A Study on the Situation and Development Direction of Chinese Oil Painting Realism Education

담영석 세한대학교 대학원 2023 국내박사

Abstract At the beginning of the 20th century, realism was introduced to China and made a new development and breakthrough in China. Gradually, realist art constitutes the main body of contemporary Chinese art and the most prominent structural element of contemporary Chinese art education. Without realism, there would be no classical Chinese art of the 20th century. Realism presented different forms in different specific historical contexts in China and had a profound impact on the development of China's art education system, and it becomes necessary to study the theory of realistic art and the educational system it influenced. Realism is not rigid and unchanging; instead, realism is an open system, and with the development of the times, social and cultural changes and changes in artistic concepts, realistic theories and creations will show different developments and changes, and the study of such changes is the main purpose of this paper, which is to identify the root causes of such changes, construct a new aesthetic theory, reinterpret realism and consider the future direction of realist art creation and teaching. In accordance with the actual development of Chinese realistic oil painting, the scope of this paper is divided into three stages of research: The first stage was from 1949 to 1976, when the tradition of realism was established in Chinese oil painting, and the paper defines this period as the “shaping period”. The second stage is from 1977 to 1999. Under the impact and influence of external thoughts and market economy, great changes have taken place in the creation of realistic oil painting. This stage is called the "transitional period". The third stage is from 2000 to the present, when the creation of realist oil paintings has developed a new context in the multicultural society, and this stage is called the “surpassing period”. Through the historical review of the direction of realism in three periods in China and the comparison between each period and capitalist realism, and using the classical realism art theory and the contemporary development of realism theory as dual theoretical resources, an in-depth study of the individual creation and group creative outlook of Chinese contemporary realistic oil painting is conducted. From the perspective of educational sociology, the paper attempts to address three questions: (1) Is it possible to find a realistic aesthetic suitable for contemporary China by a philosophical examination of realism? (2) Can the examination of art history find the direction of realistic oil painting creation in contemporary China? (3) What is the direction of future realistic oil painting education in contemporary China? Through a historical review of Chinese realistic oil paintings, this paper selectively compares Western realistic oil paintings to find the reasons for the historical flow of Chinese realistic oil paintings and their inherent aesthetic logic. Then, through the philosophical examination of realism, combined with the current situation of Chinese realistic oil painting creation, it finally considers the development of Chinese realistic oil painting from Fischer's neo-realism aesthetics. Fischer's neo-realistic aesthetics can well interpret the contemporaneity of realism and play a role of theoretical guidance for Chinese realistic creation. This paper examines highly representative Chinese realistic artworks, analyzes their traces of reference to traditional Chinese aesthetics, and thus seeks a breakthrough for the localization of realistic oil paintings in China. Converting cultural resources into artistic resources is the direction for the creation and education of Chinese realistic oil paintings in the future. The greatest feature of the paper is that it studies the creation and education of Chinese realistic oil painting . By studying the flow of realistic oil painting and teaching in art history and investigating the reasons behind it, it fills the research gap of studying realistic art education . In addition, the paper explores the research gap of localization of Chinese oil painting from the perspective of realism creation, broadens a new horizon of theoretical research on the creation and education of contemporary realistic oil painting, enriches the artological research object, and enhances the artological theory. This paper will ultimately reinterpret Chinese realism, explore the path of localization of Chinese realist oil painting, effectively reform realist art education, and bring new development to the creation and teaching of realist oil painting in China.

초등학교 방과후학교 중국어교육 활성화 방안 연구 : 용인시를 중심으로

김화옥 수원대학교 교육대학원 2010 국내석사

The purpose of this study is to find an efficient after-school education program to develop schoolchildren's talent, specialty and aptitude and to reduce private education expenses through inquiring into cognizance of schoolchildren, teachers and school parents. The goal of this study is to investigate the four specific subjects as below; First, I grasped the current situation of after school Chinese education at elementary school in Yong-in Region. Second, I carried out a survey for cognizance and preference of schoolchildren, teachers and school parents about Chinese education. Third, through the understanding of private education expenses, I found a solution to reduce such expenses with an after school education program. And last, on the base of the results of the above three subjects, I pointed out problems and suggested improvements for the after school Chinese education program The results of this study can be summarized as below; Most of the teachers who teach Chinese in after school education programs at elementary school, they are thinking that the Chinese education is needed in elementary school and it can help schoolchildren develop their talents and specialties. The schoolchildren, who are taking an after school education program, have an interest in Chinese class and want to take Chinese education programs which use various media. And it is shown similar proportion to make the decision for taking Chinese class between choosing by themselves and mom’s recommendation. They, also, think that 6 to 10 students per class are suitable for Chinese education program. The school parents are aware of the importance and necessity of Chinese but their thoughts mostly focus on English. And most of their children are taking the class, after formal school education, either private education or after school education. The reason why they choose an after school education is that it has inexpensive tuition and various programs. Meanwhile, they want experts from the outside for teachers, less than 10 students per class, a range of 26,000won to 30,000won for tuition per class and same aged class by achievement levels in after school Chinese education program. Regarding contents of the class, they prefer Chinese for daily lives and programs for the sake of arousing the children’s interest. The problems in the current after school Chinese education that were revealed from this study are listed below; Internally, there are many problems those are an assignment of classrooms in school, setting up a language learning environment, guarantee of minimum wage for teachers, restoring credibility to the formal school education and effective public relations. Also externally there are problems such as development of suitable teaching material for each level, making professional training programs for teachers and providing an expert teachers’ pool from the outside. The current after school education program is having an effective role in finding and developing student’s talent and aptitude. However, in order to expend such role and to operate more efficiently, it has to avoid the trap of the uniformity and inflexibility of formal school education, and further, it should be a more developed flexible education program to make students continue to learn the education contents in accord with their needs.

