CHAPTER FIVE
CONCLUSION 90
5.1 APPLICATIONS OF NON-VISUAL SPATIAL ORIENTATION SYSTEM IN ART EDUCATION FOR THE BLIND 92
5.1.1 Spatial orientation systems of a visually impaired artist 92
5.1.2 Applications of spatial orientation techniques of the visually impaired and implementation of curriculum planning 95
5.2 RESOUCES DEVELOPMENT AND ENVIRONMENTAL PLANNING OF ART CREATION AND APPRECIATION FOR THE VISUALLY IMPAIRED 97
5.2.1 Development of multi-sensory art resources for the visually impaired 97
5.2.2 Establishment of a barrier-free art appreciation environment 100
5.3 SUGGESTIONS 103

REFERENCES 106
APPENDIX 114
VITA 152
COPYRIGHT PERMISSION 153

INDEX OF FIGURES
Figure 1-1 Study framework 18
Figure 2-1 Three pieces of calligraphy work《A Hundred Dragon》 25
Figure 2-2 Positions of tools in the Laiw’s workroom 26
Figure 2-3 The co-related positions of hand, brush and paper 28
Figure 2-4 Tactile spatial orientation by palms 31
Figure 2-5 Tactile spatial orientation by fingers 32
Figure 2-6 Object spatial orientation by paperweights 33
Figure 2-7 Objects spatial orientation by seals 34
Figure 2-8 Objects spatial orientation by pencils 35
Figure 2-9 《Watching Emptiness》 35
Figure 2-10 《Chicken》 35
Figure 2-11 《The Ox of Year Ding Chou》 38
Figure 3-1 Ink and wash painting of two tasks by TB1 50
Figure 3-2 Ink and wash painting of two tasks by SVI1 50
Figure 3-3 Ink and wash painting of two tasks by SVI2 51
Figure 3-4 Ink and wash painting of two tasks by LV1 52
Figure 3-5 Ink and wash painting of two tasks by LV2 52
Figure 4-1 NTM’s 3D puzzle of front elevation and architectural model` 69
Figure 4-2 NTM’s pediment and its model made in gypsum 69
Figure 4-3 NTM’s front elevation and plans of three floors made in paper relief 69
Figure 4-4 The architectural works made from visitors with visual impairment after exhibition visiting 70
Figure 4-5 Exhibition Space Layout of Lots o’ Lotto: Seen and Unseen 73
Figure 4-6 One of reproductions of NPM’s regular touch tour,《Jadeite cabbage with insects》 77
Figure 4-7 One of reproductions of NPM’s regular touch tour,《Banded jasper resembling a slab of meat》 77
Figure 4-8 NPM’s architectural model of regular touch tour. 78
Figure 4-9 One of reproductions of NPM’s regular touch tour,《Yan with Animal Mask Décor》 78



INDEX OF TABLES
Table 3-1 The three groups of congenitally blind children: name, age, and gender 45
Table 3-2 The ranking improvement of comprehensive assessment after experiment 53
Table 4-1 The display type and artworks of visual art exhibitions for the blind 63
Table 4-2 Development of visual art programs for the blind from 1993 to 2009 65
Table 4-3 The Sketches of Artworks and Special Design for the Blind from the Exhibition of “Lots o’Lotto: Seen and Unseen” 74
Table 4-4 Comparison of Louver tactile educational exhibitions at NMH and KMFA 84
Table 4-5 The methods of visual art exhibition design for the blind 87

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