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Risba človeške figure osnovane na različnih izraznih modalitetah : magistrsko delo
ID Hrnčič, Neža (Author), ID Skubic, Darija (Mentor) More about this mentor... This link opens in a new window, ID Podobnik, Uršula (Co-mentor)

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Abstract
Risanje je za otroke nujen sestavni del odraščanja, ki vpliva na njihov duševni in telesni razvoj. Z risanjem otroci spoznavajo svet. Likovni razvoj otrok je posledica zorenja struktur v možganih in smiselno je, da jih prek neposredne izkušnje usmerjamo v aktivno obliko spoznavanja. Človeška figura velja za enega najzahtevnejših likovnih motivov v likovnem ustvarjanju, hkrati pa je eden najpogostejših motivov na otroških risbah, saj ima otrok največ z njo povezanih izkušenj. Daje mu veliko motivacije in spodbud za ustvarjanje. Ko otrok opazuje in upodablja človeka, spoznava vizualno-prostorske značilnosti človeškega telesa ter njegove dele in zgradbo. Otrokova risba je odvisna od dosežene stopnje vizualno-prostorskega razvoja. Pri upodabljanju človeške podobe je stopnja razvoja vidna v načinu, kako so deli upodobljenega objekta sestavljeni v končno podobo. V empiričnem delu sem z zbiranjem in analizo otroških risb raziskovala, kako se s problematiko risanja človeške figure v različnih pozah in z različnimi izvedbenimi modifikacijami srečujejo različno stari otroci v predšolskem obdobju ter kako se tovrstne motivike pri svojem delu lotevajo vzgojitelji. Izkazalo se je, da vzgojitelji pretežno upoštevajo prosto otrokovo odločanje, manjkrat pa se odločijo za načrtno risanje človeške figure, od tega najpogosteje rišejo človeka v pokončnem stoječem položaju. Pri načrtovanju se približno enako pogosto odločijo za risanje po spominu in za risanje po opazovanju. Analiza otroških risb je pokazala, da so otroci uspešnejši pri risanju po opazovanju kot pri risanju po spominu. Risbe, narisane po opazovanju, so bile velikokrat anatomsko ustreznejše in so vsebovale več podrobnosti kot risbe, narisane po spominu. Starejši otroci so bili pri risanju uspešnejši kot mlajši otroci, deklice pa so bile uspešnejše od dečkov.

Language:Slovenian
Keywords:otroška risba, človeška figura, statične in dinamične upodobitve, risanje po spominu in risanje po neposrednem opazovanju modela
Work type:Master's thesis/paper
Typology:2.09 - Master's Thesis
Organization:PEF - Faculty of Education
Place of publishing:Ljubljana
Publisher:N. Hrnčič
Year:2023
Number of pages:82 str.
PID:20.500.12556/RUL-153362 This link opens in a new window
UDC:373.2:7(043.2)
DOI:20.500.12556/RUL-153362 This link opens in a new window
COBISS.SI-ID:178962179 This link opens in a new window
Publication date in RUL:23.12.2023
Views:487
Downloads:18
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Secondary language

Language:English
Title:Drawing the Human Figure, Based on Different Modalities of Expression
Abstract:
Drawing is an essential aspect of growing up for children, influencing their mental and physical development. It is through drawing that children learn about the world. As children’s artistic development is the result of the maturation of brain structures, it seems sensible to guide them towards an active form of cognition through direct experience. The human figure is considered one of the most challenging motifs in the creation of art, but it is also one of the most common themes in children’s drawings, as this is what a child has the most direct experience with. It gives a child a great deal of motivation and encouragement to create. As a child observes and attempts to depict a human being, they go through a process of the discovery of the spatio-visual characteristics of the human body, as well as its structure and different parts. A child’s drawing is dependent on the level of spatio-visual development achieved. When depicting the human figure, the level of a child’s development is visible in the way the various parts of the depicted object are constructed into a final image. In the empirical part of my research, I collected and analysed children’s drawings in order to investigate how children of different pre-school ages encounter the problem of drawing the human figure in various poses and through different performance modifications, and how these types of motifs are approached by teachers in their work. My results showed, that teachers predominantly allow the child’s free decision-making, but when they choose to draw the human figure in a planned way, they most often depict a human being in an upright, standing position. When planning, teachers opt for drawing from memory and drawing from observation at generally similar rates. An analysis of the drawings demonstrated that children are often more successful at drawing after observation than at drawing from memory. Drawings which were made after observation were frequently more anatomically accurate and contained more detail than drawings made from memory. Lastly, older children were more successful than younger children, while girls were more successful than boys.

Keywords:Children’s Drawing, the Human Figure, Static and Dynamic Depictions, Drawing from Memory and Drawing after Direct Observation of the Model

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