중국 근대 무술교육 정착과정에 관한 연구

린천풍 전북대학교 일반대학원 2023 국내박사

The purpose of this study is to examine the settlement process of modern martial arts education in China, and the following conclusions were drawn on the settlement process of modern martial arts education by selecting and considering the three most representative stages in the history of modern martial arts education. First, Ma Yang's "Chinese New Martial Arts" had a great influence on modern martial arts education and was the beginning of modern Chinese education.The compilation period of "Chinese New Martial Arts" was a time when the country faced internal and external crises at the end of the Qing Dynasty. During this period, Maryang tried to use martial arts education with the aim of improving the military's combat capabilities. In the spring of 1905, Maryang was stationed in Beijing and became the 6th Jeongchamogwan. During this period, Maryang began to teach his own solgak skills in the army with the permission of Jangdan Book. After 1909, Maryang began to teach solgak in the army and compile textbooks. In 1911, Maryang moved to Shandong Province, and at this time, he named the textbook he compiled "Chinese New Martial Arts." At the end of 1916, Maryang completed the compilation of "Chinese New Martial Arts Solgak Department" and "Chinese New Martial Arts martial arts department", and these textbooks were adopted by the Ministry of Education as reference materials for school sports subjects in 1917. Later, "Chinese New Martial Arts Bongsul Department" and "Chinese New Martial Arts Sword Department" were officially published in 1918, and were selected as essential textbooks for the military and police at that time and reference textbooks for school sports. The educational method of Maryang's Chinese New Martial Arts started with simple individual movements such as gymnastics, and practiced consistent movements after familiarity. Since then, the students have practiced offense and defense together, and finally, all consistent movements have been divided into four stages, and are organized for students to practice. The Chinese New Martial Arts education system, which was organized in this gymnastic way, was easy for students to learn and acquire. In summary, Maryang previously changed the educational methods of oral deep-seam and Bujeon-seung of martial arts, introduced a group teaching method, improved one-on-one education method for soldiers and police, and taught martial arts, so he was the first improvement to modernize martial arts education. This educational method later became a major form of modern martial arts education, and in particular, the group teaching method became a universal form of education after New China. The emergence of the National Sports Council as a social organization for martial arts education promoted the spread of traditional martial arts to society. In Korean society, improving the people's self-reliance ability due to the change of ideology became the main concern of educators at the time, and the Political Affairs and Sports Council also complied with this trend, and aimed to foster citizens who could stand on their own feet. Therefore, it was intended to complete this purpose through traditional martial arts. Founded in 1910, the Shanghai Political Sports Council was the longest and most popular social martial arts organization in modern China. It was founded in 1910 and was first called the "Jeongmu Gymnastics School" in 1913, and changed its name to "Jeongmu Sports Council" in 1916. In 1918, the Hankou Political Science and Sports Branch was established, and from 1918 to 1924, the Political Science and Sports Council established 23 branches in Korea, which greatly promoted the spread of martial arts education in each region of China. The Political Affairs and Sports Council was the first comprehensive martial arts society organization in modern China to foster modern citizens whose virtues, knowledge, and body were fully developed through traditional Chinese martial arts. In terms of the organizational system, the organization of the Political Affairs and Sports Council was a well-organized organization consisting of many departments in charge of specific tasks, and the YMCA created numerous local branches nationwide, which later became the basis of the Central Museum. From the perspective of the contents of the education, the Political Affairs and Sports Council was the first institution in modern China to approach martial arts education from a nationalist perspective. At that time, the contents of the education of the National Sports Council were not only recreational new martial arts, but also traditional Chinese martial arts and divided into martial arts in the Yellow River basin and the Yangtze River basin. This method promoted the development of traditional martial arts in China by allowing them to spread in a balanced manner. Finally, the Central Museum of Korean Art played an important role in the development of modern martial arts education. At that time, martial arts were not distributed throughout China, and Sino-Japanese relations were gradually deteriorating, so in this background, the educational goals of the Central Museum of Korean Art included the dissemination of martial arts and the salvation of China. In 1928, the Central Museum of Korean Studies, which is directly under the national government, was officially established, and Jang Ji-gang was the director of the National Museum, and in 1929, the Organization of the Central Museum of Korean Studies was announced. According to this outline, the Republic of Korea government began to establish the Guksulgwan system from the center to the provinces, and after the establishment of the Central Guksulgwan, the national government ordered the establishment of Guksulgwan in each province, city, prefecture, district, and village. According to statistics, by the end of 1933, about 24 provinces and city halls were built, and about 300 prefectural halls were built, and a unified national museum system was formed across China. In addition, since the Central Korean Art Museum's educational target is all Chinese, the system allows the entire nation to learn martial arts inside the Korean Art Museum, which greatly promoted the spread of martial arts. The Central Museum of Korean Art provided various and rich educational contents, including bare-handed martial arts, weapon martial arts, and martial arts theory, and began research on the scientificization of martial arts to realize the spread of martial arts. The textbook not only emphasized the content of the martial arts curriculum, but also dealt with the precautions of the curriculum in accordance with the principles of pedagogy. In addition, martial artists at the Central Museum of Korean Art referred to many Western scientific knowledge such as physiology and psychology to explain the precautions of martial arts practice, and textbook legends detail various precautions to be taken when practicing various kinds of martial arts. Furthermore, during the period of the Central Museum of Korean Art, experts who studied martial arts wrote many martial arts theory textbooks, and other martial artists also mentioned the history and transmission of martial arts in their textbooks. This scientific martial art was undoubtedly the basis of modern martial arts science research, and the work of martial arts history became an important material for studying the history of martial arts of the time. However, entering the New China, the Chinese government paid too much attention to the development of economic martial arts and neglected the development of traditional martial arts, causing traditional martial arts to fall into a recession again. The Central Museum of Korean Martial Arts was not recognized in the modern era as the unified traditional martial arts education institutions were eliminated from modern times, not only did they not match the level of development of traditional martial arts in each region. Because of this reality, many martial artists are applying the pre-modern martial arts transmission method to modern traditional martial arts education, and for example, the characteristics of the closed and mysteriousness of ancient martial arts are re-emerged in traditional martial arts education in modern society. The most representative example was the emergence of pseudo martial arts masters, who not only do not have practical skills but also regard martial arts as a tool of profit, so their appearance harms the reputation of traditional martial arts and has an extremely disadvantageous effect on the development of traditional martial arts. To sum up the above, China's traditional martial arts development is stagnant again, and there are many problems to be solved, and in this situation, it is even more necessary to reflect on the efforts of modern martial artists to develop martial arts. This is because modern martial artists' efforts to promote the publicization or scientificization of martial arts can be the basis for the current development of traditional martial arts. In addition, the view that Gyeonggi martial arts lost its identity by pursuing martial arts too much has now become a common perception among Chinese, so looking back on the past period and examining how martial arts were valued and distributed in the goal of saving and surviving the country can have a good impact on the development of today's martial arts. Therefore, the development of modern martial arts has been a valuable asset in the modernization of martial arts, and by observing the development of modern martial arts, we can not only discover the discoveries of modern martial arts, but also present implications for the development of martial arts today.

A Study on Public Art Major Education Model Development in China Design Discipline

