认知方式与幼儿部分遮挡给画关系的研究

本研究考察了５－６岁儿童不同认知方式对部分遮挡绘画任务的影响。实验设定不同形式的误导情境，共有两部分组成。研究结果表明：１儿童绘画表征水平的发展存在个别差异。     

幼儿遮挡绘画的发展研究

关于幼儿绘画的“知”、“见”矛盾历来是儿童绘画认知发展研究中的热点,对于此现象的探讨,用得最多的是绘画遮挡关系的模型。该文主要介绍关于幼儿物体遮挡的绘画及幼儿绘画认知发展的研究,归纳出关于幼儿把遮挡关系绘画成“分离”的三种原因,同时对幼儿画中的“知”,“见”矛盾加以解释。     

社会游戏情境在幼儿遮挡绘画中的作用

该研究以90名4—5岁幼儿为被试,考察了遮挡方式、社会性游戏情境以及年龄对幼儿遮挡绘画的影响,结果表明：(1)幼儿遮挡绘画表征策略的发展不是以“全”或“无”的方式进行的,而是多种策略并存;(2)部分遮挡、完全遮挡这两种遮挡方式的难易程度有很大的差异;(3)设置社会性游戏情境提高了幼儿遮挡绘画的表征策略水平;(4)与年龄相关的成熟水平是影响儿童遮挡绘画表征水平的重要因素。     

幼儿遮挡绘画的发展研究

关于幼儿绘画的“知”、“见”矛盾历来是儿童绘画认知发展研究中的热点,对于此现象的探讨,用得最多的是绘画遮挡关系的模型。该主要介绍关于幼儿物体遮挡的绘画及幼儿绘画认知发展的研究,归纳出关于幼儿把遮挡关系绘画成“分离”的三种原因,同时对幼儿画中的“知”、“见”矛盾加以解释。     

幼儿遮挡绘画的表征策略与其内在机制的探讨

通过简要回顾儿童遮挡绘画的研究历史,总结了对幼儿遮挡绘画中理智写实性绘画与视觉写实性绘画持不同见解的两种概说:"知见说"与"表征策略说",在此基础上提出新的绘画认知理论——遮挡图式的格式塔渐成论,由此展开幼儿遮挡绘画的表征策略及其与幼儿认知发展的关系的深入探讨。     

4~7岁儿童绘画摹写的语义编码特点

以二维模型为主对儿童绘画编码特点及发展进程的探讨。研究对象为4—7岁儿童,按年龄分为4组,共163人。主要实验有二：一是选择同一实物的三维和二维两类模型让被试摹写;二是选择语义熟悉程度和语义多寡不同的二维模型让被试摹写。个别实验,实验顺序随机安排。研究结果表明：儿童对维度不同的模型绘画编码具有共同的特点,表现出三种编码形式：其一,将模型的各构件分离,各自独立编码;其二,依模型的典型特征编码;其三,按各模型真实形象编码。儿童对不同维度模型绘画编码发展的进程不同。对二维模型绘画编码水平和发展速度比三维模型提早1年。模型语义的多寡及熟悉程度影响儿童二维模型绘画编码。     

利用绘画区分自闭症谱系障碍儿童功能的探索

根据儿童绘画发展理论,通过对160名3.2～14岁自闭症谱系障碍儿童的“自由画”、“绘人”和“家庭成员画”的赋值编码以及与普通儿童绘画的对比,从量与质的角度,分析和探索了绘画在区分自闭症谱系障碍儿童功能的可行性。     

幼儿几何体绘画"知"、"见"矛盾的实验研究

1927年Luquet提出了儿童绘画的发展阶段理论．阐释儿童绘画的所知所见,是由于发展阶段不同而出现的不同表现方式：幼儿的绘画因“理智的写实性”画所知的多,到8、9岁因“视觉的写实性”开始画所见。这一理论的提出．突出了儿童绘画的“知”“见”矛盾,从此引发了研究者们对这一现象的深入探讨。     

儿童绘画与语言关系的发展研究综述

儿童绘画与儿童语言的关系,是儿童绘画心理及符号认知发展研究中的重点和难点问题。文章在简要回顾儿童绘画心理相关研究的基础之上,从绘画与语言都是符号、二者在发生和发展过程中的相似性以及二者心理发展阶段的一致性等方面介绍了儿童绘画与语言相互关系的研究。这些研究的结果表明,不同符号系统之间联系的焦点在于意义,意义是沟通两个符号系统的纽带。儿童绘画与语言的关系随着儿童的发展而变化。文章还分析了这些研究中存在的不足并提出了今后研究的思路。     

绘画作品欣赏中的场景效应眼动研究

对85名儿童欣赏三幅不同风格绘画作品过程进行眼动追踪,结果发现:绘画作品欣赏中存在着场景效应,场景接近现实的程度影响着对物体的知觉;场景作品中的物体特征越熟悉、越接近真实物体,越容易引起关注,成为关注热点;物体和背景之间的结构关系影响着物体的知觉。那些位置居中、比例较大,并与周围物体分离较远的物体最早最快被注视。反之,则不容易引起注视。     

da Vinci's window facilitates drawings of total and partial occlusion in young children

