提問與對話是教學中最常見的形式，而在藝術評賞教育的領域更有著主導性的地位。藝術教育學者早已提出不少評賞理論和評賞教學方法，但對於教師如何與學生對話和向他們發問，卻一直缺乏一套較為完整和有系統的方法。相比其他學科，例如：語文、數學、科學，有關藝術評賞教學中對話與提問的研究相當貧乏。本文探討六個常見的藝術評賞教學理論和策略，然後提出四個藝術評賞教育的主要目的，並倡議一套與之相配及適用於教授視覺藝術的對話及提問框架。為了在應用層面進一步完善和建構本框架，七位香港小學教師及其學生受邀進行教學試驗。觀察有關教學試驗後，本文歸納出六項教學建議，以協助教育工作者應用本框架於藝術評賞教學。Questioning and dialogue are the most common way of teaching, and they are an essential element in the field of art criticism education. Previous scholarship had proposed various theories and teaching methods on art criticism education, but there is a lack of a holistic and systematic way for guiding teachers to question and have dialogue with students. The number of studies on questioning and dialogue in learning Visual Arts is limited, comparing to studies in subjects such as Languages, Mathematics, and Sciences. This paper reviews six art criticism models or methods, identifies four major goals in art criticism education, and proposes a framework of questioning and dialogue for the learning and teaching of visual art at schools and museums. Seven primary school visual arts teachers were invited to practice the framework in their own schools and art museums and finally six suggestions were concluded for teachers' implementation. Copyright © 2019 藝術教育研究期刊顧問委員會 & Ainosco Press.

「繪本融合習式方法」為香港幼兒教育日漸普及的一種教育戲劇的教學方式。本文根據讀者回應理論，建立「創意空隙」（creative gaps）的概念框架，提出六種不同面向及程度的創意空隙，以評估教學案中能給予幼兒重新想像、探索和重述故事的機會與可能性。作者提出，教師在設計教案時，應發掘繪本的創意空隙，以選配和編排適當的戲劇習式。本文藉研究幼兒教師與戲劇導師共同設計的20個教案，探討這模式在香港的實踐狀況。結果顯示，教學設計雖未能完全擺脫文本的束縛以開放地讓幼兒參與，但當中的創意空隙能引導幼兒進行多方面故事探索和重新想像。不過，以現實生活經驗來重創故事，討論當中的品德情意與社會議題的表現，卻未見顯著。本研究建議師資訓練多強調有關繪本和創意空隙的分析與應用的知識和技巧。The use of Conventions Approach with picture books has become a popular teaching mode of Drama-in-Education in the early childhood education in Hong Kong. Drawing on the reader-response theories, the author constructs a conceptual framework called ＂creative gaps.＂ This framework includes six aspects and gradations of creative gaps which aims to evaluate the opportunities and possibilities given to children to re-imagine, explore and retell the story in a drama lesson. The author argues that teachers should identify the creative gaps of the picture book when assigning and arranging appropriate drama conventions to teach. Through analyzing 20 teaching plans co-written by preschool teachers and drama artists, the author examines the practice of this drama teaching approach collected from eight preschools in Hong Kong. The results reveal that although the teachers could not totally break through the confinement of the original text for open participation, the creative gaps identified in their teaching plans could support young children to re-imagine and explore the story in various ways. Still, attempts were made to facilitate the children to re-create the story through everyday experiences and to discuss the social and moral messages in the story. In the end, the author suggests that teacher training should put more emphasis on the knowledge and skills about analyzing and applying picture books and creative gaps. Copyright © 2017 Author.

本文爲一項有關高中生在考試情境下以文字回應藝術作品的研究報告。本研究根據95名參與「香港中學文憑」模擬考試學生的成績，選出6位高分級別以及6位低分級別的學生作爲研究對象。透過分析學生的答題表現及晤談記錄，研究者審視學生建構藝術評論的方法，並探討形成其表現差異的原因。研究發現高分的學生能夠將作品描述與藝術知識、仔細觀察、情境資訊、個人評價及其它科目知識作出聯繫，並提出較多及較合理的理由和證據支持其對作品的詮釋。研究建議教師應平衡對作品的形式和情境分析以及幫助學生發現作品與其他作品、文化以及個人生活與知識之間的連繫。此外，研究亦建議透過課堂活動和展覽，實踐以藝術探究和評論的方式來提升學生批判藝術的能力。
[Copyright © 2010 藝術教育研究顧問委員會.]