웬예 건국대학교 대학원 2019 국내박사

In this stage of gradual maturity of people’s wisdom, aesthetic ability and judgment ability of art and culture have begun to have a clear improvement. China is undergoing a profound social transformation and rapid urbanization process. Although contemporary public art originated in modern western developed countries, it has become a new field of coverage of art and design after its introduction into China, which fills in the blank after the rapid expansion of urban environmental space in China. However, the lack of talents in the related fields of public art has become a problem that must be faced directly in China at this present. For this reason, since 2012, when the Ministry of Education of China set up higher education for public art majors under the discipline of design, a total of 39 colleges and universities have set up public art majors and trained relevant students for the public art industry. This also makes China becoming the only country in the world to have higher education for public arts. However, due to the difference between Chinese and Western public art concepts, the long-term coverage of Chinese art and design concepts, the contradiction between Chinese public art theory and practice, and the vagueness development direction of Chinese public art industry, and the problem of major education in Chinese design has become the resistance to the development of public art education, and at the same time, a range of serious education problems have emerged. Under such condition, the education of public art in China is still showing an increasing trend, and the purpose of this study is based on a clear understanding of the concept of public art in China and the concept of public art in the West, clarifies the requirements of the Ministry of Education of China for the education of public art major, and on this basis, analyzes the present situation and problems of the education of 39 public art colleges and universities in China, and compares the differences between Chinese and Western public art related curriculum models. Based on defining the essential attribute of Chinese public art education, this research developed the education model for Chinese public art major, and puts forward positive suggestions for the improvement and development of Chinese public art major education. First of all, based on the understanding of the relevant literatures collected in this study, the western public art is subordinate to the field of public design, and public design is a branch of urban design. Therefore, western public art is art product with publicity, which exists in public space and is supported by public funding to export aesthetic content to everyone and stimulate social value. While Chinese public art contains both art and design products, it also has a certain degree of publicity, but it is supported by government funding and exists in government controlled public space. It not only outputs aesthetic content to everyone, also export the content of mainstream ideological and political education in China, and stimulate the socialist value with Chinese characteristics. China Ministry of Education has a macro understanding of public art education. There is a clear purpose in setting up public art education in universities and colleges, even if public art is on the basis of beautifying the urban environment. At the same time, it can also become a tool for government to spread ideological and political education to the public. Based on this, China Ministry of Education also makes corresponding requirements for the objectives and content of public art education. Therefore, based on the requirements of the Ministry of Education of China, this study makes a corresponding analysis of the 39 colleges and universities offering public art education, and the results show that there is a purposeful contradiction in the education of public art majors. There are some problems, such as the deviation of cognition and the lack of tolerance, and this study holds that the fundamental reason lies in the fact that most colleges and universities have been using the traditional education model of design discipline to carry out the teaching activities of public art major. That is, the contradiction between the requirements of the new design discipline and the traditional design education inherent thoughts. Standing on the comparing with the curriculum model of design education in the West, combined with the requirements of the Ministry of Education of China for public art education, this study finds that, at present, the education of public art major should take how to realize the "publicity" of public art works as the core of teaching, and the process of realizing "publicity" should be the main content of teaching under the condition that the main theory is vague and missing. From such a point of view, this study puts forward three inherent attributes of Chinese public art professional education, namely, ‘Cross-media Implementation’, ‘Non-elite Artistry’ and the ‘Project-based Practicality’. Among them, the ‘Cross-media Implementation’ refers to the scope of public art education, and the Non-elite Artistry of refers to the connotation and thinking of public art education, Project-based Practicality refers to the methods and ways of public art education. Based on this, this study puts forward a new education model of public art majors. There is a certain difference between the new model and the traditional design discipline education model. It needs the cooperation and support from urban government department, public art related industries and colleges and universities where public art majors are located. The core of the process is to divide the process of realizing the ‘publicity’ of public art works into four basic sections, and each section is divided into six implementable steps, which is the core content of the curriculum system design of public art major. Furthermore, this study also puts forward a new curriculum design content and teaching method under the education model of public art education, and takes the original teaching plan of public art major as an example, this research shows the revision and updating of the curriculum system based on the new education model. As a new part of design discipline education, the development and research of the education model of public art major is helpful to get further understanding in the subject attributes and characteristics of public art majors, which is beneficial to the construction of the curriculum system in the future. It is also significance to construct a more scientific and reasonable education model and to form effective teaching and learning methods. 오늘날 중국은 심각한 사회 변혁과 급속한 도시화를 겪고 있으며, 미술과 문화에 대한 사람들의 미적 감각과 판단 능력이 분명히 향상되기 시작했다. 서구 선진국에서 시작된 현대 공공예술은 중국에 도입되어 새로운 예술과 디자인이 융합된 분야로 자리 잡았고, 그것은 중국의 도시 환경 공간이 급속한 팽창으로 생긴 중국의 도시 환경 공간의 빈 공간을 메웠다. 그러나 공공예술 관련 분야의 인재는 부족한 실정으로 중국 공공예술의 발전에 반드시 직면해야 할 문제로 대두되고 있다. 중국 교육부는 2012년부터 디자인학과 산하에 공공 예술 전문 고등 교육을 설립하여 지금까지 39개 대학이 공공예술학과를 운영하고 있다. 그 학과들은 공공예술 업계에 맞추어 관련 인재를 양성하는 전 세계 유일의 공공예술 분야로 자리 잡았다. 그러나 중국과 서양의 공공예술 개념의 차이, 중국 예술과 디자인 개념의 장기적 통합의 문제, 중국 공공 예술 이론과 현실에 어긋나는 문제, 중국 공공 예술 산업의 발전 방향이 모호한 문제, 중국 디자인 분야에서 전문 교육의 발상의 문제 등이 있으며 중국 공공예술이 전문 교육의 한계로 작용하면서 심각한 교육 문제가 나타나고 있다. 이러한 상황의 배경에도 불구하고 중국의 공공예술 전문교육은 여전히 증가하는 추세이다. 본 연구의 목적은 중국 공공예술의 개념과 서양 공공예술의 개념의 차이를 정확하게 이해하고 중국 교육부의 공공예술 전문교육에 대한 요구를 명확히 하는 것이다. 이를 기준으로 현재 39개 공공예술대학 의 전공 개설 현황과 문제점을 분석하고 중국과 서양의 공공예술 관련 교과과정 모델의 차이를 비교한다. 또, 중국 공공 예술 교육의 본질적 특성을 토대로 중국 공공 예술 교육에 적합한 교육 모델을 개발하고, 이를 통해 중국 공공 예술 교육의 개선과 발전을 적극 제시한다. 우선, 본 연구에서는 수집된 관련 문헌과 이론에 대한 이해를 기초하여 살펴본 바, 서양의 공공 예술은 공공 디자인 분야에 속하고 공공 디자인은 도시 디자인의 한 부분으로 서양의 공공 예술은 공적 자금의 지원을 받아 공공장소에 존재하며 모든 사람에게 미학적인 내용을 제공하고 영감을 주는 사회적 가치를 유발하는 공공의 속성을 가진 예술 작품이라는 것을 알 수 있었다. 반면 중국의 공공 예술은 디자인 제품을 함께 포함하고 있다. 또한, 서양과 마찬가지로 공공성을 갖추었지만 정부 자금의 지원을 받아 정부 관할 하에 있는 공공장소에 존재한다. 이 공공예술품은 모두에게 미학적인 내용을 알릴뿐만 아니라 중국의 주류 이념(Ideology) 및 정치 교육의 내용을 알리고 중국의 특별한 사회주의 가치를 고취시키는데 중점을 갖는다. 중국 정부와 교육부에서는 공공예술 전문교육에 대해 거시적 이해를 가지고 있으며 중국 대학원 공공예술 전문 교육을 개설하는 것에 대한 명확한 목적을 가지고 있다. 공공예술이 아름다운 도시 환경의 기본이지만 동시에 정부가 민중들에게 사상 정치 교육을 전파하는 수단이 될 수도 있다. 이에 따라 중국 정부는 공공예술 전문교육의 목적과 내용에 대해서도 상응하는 요구를 하고 있다. 그래서 본 연구에서는 중국 교육부의 요구를 분석의 기준으로 하여 중국에 공공 예술 전문 교육을 개설한 39개 학부에 대해 분석을 실시하였으며, 분석 결과 중국의 공공 예술 교육에 존재하는 목적의식의 모순, 인지의 편차, 내용의 결여 등을 지적하였다. 본 연구에서 근본적인 이유로는 대부분의 대학이 전통적인 디자인학과 전공을 채택해 공공예술 전공을 가르치는 활동, 즉 신종 디자인학과의 요구와 전통 디자인학과의 정해진 틀 사이의 모순이 있다고 제시한다. 반면 서양 디자인학과의 전공 교육과의 커리큘럼 패턴 비교에 기초를 두고 중국 교육부의 공공예술 전문 교육에 대한 요구를 접목시켰다. 본 연구에서는 현 단계에서 중국의 공공예술 전문교육은 전공이론의 모호함과 부재의 실제적 상황에서 어떻게 구현되어야 하는지를 발견했다. 공공예술 작품의 ‘공공성’을 어떻게 실현하느냐가 핵심이고, ‘공공성’을 실현하는 과정이 주요 내용이다. 이러한 관점에서 본 연구는 중국 공공예술 전문교육의 세 가지 내재적 속성, 즉 ‘범 매개체 실현성(Cross-media Implementation)’, ‘비 엘리트 예술성(Non-elite Artistry)’, ‘프로젝트의 실천성(Project-based Practicality)’ 을 제시했다. 그중 ‘범 매개체 실현성’은 공공예술 전문교육의 범위를 가리키고 ‘비 엘리트 예술성’은 공공예술 전문교육의 내포 및 사유를 말한다. 반면 ‘프로젝트의 실천성’은 공공예술 전문교육의 방법과 경로를 말한다. 이에 기초하여 본 연구는 새로운 공공 예술 전공 교육 모델을 제시하였다. 이 모델은 전통적인 디자인학과 전공 교육 모델과는 차이가 있고 도시 정부 부처, 공공 예술 관련 산업, 공공 예술 전공이 있는 대학들의 협력과 지원을 필요로 한다. 그 핵심은 공공 예술 작품의 ‘공공성’이 실현되는 과정을 4가지 기본적인 부분으로 나누는 것이다. 각 부분은 6개의 실행 가능한 단계로 서로 나누어져 있으며 이는 공공예술 전공 커리큘럼 모델 설계의 핵심 내용이다. 이에 기초하여 본 연구에서는 새로운 공공예술 전문 교육 모델 아래 커리큘럼 디자인 내용과 교학 방법을 제시한다. 또 중국의 기존 공공예술 전공 교과 계획을 예로 들어 본 연구에서 제시한 교학 모델에 기초한 커리큘럼 체계의 개정과 갱신을 보여준다. 디자인학과 교육의 새로운 구성 부분인 디자인학과 공공예술 전공교육 모델 개발에 관한 연구는 공공예술 전문학과 속성과 특징을 좀 더 이해하는 데 도움이 되며 전문 커리큘럼 시스템의 구축 및 개선에 도움이 될 것이다. 또, 보다 체계적이고 합리적인 교과 모델을 구축하여 효과적인 수업과 학습 방법을 형성하는 데에도 의미를 가진 연구이다.

