Vpliv risalnega formata na sintaktično strukturo otroške risbe : magistrsko delo

Ilar, Ema (avtor), Selan, Jurij (mentor), Podobnik, Uršula (komentor)

Magistrsko delo se osredotoča na sintaktično strukturo risbe pri različno starih otrocih ter kako sprememba risalnega formata vpliva na notranjo strukturo risbe. V različnih razvojnih stopnjah mišljenja lahko zasledimo otrokovo trenutno razumevanje stvarnosti oziroma sveta okoli sebe. Čudovit kazalnik trenutne stopnje otrokovega mišljenja je njegova risba. Raziskava, deljena na dva dela, se v prvi polovici osredotoči na analizo obstoječih strokovnih literatur ter že znanih dejstev strokovnjakov o otroških risbah skozi različne razvojne faze ter dejstva o zaznavanju likovnega prostora in uporabi risalnega formata. Druga polovica magistrskega dela pa se osredotoča na empirično raziskavo. Izvedla sem kvalitativno raziskavo, v kateri sem opazovala 300 otrok, starih od prvega do petnajstega leta, kako prosto risbo, narisano format na A4, prerišejo na izbrani risalni format drugačne oblike in velikosti. Preko prerisane risbe, narisane na drugačen risalni format, lahko ugotovimo, kako sprememba risalnega formata vpliva na velikost, položaj in smer figur oziroma oblik, vključenih v risbo. Z analiziranjem risb ter primerjanjem ponavljajočih se dejanj sem ugotovila, da se različno stari otroci z nalogo prerisovanja prvotne risbe na risalni format drugačne oblike in velikost spopadajo drugače. Pri zaznavno-gibalni stopnji mišljenja še ne moremo govoriti o prerisovanju. Ko otrok preide v simbolno fazo risanja, se lahko pojavi namesto prerisovanja ponovno risanje enakega motiva ali pa se že skuša prerisati vse figure in oblike iz risbe na drugačen risalni format. Med prerisovanjem se ne osredotoča na odnose med figurami, zato prihaja do deformacij oziroma prilagoditev velikosti, položaja in smeri elementov, vključenih v risbo. V osnovni šoli otroci preidejo sprva v konkretno logično mišljenje ter kasneje v formalno logično mišljenje, pri katerem pa sem zasledila dve končni rešitvi naloge. Končni izdelek je bil odvisen od odločitve, katero pravilo je med prerisovanjem pomembnejše. Nekateri so se odločili, da je bolj pomembno v risbo vključiti vse figure in oblike prve risbe, medtem ko so se drugi odločili, da je bolj pomembno ohraniti primarne odnose med figurami, pa tudi če del figure pade iz risalnega formata. Ugotovitve lahko primerjamo z že znanimi dejstvi o različnih stopnjah otrokovega razumevanja stvarnosti. Te ugotovitve bodo pripomogle k še boljšemu razumevanju razvoja otroške risbe ter kakovostnejšemu sestavljanju likovnih dejavnosti pri predšolskih ter osnovnošolskih otrocih.

• Jezik: Slovenski jezik
• Ključne besede: Otroške risbe, analiza likovnih del, otroška risba, risalni format, sintaktična struktura risbe
• Vrsta gradiva: Magistrsko delo/naloga
• Tipologija: 2.09 - Magistrsko delo
• Organizacija: PEF - Pedagoška fakulteta
• Kraj izida: Ljubljana
• Založnik: E. Ilar
• Leto izida: 2025
• Št. strani: 145 str.
• PID: 20.500.12556/RUL-172005
• UDK: 74:37.016(043.2)
• COBISS.SI-ID: 248192003
• Datum objave v RUL: 05.09.2025

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: The impact of drawing format on the syntactic structure of a child's drawing

Izvleček

The master's thesis focuses on the syntactic structure of children's drawings across different age groups and how changes in drawing format affect the internal structure of the drawing. At various developmental stages of thinking, we can observe the child’s current understanding of reality and the world around them. A remarkable indicator of a child's current cognitive stage is their drawing. The research, divided into two parts, first concentrates on the analysis of existing professional literature and established findings by experts on children’s drawings across developmental phases, as well as on the perception of pictorial space and the use of drawing formats. The second part of the thesis is dedicated to empirical research. I conducted a qualitative study involving the observation of 300 children aged between 1 and 15, examining how they redraw a free drawing originally made on A4 paper onto a selected drawing format of a different shape and size. By analysing the copied drawing on a different format, we can determine how the change in format affects the size, position, and orientation of figures or shapes included in the drawing. Through the analysis and comparison of recurring actions, I found that children of different ages approach the task of redrawing an original drawing onto a format of a different size and shape in different ways. At the sensorimotor stage of thinking, we cannot yet speak of redrawing. When a child enters the symbolic stage of drawing, we may observe either a repetition of the same motif rather than a true redrawing, or an attempt to copy all the figures and shapes from the original drawing onto the new format. During this process, the child does not focus on the relationships between the figures, which leads to distortions or adaptations in the size, position, and orientation of the elements within the drawing. In primary school, children progress first to concrete logical thinking and later to formal logical thinking. In this stage, I observed two distinct final approaches to the redrawing task. The outcome depended on which principle the child deemed more important during redrawing: some chose to include all figures and shapes from the original drawing, while others prioritized maintaining the primary relationships between the figures, even if this meant that parts of the drawing extended beyond the boundaries of the format. These newly acquired findings can be compared with already established knowledge about the various stages of children's understanding of reality. They contribute to a deeper understanding of children's drawing development and support the design of more effective visual art activities for preschool and primary school children.

• Ključne besede: visual art analysis, children's drawing, drawing format, syntactic structure of drawing