مطالعه تطبيقي برنامه درسي كارشناسي مجسمه سازي ايران با پنج كشور جهان

Comparative Study of Curriculum of Undergraduate Sculpture Program in Iran and Five Other Countrie

آموزش مجسمه سازي و هنر در ايران چگونه بايد باشد؟ در اين پژوهش آموزش هنرهاي تجسمي به طور عام و مجسمه سازي به صورت خاص در مدرسه عالي هنرهاي زيباي پاريس، دانشگاه صنايع دستي و هنرهاي زيباي كانازاوا ژاپن، دانشگاه موناش استراليا، مدرسه تيلر آمريكا و كالج گلداسميت لندن بررسي شده است. تحقيق از نوع كيفي با بررسي نمونه هاي موردي و مبناي نتيجه گيري تفسيري است. در بخش اول مشكلات و دشواري هاي عمومي آموزش هنر در ايران و در بخش دوم رويكرد اين دانشگاه ها در مواجهه با دشواري هاي عمومي آموزش هنر بررسي شده است. با توجه به يافته هاي دو بخش پيشين در بخش سوم تغييراتي در صورت فعلي آموزش مجسمه سازي در ايران پيشنهاد شده است. سه چالش بنيادي آموزش هنر از اين قرار است پرورش استقلال شخصيت هنرمند، ارتباط با ريشه ها و زمينه، و ارتباط با زمانه. براي پروراندن استقلال بهتر است به شيوه آموزش تعاملي، پرورش بيان شخصي و تفكر انتقادي توجه شود و روش هاي به دست آمده در برنامه درسي اعمال گردد. بهتر است ارتباط برقرار كردن با هويت تاريخي با بازنگري شيوه آموزش تاريخ ايران فرهنگي، امكان تجربه هاي عملي در هنر ايران، آشنايي با بستر جغرافيايي و مسايل اجتماعي روز همراه شود. توجه به ماهيت هنر در پنجاه سال اخير براي به روز كردن طرح درس ها لازم است؛ يعني فاصله گرفتن هنر از گرايش هاي فرمي به سمت مفاهيم.

Educational systems around the world should be aligned with and updated to active cycle of art outside the universities on the one hand, and should create vibrant academic settings to motivate students on the other hand. How should be the art education in Iran? To answer this question, this research compares art and sculpture education in Iran and five other universities. This research is qualitative and its conclusions are based on interpretation. In the first part, general problems and difficulties of education and arts education in Iran have been examined, and in the second part the experience of five universities who had been encountered with difficulties in dealing with public education of art has been investigated. In the third part, a proposed project is suggested for education of arts by looking at arts and sculpture education in Iran. The main tree challenges in art education include: fostering independence in artist’s personality, relationship with native culture, and being connected to the time. In this curriculum, to foster independence in artist’s character, it is better to pay more attention to interactive teaching methods, development of personal expression and critical thinking regarding the choice of courses. To interact with the historical identity, it is better to be more concerned with the ways of teaching history of Iran, eastern art history, the possibility of practical experience in the art of Iran, as well as understanding the geographical context and social issues of these days. Paying attention to the nature of art in the past fifty years is necessary for updating the lessons, which means moving art from formal trends to conceptual ones. For the courses may meet the needs of today’s art, it is necessary to consider the nature of art after 1960s, i.e. putting away the formal trends in favor of concept. Artists from this period onwards, with every work of art with proposed some questions about the meaning of art, to the extent that visual arts became much similar to theories about art. Therefore it is necessary to include some courses so that students may become familiar with the challenges of the meaning of art and art work, such as art criticism and ideas in art. Moreover, the boundaries of four groups of art were vanished in this period and visual arts were combined with applied arts, performing arts and literature. Media presence on the art scene expanded the boundaries in favor of possibilities of art. In addition to combination of the arts, other issues from humanities and natural science fields were included in art. As a result, the focus on the field of visual arts present in the modern era may change. For this purpose, interdisciplinary relationships can be taken into consideration for proposing optional courses. Furthermore, the experiences of other countries show that courses are adjusted periodically at intervals with some change from a year to the next one. Therefore it is necessary to devise a mechanism for changing and revising of the courses.