A Study on Evaluating the Effectiveness of Folk Dance Education as an Aesthetic Education in Chinese Universities

감봉염 세한대학교 대학원 2024 국내박사

The purpose of this study was to analyze the aesthetic effects of Chinese folk dance classes at the levels of reaction, learning, and behavior, using Kirkpatrick's four-level evaluation model. The respondents were dance students from universities in Hunan, China, and the aesthetic effects of Chinese folk dance courses were analyzed through Kirkpatrick's model at the reaction level, the learning level, and the behavior level, respectively. Independent samples t-test, variance test, Pearson's correlation coefficient, and regression in SPSS 22.0 were used to analyze the data for the first three levels of the Kirkpatrick's model scale. The results of the study are presented below. Firstly, the mean analysis of the reaction level and its sub-dimensions revealed that the overall average of the reaction level was relatively high. This indicates that, on average, the participants demonstrated a positive and favorable reaction to the evaluation. Additionally, when evaluating specific aspects of the course, such as course content, learning atmosphere, and course organization, the students expressed a high level of satisfaction. Furthermore, an analysis of variance was performed to clarify the research results, and it showed that there were no significant differences among the three groups (gender, grade, and age). Secondly, an analysis was conducted on the learning level and its sub-dimensions: knowledge acquisition, skill improvement, and attitude transformation. Simultaneously, measurements were taken on aspects containing elements of aesthetic education. The average results show that students have better mastery of knowledge and skills after participating in the Chinese folk dance programme. This reflects that with the change in learning ability and improvement in dance skills, the aesthetic ability also improves thus producing a good aesthetic education effect. Furthermore, a differential analysis was performed using demographic variables. The results showed no significant differences between grade groups and age groups. However, a significant difference was observed between gender groups, indicating that male students generally outperformed female students, particularly in skill improvement, showcasing their superior learning achievements. Thirdly, an analysis was conducted on the behavior level and its sub-dimensions: Application of knowledge and Change of behavior. Simultaneously, measurements were taken on aspects containing elements of aesthetic education. Mean results showed that students' behavioural engagement was average. They applied what they learned relatively well and reported some observable behavioural changes.The results of the analysis of variance through the demographic variables of the Behavior level and its sub-dimensions Application of knowledge and Change of behavior showed no significant difference in the two groups of gender and grade, but there was a significant difference in the group of age, and the results showed that the change in behavior was more significant as the age increased. In other words, the change in attitudes was more pronounced as the students grew older, suggesting that the program had a positive impact on their aesthetic sense and values as they grew older. Lastly, to further explore the relationship between the levels, a regression analysis was conducted on the reaction, learning, and behavior levels. The reaction level had a more significant effect on the learning level, with classroom satisfaction directly influencing learning outcomes positively. Moreover, learning outcomes also positively influenced behavior change, but the reaction level had less of a direct effect on the behavior level, suggesting that course satisfaction influences learning outcomes, while learning outcomes lead to behavior change. This dissertation attempted to evaluate the effectiveness of aesthetic education in Chinese folk dance through relevant theoretical and empirical research. To date, there have been no empirical research cases evaluating the effectiveness of Chinese folk dance aesthetic education. This study fills this gap by proposing elements for evaluating the effectiveness of Chinese folk dance aesthetic education based on a theoretical model. As a result, this research holds significant importance in contributing to the field of aesthetic education and providing valuable insights for future studies and curriculum development in the domain of Chinese folk dance education. Keywords: Aesthetics Education, Effects of Aesthetics Education, Chinese Folk Dance, and Chinese Folk Dance Education, Kirkpatrick Model.

Research on the Improvements of University Piano Education Through the Application of Chinese Piano Works

왕하 세한대학교 대학원 2023 국내박사

The purpose of this study is to explore the improvement direction of the existing piano education by analyzing the application status of Chinese piano works in piano courses in colleges and universities and the views of major stakeholders. To this end, this study analyzes the piano curriculum in domestic colleges and universities, analyzes teachers’ and students' understanding of Chinese piano works used in piano lessons, and conducts in-depth interviews in order to obtain relevant insights from experts. The subjects of this study are seven piano professional colleges and their teachers and students in Changsha, Hunan. The piano curriculum of the 7 universities were analyzed with reference to the relevant National Standard for piano education in Chinese universities. The questionnaire survey was conducted from September to December 2022 with 314 students and 30 piano teachers affiliated to the 7 universities as objects. For the collected survey data, a frequency analysis was conducted for each item, and a difference analysis according to demographic variables was conducted. In addition, interviews were conducted for two months from March to April 2023 on four experts from three universities in China. The qualitative data of the interviews were summarized by theme, focusing on major points of improvement. The research results based on the collected data are as follows. First, the piano teaching courses of the seven colleges and universities meet the national piano teaching standards of China. The findings were as follows. First, the piano education programs of the seven universities met China National Standard for piano education. However, areas that did not meet the needs of their teachers and students were identified, with a trend in the quality of curriculum implementation. Second, the results of the questionnaire survey conducted with teachers and students show that teachers have high satisfaction with the content of piano education using Chinese piano works, and low satisfaction with education, and their professional understanding of the application of Chinese piano works is also low. Students' overall satisfaction with the application of Chinese piano works in piano lessons is relatively high, and their professional understanding of Chinese piano works and their perception of educational courses are also high. However, in terms of students' sense of identity with traditional Chinese music culture, their perceptionis is low. Third, the improvements received from experts in piano education resulted in practical suggestions on four aspects: professional understanding, curriculum recognition, cultural identity, and teaching needs. Fourth, this study divides the improvement points of Chinese piano works into college piano teaching into five aspects, including teaching purpose, training courses, content of Chinese piano works, teaching methods, and evaluation. College piano educators adopt a comprehensive approach emphasizing teaching purpose, content, teaching methods, evaluation, etc., and extensively put forward plans to effectively apply Chinese piano works to piano education. This study provides an opportunity to expand the applied research on Chinese piano works, which was previously at the level of literature review and discussion, to more comprehensive empirical research. At the same time, based on the academic improvement measures proposed here, it is expected to help create a variety of piano education environments.

중국 사립고등교육정책 변화에 대한 신제도주의적 분석

王巍澤 고려대학교 대학원 2015 국내석사

As an important element of the Chinese higher education and a significant supplement to the public education, the Chinese private higher education has a long history and has guaranteed and promoted a comprehensive development of the Chinese higher education. As an important indicator of the private higher education development trend, the private higher education policy has constantly been focused on. To further implement and promote an positive, open and efficient private educational policy not only meet people’s increasingly personalized and diversified educational demand and supplement the simple educational product provided by the present public education, efficiently eased the imbalance between the education supply and demand, but also help improve the overall level of the Chinese higher education; The most important aspect is that it means a great significance toward solving the long-standing imbalanced distribution of human resources among different areas in China and it contributes to upgrade the educational industry and improve the scarcity of high-quality human resources. Under these circumstances, the private higher education policy has become a macro regulatory tool for the Chinese government to allocate higher education resources. Since the 21st century, the Chinese higher education policy has been gradually opened and improved, which reflected the firm determination of the Chinese government to reform the former socialist education system and restart the development of the private higher education course. This research paper systematically organized and summarized the historical literature documents about the Chinese private higher education as well as comprehensively referenced and analyzed the present research result through historical literature research method. Taking the historical changes for reference, this thesis researched the historical development of the Chinese modern private higher education policy from a vertical dimension, cleared the historical changes and the characteristics during the period from the end of Qing dynasty to now, that was a long time more than 100 years. Secondly, this thesis constructed a new detailed comprehensive analysis framework based on the critical juncture and Path Dependence of historical new institutionalism and supplemented by a deep analysis of Veblenian dichotomy in political analysis and research method On basis of this, this thesis strived to conduct a comprehensive and deep analysis and research on the Chinese private higher education policy. The research believed that the policy of the Chinese private higher education was characterized by Path Dependence. In detail, the attitude of government is a decisive factor for the prosperity and decline of the private higher education because the wavering encouragement and opposition always go with the historical changes of the Chinese private higher education. The present Chinese private higher education policy was derived from popularization and marketization of Chinese higher education and it led to the Structural Imbalance of higher education market. The Chinese private higher education policy also revealed the historical tradition that China attached great importance to education, which is in accordance of the social standard of the culture mode. In recent 30 years, the Chinese government is dedicated to improve the modern higher education system while there are still many problems and defects in the course. In reference to the historical experience, the author put forward the improvement program for the present Chinese private higher education policy.

중국 유아교사의 다문화 관련 경험과 다문화 감수성이 다문화교육역량에 미치는 영향

유우 중앙대학교 대학원 2020 국내석사

With China’s economy booming, more and more foreign capital has entered the Chinese market, it already created a deep impact towards the early childhood education. There were many international cooperative kindergartens with foreign investments established for the past decade, and more coming in the future, they become one of the most preferable options for many parents in Chinese society. In order to meet the diverse needs of early childhood education, the multicultural education ability of early childhood teachers has gradually become a topic of social concern. Therefore, for the purpose of improving the multicultural education ability of preschool teachers, this article starts with the multicultural experiences and the multicultural sensibility of Chinese early childhood teachers and uses a questionnaire to explore the impact of those experiences and sensibility on educational capabilities for early childhood teachers. The research questions for this study are as follows. Questions 1. Does the personal background of Chinese early childhood teachers affect their multicultural education ability? Questions 2. Does the multicultural experiences of Chinese early childhood teachers affect their multicultural education competence ? Questions 3. What is the relationship between the multicultural sensibility and multicultural education competence of Chinese early childhood teachers? Questions 4. What is the relative influence of the multicultural sensibility of Chinese early childhood teacher on the competence of multicultural education? With the purpose of understanding the multicultural experiences, multicultural sensibility and multicultural education competence of Chinese early childhood teachers, this article uses questionnaires from Kim Soo-Jin (2016), Kang Jong-Hoon (2015), Park Jeong-Hee (2014) as basic skeleton, modified in accordance with the actual situation in China, verified by one Doctor of early childhood education, one graduate student of early childhood education (Korean ethnicity) and two Chinese early childhood teachers. A preliminary survey of 20 Chinese early childhood teachers was conducted during September 1- September 6, 2019. From September 8th to October 1st , 2019, 232 questionnaires were collected through QQ and WeChat. After final screening 215 questionnaires were analyzed using Excel 2016 and SPSS 21.0. The research methods include descriptive statistics, t-test, one-way ANOVA, Pearson’s correlation and multiple regression analysis, the results of the study are as follows. First of all, from the personal background of Chinese early childhood teachers, the multicultural education competence of male Chinese early childhood teachers is higher than that of female Chinese early childhood teachers. The older and higher education the stronger ability to multicultural education. In addition, Chinese early childhood teachers with 4-6 years or 11 years of experiences in early childhood education have a stronger multicultural education competence. The multicultural education ability of international kindergarten teachers is higher than teachers from more traditional kindergartens. Second, Chinese early childhood teachers who have multicultural related curriculum learning experience, multicultural child coaching experience and who have multicultural families among friends and relatives have stronger multicultural education capabilities. Moreover the greater number of foreign languages that Chinese early childhood teachers can communicate with daily basis, the stronger the ability of multicultural education. Finally, from the perspective of the correlation and influence of multicultural sensibility of Chinese early childhood teachers and multicultural education competence of Chinese early childhood teachers, there is no overall relationship between those two aspects. However from the analysis of their individual sub-factors, the stronger the respect of Chinese early childhood teachers for cultural differences, the deeper the understanding of multiculturalism. 중국 경제가 발전함에 따라 점점 더 많은 외국 자본이 중국 시장에 들어오고 유아교육 분야도 그 영향을 받아 많은 국제유치원이 생겼다. 유아교육 분야의 다문화적 수요를 충족시키기 위해 유아교사의 다문화교육역량이 주목받기에 시작하였다. 이에 본 연구는 중국 유아교사의 다문화교육역량을 증진시키기 위한 방안을 모색하는 데에 목적을 두고, 중국 유아교사의 다문화 관련 경험 및 다문화 감수성은 다문화교육역량에 어떤 영향력이 있는지를 알아보았다. 이러한 목적에 따라 다음과 같은 4가지의 연구문제를 설정하였다. 연구문제 1. 중국 유아교사의 개인적인 특성에 따라 다문화교육역량에 차이가 있는가? 연구문제 2. 중국 유아교사의 다문화 관련 경험에 따라 다문화교육역량에 차이가 있는가? 연구문제 3. 중국 유아교사의 다문화 감수성과 다문화교육역량 간에는 어떠한 관계가 있는가? 연구문제 4. 중국 유아교사의 다문화 감수성이 다문화교육역량에 미치는 상대적 영향력은 어떠한가? 중국 유아교사의 다문화 관련 경험, 다문화 감수성, 그리고 다문화교육역량을 알아보기 위해 각각 김수진(2016), 강종훈(2015), 박정희(2014)의 연구에서 활용한 설문지를 기초로 중국의 상황을 고려해서 중국 유아교사에 맟추어 다시 수정하였고 지금 한국에 유아교육전공 박사과정을 하고 있는 중국 유학생 1명, 유아교육전공 석사과정을 수료한 중국 조선족인 유학생 1명, 그리고 한국에서 유아교육전공 석사를 졸업했고 지금 중국 광저우시에 한 유치원에서 재직하고 있는 중국 유아교사 2명에게 타당도 검증을 받아서 2019년 9월1일부터 9월6일까지 중국 유아교사 20명에게 예비조사를 실시하였다. 본 조사는 2019년 9월8일부터 2019년 10월1일까지 중국의 google 설문지인 問卷星을 이용해서 중국 유아교사에게 QQ과 WeChat를 통해서 설문지를 배부하였고 232부를 회수한 후 검토 과정을 걸쳐서 215부를 최종 연구대상으로 선정해서 Excel 2016, SPSS 21.0 프로그램을 이용하여 Cronbach's α 계수, 빈도 분석 및 기술통계분석, t-test와 일원분산분석, Pearson적률 상관관계분석, 그리고 다중회귀분석을 실시하였다. 연구 결과를 정리하면 다음과 같다. 첫째, 중국 유아교사의 개인적 특성과 다문화교육역량 간의 관계를 분석한 결과는, 남자 유아교사의 다문화교육역량은 여자보다 높은 수준이 나타났으며, 연령, 최종학력이 높을수록 다문화교육역량이 높게 나타났다. 그리고 4년-6년이나 11년 이상의 교사 경력을 가진 중국 유아교사들은 보다 다문화교육역량이 높은 수준으로 나타났다. 또한 국제사립유치원에서 재직하고 있는 유아교사의 다문화교육역량이 보다 높은 것을 나타냈다. 둘째, 다문화수업 경험, 다문화지도 경험, 그리고 다문화가정 지인이 있는 유아교사의 다문화교육역량이 높게 나타났으며, 소통 가능한 외국어가 많을수록 유아교사의 다문화교육역량이 높아진다는 것으로 나타났다. 셋째, 중국 유아교사의 다문화 감수성과 다문화교육역량 간의 상관관계를 알아본 결과, 다문화 감수성 전체 및 하위요인은 다문화교육역량과 통계적으로 상관성이 없으나, 각각의 하위요인들 간의 관계성을 본 결과는 다문화 감수성 중의 문화차이 존중도가 증가함에 따라 다문화교육역량의 하위요인인 다문화 인식이 증가하였다고 보였다. 넷째, 중국 유아교사의 다문화 감수성이 다문화교육역량에 미치는 영향을 알아본 결과, 다문화 감수성이 전체 다문화교육역량에 유의미한 영향을 미치지 않았다는 것으로 나타났으나 각각 하위요인에 미치는 영향을 알아본 결과는 다문화 감수성 중 문화차이 존중도가 증가할수록 다문화 인식도 증가하였다.

문화 체험 중심의 한국어 교재 개발 방안 연구 : 중국인 대학생 한국어 학습자를 대상으로

BAO JIAYU 경희대학교 대학원 2023 국내석사

The research objective of this thesis is to develop cultural textbooks for Chinese students majoring in Korean at Chinese universities. Korean education in some Chinese universities needs to keep up with the times, and cross-cultural teaching should be emphasized in the Korean language curriculum. By focusing on education that incorporates culture, it is possible to address cultural conflicts and international tensions between China and South Korea. However, the following three issues arise in cultural teaching: Firstly, there is a lack of cross-cultural education in Korean language instruction. Some universities neglect cross-cultural education in their Korean language programs. Secondly, the teaching model lacks innovation. Many universities still adhere to the traditional teaching approach, characterized by one-sided lecturing, passive student listening, and limited student interaction. This passive learning style hinders students' ability to think independently. Lastly, in recent years, there has been a problem with some Korean language teachers in universities. They lack experience and have an insufficient understanding of Korean culture and its background, resulting in a weak integration between teachers and Korean culture. Consequently, they are unable to effectively impart cross-cultural education to students. Based on the aforementioned issues, it can be concluded that due to limitations in the learning environment and teaching methods, learners can only acquire a partial understanding of Korean culture through teaching materials or teachers' explanations. Therefore, this thesis primarily focuses on the development of Korean textbooks centered around cultural experiences. The lack of cultural education mainly stems from Chinese learners' limited understanding of traditional Korean culture. This thesis targets Korean language learners in Chinese colleges and universities. The research primarily relies on references to Chinese university websites and relevant academic publications to examine the discourse surrounding cultural education and the development of cultural education materials. By analyzing the cultural education textbooks currently used in Korean language departments at Chinese universities, this paper proposes a more appropriate plan for the development of cultural education materials. Through observation and comparative analysis of teaching materials from China and South Korea, the study identifies differences and shortcomings in the existing materials. It concludes that teaching materials centered around cultural experiences are better suited for Chinese universities. This thesis is structured into six chapters. Chapter One serves as the introduction, addressing the purpose and significance of the research. It presents an overview of the current status of Korean cultural education in Chinese universities and outlines the existing issues. The chapter also provides a brief description of the research object, research methods, and research content. Chapter Two focuses on Korean language education and Korean cultural education in Chinese universities. Building upon this foundation, the chapter delves into the development of Korean cultural education textbooks and explores the necessity of such education. The third chapter discusses the principles and steps involved in textbook development. It examines the principles and procedures for creating teaching materials for cultural education, drawing insights from existing research. The author proposes principles and procedures for developing cultural education teaching materials, while also exploring the types and functions of the materials under discussion. Chapter Four involves a comparative analysis of selected Chinese and Korean textbooks. The conclusions drawn from this analysis serve as the basis for Chapter Five. Chapter Five showcases the actual development of the textbook and presents an applicable teaching plan. Lastly, Chapter Six provides a summary of the previous chapters, offering a cohesive conclusion to the thesis. Based on the research and analysis conducted above, several factors need to be considered in the development of cultural teaching materials. Additionally, in the geographical proximity of neighboring countries, cultural interaction becomes crucial. Culture and language are intertwined and inseparable. It is essential for Korean majors in Chinese universities to prioritize cultural education in the future. In light of this, the proposal of teaching materials centered around cultural experiences aims to provide learners with a tangible sense of Korean culture. However, there are still limitations to acquiring cultural knowledge solely through teaching materials. As a result, future research endeavors to integrate culture into the classroom through the use of current technology. This approach will enable learners to genuinely experience the cultural allure of other countries. 본 논문은 중국 대학에서 한국어를 전공하는 중국인 학습자를 위한 문화 교재를 개발하는 것을 목적으로 하다. 일부 중국 대학의 한국어 교육은 아직 시대에 뒤떨어진 내용을 가지고 있다. 한국어 수업에서는 다문화 교육을 반드시 강조해야 한다. 문화 중심의 교육은 한·중 간의 문화 갈등과 국제 갈등을 해결하는 데에 큰 도움이 될 수 있다. 그러나 문화 교육에서는 다음과 같은 세 가지 문제가 발생하고 있다. 첫째, 학교에서 다문화 교육이 부족하다는 점이다. 일부 대학의 한국어 교육은 다문화 교육을 충분히 반영하지 못하고 있다. 둘째, 교육 모델이 혁신적이지 않다. 일부 대학은 여전히 전통적인 교육 모델을 사용하며 교사의 강의에 의존하고 있으며 학생들과의 상호 작용이 부족하다. 이렇게 수동적으로 지식을 전달받는 방식은 학생들이 자율적인 사고능력을 점차 잃게 될 수 있다. 마지막으로, 최근 중국의 일부 대학은 한국어 교육에서 교사의 문제를 겪고 있다. 교사들은 경험이 부족하며 한국 문화에 대한 이해도와 배경지식이 부족하여 학생들에게 적절한 다문화 교육을 전달하지 못하고 있다. 이를 통해 학습 환경과 교수 방식의 한계로 인해 학습자들은 교재나 교사의 강의를 통해서만 한국의 문화를 학습할 수 있다는 결론을 내렸다. 따라서 본 논문은 문화 체험 중심의 한국어 교재 개발에 중점을 두고 있다. 문화 교육에 참여함으로써 문화 교육의 부족은 중국의 한국어 학습자들이 한국 전통문화에 대해 충분한 이해를 하지 못하고 있다는 점에 주목하였다. 본 연구는 중국 대학에서 한국어를 전공하는 학습자를 대상으로 수행되었다. 연구는 중국 내 대학의 홈페이지 및 주로 학술지 논문을 참조하여 이루어졌다. 연구의 목적은 문화 교육과 문화 교육용 교재 개발에 대한 논의를 조사하는 것이다. 중국 내 대학 한국학과에서 실제로 사용되는 문화 교육용 교재를 분석하여 더욱 적합한 문화 교육용 교재 개발 방안을 제시한다. 또한, 한·중 교재를 관찰하고 비교함으로써 편차와 결함을 도출하고, 중국 대학에서 적용할 수 있는 문화 체험 중심의 문화 교재를 제작하는 것을 목표로 하다. 본 논문은 총 6장으로 구성되어 있다. 제1장은 서론으로 연구의 목적과 필요성을 소개한다. 또한, 현재 중국 대학에서 한국 문화 교육의 현주소를 제시하고 문제점을 나열한다. 그다음으로는 본 논문의 분석 대상과 연구 방법 및 연구 내용에 대한 간략한 개요를 제시한다. 제2장에서는 중국 대학의 한국어 교육과 한국 문화 교육을 소개한다. 이를 바탕으로 한국어 문화교육 교재를 개발하여 한국어 문화 교육의 필요성을 고찰한다. 제3장에서는 교재 개발의 원리와 절차에 대해 다룬다. 문화 교육용 교재와 기존 연구에서의 교재 개발 원리와 절차를 분석한다. 이를 통해 문화 교육용 교재 개발의 원리와 절차를 제시하고 기존 논의에서 문화교육용 교재의 유형과 기능을 연구한다. 제4장은 한·중 교재 선정 후 교재에 대한 비교 분석이다. 분석을 통해 도출된 결론은 제5장의 기초가 된다. 제5장은 실제 개발된 교재의 전시 부분으로 적용할 수 있는 교안을 제시한다. 마지막으로 제6장은 앞의 각 장에 대한 결론을 도출한다. 문화 교재 개발을 위한 상기의 연구와 분석은 여러 가지 고려사항이 필요하다. 또한, 이웃 국가의 지리적 환경 속에서 문화의 상호 작용은 매우 중요하다. 문화와 언어는 분리할 수 없는 관계에 있다. 앞으로 중국 대학의 한국어학과가 문화 교육에 대한 관심을 두길 바란다. 이를 위해 문화 체험 중심의 교재를 제시하여 학습자들이 한국 문화를 어느 정도 체험할 수 있도록 하였다. 그러나 교재를 통한 문화 학습에는 한계가 있기 때문에 현재의 과학기술을 활용하여 실제 문화를 수업에 통합하여 학습자들이 다른 나라의 문화적 매력을 충분히 체감할 수 있도록 하는 것이 후속 연구의 방향이다.

중국 유치원 교사의 유아예술교육에 대한 인식, 실태 및 지원방안

허우페이페이 경남대학교 대학원 2022 국내박사

본 연구는 중국 유치원 교사의 유아예술교육에 대한 인식과 요구, 운영 실태를 면밀히 파악함으로써 중국 유치원 현장에 적합한 유아예술교육을 위한 교사교육과 연수 그리고 정책과 지원 전략 등 효과적인 유아예술교육을 실현하는 방안에 대한 시사점을 얻는 것을 목적으로 하였다. 이러한 본 연구의 목적을 위해 다음과 같은 연구문제를 설정하였다. 연구문제 1. 중국 유치원 교사의 유아예술교육에 대한 인식은 어떠한가? 연구문제2. 중국 유치원 교사의 유아예술교육 지도지침에 대한 중요도와 실행도는 어떠한가? 연구문제 3. 중국 유치원 교사의 유아예술교육 운영 실태는 어떠한가? 연구문제 4. 중국 유치원 교사의 유아예술교육 실행에서의 어려움과 지원방안에 대한 요구는 어떠한가? 이를 살펴보기 위해 중국 유치원 교사의 유아예술교육에 대한 인식 및 실태조사를 중국 산둥성(山东省) 지역 14개 도시와 농촌에 위치한 공립과 사립유치원 교사 600명을 대상으로 중국판 위챗(WeChat)을 활용하여 온라인 설문조사를 실시하였다. 이를 통해 최종 선정된 연구대상은 유치원 교사 580명이었다. 활용된 연구도구는 선행연구와 전문가 검토를 통해 연구자가 구성한 중국 유치원 교사의 유아예술교육에 대한 인식 및 실태조사용 설문지를 활용하였다. 최종 수집된 자료는 SPSS 26.0 프로그램을 활용하여 분석을 실시하였으며, 연구대상의 일반적 특성을 살펴보기 위해 빈도분석을 실시하였다. 또한, 연구문제별로 우선, 일반적 특성에 따른 중국 유치원 교사의 예술교육에 대한 인식 차이를 살펴보기 위해 일원변량분석(one-way ANOVA)과 카이검증(x2)을 실시하였으며, 사후검증으로 Scheffe test를 실시하였다. 정규성 검증을 위해 왜도와 첨도를 살펴보았으며, 등분산성을 가정하지 않을 경우 Welch test를 실시하였으며, 사후검증으로 Games-Howell test를 실시하였다. 다음으로 중국 유치원 교사의 예술교육 지도지침에 대한 중요도와 실행도를 살펴보기 위해 중요도-실행도 간 대응표본 t-test와 IPA 분석을 실시하였다. 그리고 일반적 특성에 따른 중국 유치원 교사의 예술교육 운영 실태, 예술교육 실행에서의 어려움 및 지원방안에 대한 요구차이를 살펴보기 위해 교차분석, 카이검증, Scheffe test를 실시하였다. 이러한 연구방법을 통해 도출된 결과를 요약하면, 다음과 같다. 첫째, 중국 유치원 교사의 유아예술교육에 대한 인식을 살펴본 결과, 유아예술교육의 내용에 대한 인식은 대부분 높았다. 일반적인 배경특성에 따른 예술교육 내용의 인식 차이를 살펴본 결과, 예술교육 내용에 대한 전반적 인식과 함께 유아발달에 대한 예술의 가치, 예술영역의 내용 범주, 예술영역의 교육목표, 예술영역의 세부내용, 예술영역의 교육목표와 세부내용 간의 연결, 예술영역의 내용범주별 교육지침의 특성과 문제점 등 하위 문항의 인식에서 대부분 최종 학력, 기관유형, 전공, 교사연수 유무에 따라 유의미한 차이가 나타났다. 한편, 유아예술교육과 유아발달 간의 관련성에 있어 중국 유치원교사들은 창의성, 통합적 사고능력, 표현능력, 신체운동능력, 사회정서능력, 의사소통능력 순으로 유아예술교육과 관련성이 있다고 인식하였다. 특징적으로 유아교육과 교육학 전공 교사들은 창의성과 통합적 사고능력과 관련성이 있다고 많이 인식하고 있는 것과 달리 예술 관련 전공과 연극 등 기타 전공의 교사들은 창의성과 함께 표현능력과 신체운동능력과 관련성이 있다고 인식하는 경우가 많은 편이었다. 둘째, 중국 유치원 교사의 유아예술교육 지도지침에 대한 중요도와 실행도를 살펴보고, 그 결과들을 근거로 중요도-실행도 IPA분석을 실시한 결과, 중요도와 실행도 간 차이가 나타났으며 중요도에 비해 실행도가 낮은 것으로 나타났다. 셋째, 중국 유치원 교사의 유아예술교육 운영 실태를 살펴본 결과, 일반적 특성 중 대부분 최종 학력, 기관유형, 전공, 교사연수 유무에 따라 운영 계획, 전개, 평가에 있어 유의미한 차이가 있었다. 구체적으로 최종 학력은 고졸과 2-3년제 전문대 졸업인 경우와 4년제와 대학원 재학 이상의 경우가 일부를 제외하고 유의미한 차이가 있었다. 기관 유형은 도시의 유치원과 농촌의 유치원 간에 차이가 나타났다. 전공은 유아교육학을 전공한 경우와 아닌 경우가 차이가 있었고, 교사연수 경험이 있는 경우와 아닌 경우에 따라 대부분 차이가 나타났다. 넷째, 중국 유치원 교사의 유아예술교육 실행에서의 어려움과 지원방안에 대한 요구를 살펴본 결과, 예술교육 실행에 있어 대학원생 이상, 도시 사립유치원, 유아교육학 전공, 만 5세 대반, 20명 이상 30명 이상, 교사연수를 경험한 교사들이 어려움을 더 높게 인식하는 것으로 나타났다. 한편, 예술교육 운영이 어려운 이유로 전체적으로 유치원 교사가 예술 영역에 대한 관심과 흥미가 부족하다가 가장 많았다. 예술교육 활성화를 위한 지원요구에 대해서는 단순한 지식을 전달하는 강의식 교사연수보다 교사의 능동적인 참여를 촉진하고 교육적 고민을 함께 해결하는 교사연수에 대한 요구가 가장 많았다. 예술교육에 대한 지원방안으로는 국가적 차원에서는 연령별에 따른 예술 활동 제시와 교수방법이 제시된 프로그램 개발과 유아들의 흥미를 끌 수 있고 예술교육에 활용할 수 있는 교재와 교수 제공에 대해 가장 필요하다고 하였다. 사회적 차원에서는 교육연구기관과 교육 출판사 예술영역에 대한 교과서와 간행물 제공과 교사양성기관에서의 예술 영역에 대한 교사연수 제공이 가장 필요하다고 하였다. 유치원 차원에서는 예술영역에 대한 유치원의 조직문화 형성과 예술교육에 대한 기관장의 보급이 가장 필요하다고 하였다. 교사 차원에서는 예술교육의 지침에 대한 교사의 나눔과 소통이 가장 필요하다고 하였으며, 학부모 차원에서는 유치원과 학부모의 협력이 필요하다고 인식하였다. 마지막으로 재교육 희망프로그램으로는 교사공동체나 협의체 방식의 교육이 가장 필요하다고 인식하였다. 이러한 결과에 근거하여 결론 및 제언을 다음과 같이 하였다. 첫째, 유아예술영역의 내용범주별 교육지침에 대한 이해를 도모하는 방안이 필요하다. 특히, 최종 학력, 기관유형, 전공, 교사연수 유무에 따라 인식의 차이가 있는 것으로 나타나 이를 고려한 교사교육과 예비교사교육에 대한 방안을 마련해야 한다. 둘째, 중국 유치원 교사들은 유아들과의 아름다움에 대한 직접적인 체험과 토론 그리고 표현에 대한 존중 등에 있어 중요하게 인식은 하지만 실행은 잘되지 않고 있는 것으로 나타나 이를 반영한 교사교육이 요구된다. 셋째, 중국 유치원 교사의 최종 학력, 기관유형, 전공, 교사연수 유무에 따라 운영 계획, 전개, 평가 실태가 차이가 있는 것으로 나타나 균질한 유아예술교육 운영을 위해서는 이를 고려한 유아예술교육 운영 지원이 필요할 것으로 사료된다. 넷째, 중국 유치원 교사의 예술교육 실행에서 있어 예술교육 운영이 어려운 이유와 예술교육 활성화를 위한 지원 요구, 예술교육에 대한 지원방안 그리고 재교육 희망프로그램 등을 중국 유치원 교사의 배경에 따라 면밀히 파악하여 이를 고려한 교사교육을 실시할 필요가 있다. This study aims to identify the perception and needs of Chinese kindergarten teachers regarding early childhood art education as well as the operation status of such education, and derive implications on the ways of effective early childhood art education suitable to Chinese kindergarten conditions through teacher training, policies, and support strategies for art education. For these purposes, this study established the following research issues. Research Issue1. What is the perception of Chinese kindergarten teachers on early childhood art education? Research Issue2. What is the level of importance and implementation of early childhood art education guidelines for Chinese kindergarten teachers? Research Issue3. What is the operation status of Chinese kindergarten teachers’ early childhood art education? Research Issue4. What are the difficulties and requirements facing Chinese kindergarten teachers in implementing early childhood art education? To investigate the perception and status of Chinese kindergarten teachers on early childhood art education, online survey was conducted for teachers of public and private kindergartens in 14 cities and rural villages of Shandong Province of China, using WeChat, a Chinese social media app. 580 teachers were selected for research. Through review of literature and specialists, this paper developed a survey paper to investigate the perception and status of Chinese kindergarten teachers on early childhood art education. Selected samples were analyzed using SPSS 26.0, and frequency analysis was conducted to identify the general characteristics of research subjects. First, to examine the difference in perception of Chinese kindergarten teachers on art education, one-way ANOVA and Chi-squared test (x2) were conducted. Scheffe test was used as a post-hoc test. To test normality, skewness(|skewness|≦2) and kurtosis (|kurtosis|≦4) were examined. Assuming no homoskedasticity, Welch test was conducted. As a post-hoc test, Games-Howell test was made. Meanwhile, to examine the importance and implementation of early childhood art education guidelines for Chinese kindergarten teachers, matching sample t-test and IPA analysis between importance and implementation were made. In addition, to identify difference in art education operation status by Chinese kindergarten teachers according to their general characteristics, cross-tabulation analysis and chi-square test (x2) were conducted. To examine difficulties in implementing art education by Chinese kindergarten teachers according to their general characteristics, one-way ANOVA and chi-square test (x2) were conducted. Scheffe test was conducted as a post-hoc test. Furthermore, cross-tabulation analysis and chi-square test (x2) were conducted to identify difference in demands of Chinese kindergarten teachers regarding ways of supporting art education. Conclusion and suggestion of this research are as follows. First, it is necessary to find ways of promoting teachers’ understanding of educational guidelines by the category of early childhood art education. In particular, since it was found that perception varied depending on teachers’ education level, type of institution, major, and teacher training, ways of training teachers and preliminary teachers need to be prepared. Second, it was found that while Chinese kindergarten teachers recognize the importance of experiencing, discussing, and expressing beauty with children, art education was not implemented properly. Hence, teacher training considering this finding is needed. Third, it was found that depending on Chinese kindergarten teachers’ education, type of institution, major, and status of teacher training, operation plan, progress and evaluation of early childhood art education varied. So, for homogeneous operation of early childhood art education, this finding should be considered when providing support for the operation of early childhood art education. Fourth, with regard to the implementation of early childhood art education by Chinese kindergarten teachers, reasons for teachers’ art education promotion, ways of support art education, and the type of re-education program teachers desire should be identified to ensure effective teacher training.