When two or more objects are present in a scene, children 5 and 6 years of age rarely draw the scene such that one object totally or partially occludes another object. Instead they draw complete objects. The present study separated two components of drawing: perspective taking and graphic skill. Perspective taking was examined by comparing a free viewing condition with a restricted viewing condition in which a model could only be viewed through four apertures. Graphic skill was examined by comparing drawings requiring total occlusion with drawings requiring partial occlusion under both viewing conditions. Experiment 1 showed that 90% of 5- and 6-year-olds drew total occlusions under restricted viewing conditions but only 32% did so in the free viewing condition. Experiment 2 showed that drawings of partial occlusion were unaffected by viewing condition among 5-year-olds, but that restricted viewing increased the number of partial occlusions that 6-year-olds drew. Thus, failures of young children to draw occlusions have less to do with graphic skill than was previously thought. Instead, it is suggested that young children have a more general difficulty selecting one perspective and maintaining it over time.     

Category label effects on Chinese children's inductive inferences: modulation by perceptual detail and category specificity

Inductive generalization of novel properties to same-category or similar-looking objects was studied in Chinese preschool children. The effects of category labels on generalizations were investigated by comparing basic-level labels, superordinate-level labels, and a control phrase applied to three kinds of stimulus materials: colored photographs (Experiment 1), realistic line drawings (Experiment 2), and cartoon-like line drawings (Experiment 3). No significant labeling effects were found for photos and realistic drawings, but there were significant effects for cartoon-like drawings. Children made mostly (>70%) category-based inferences about photographs whether or not labels were provided (Experiment 1). Children showed a bias toward category-based inferences about realistic drawings (Experiment 2) but did so only when labels were provided. Finally, children made mostly appearance-based generalizations for cartoon-like drawings (Experiment 3). However, labels (basic or superordinate level) reduced appearance-based responses. Labeling effects did not depend on having identical labels; however, identical superordinate labels were more effective than different basic-level labels for the least informative stimuli (i.e., cartoons). Thus, labels sometimes confirm the identity of ambiguous items. This evidence of labeling effects in Mandarin-speaking Chinese children extends previous findings beyond English-speaking children and shows that the effects are not narrowly culture and language specific.     

3-6岁儿童汉字字形认知的发展

以汉字、一般线条图、似字线条图和笔画组合为材料,采用字典判断任务考察3-6岁儿童汉字字形认知的发展特点。结果发现儿童辨别汉字与似字符号的能力随年龄增长显著提高。3岁儿童较难区分汉字与各类似字符号。4-5岁儿童对汉字笔画特征有了一定意识。6岁儿童对汉字组合模式的认识显著提高。笔画意识出现较早且发展速度较快,组合模式意识出现较晚且发展速度较慢。5岁和6岁是汉字字形认知发展的重要时期。     

Verbal descriptions of spatial relations in line drawings by young children

A study of the ability of children to describe verbally spatial relations depicted in line drawings was carried out. The subjects were 60 children between the ages of 4 1/2 and 7 1/2 years. The test material consisted of 27 cards. Each card had one or two lines and a circle drawn on it. The lines and the circle were drawn in different spatial relations to one another. The results show that the ability of children to describe such spatial relations improves with increasing age. Furthermore, comparison between scores obtained from the children's own verbalizations and those obtained from a test of the ability to comprehend verbal material describing the spatial relations in the same drawings showed that there were no significant differences in the accuracy of response in any age group. The study also analyses the words most frequently used by the children in describing the cards, as well as the correct usage of such words. Some theoretical implications of the findings are discussed.     

Internal spatial relationships in young children's drawings

Attempts to represent the occlusion of a farther object by a nearer one are infrequent in the drawings of 5- and 6-year-olds. Instead they typically draw the objects side by side or one above the other. This does not appear to reflect a limitation of skill (P. Light & E. MacIntosh, Journal of Experimental Child Psychology, 1980, 30, 79–87) and it is hypothesized that it reflects the children's concern with the array of objects per se, as opposed to their own particular view of it. In the present study relatively complex objects were used in order to test the hypothesis that young children's drawings do in fact systematically reflect spatial relationships within the array. Ninety-seven children between 5 and 8 years of age drew two arrays, each being drawn four times in different orientations vis à vis the child. As predicted, the younger children's drawings contained much array-specific information but often no indication an all of the child's viewing position. In contrast, the older children's drawings were predominantly view specific, often containing little information about the arrays.     

Children's drawings of significant figures for a peer or an adult audience

The present study assessed if children would present different information in their drawings of emotion eliciting stimuli when they believed that an adult or a child audience would view their drawings. Seventy‐five 6‐year‐olds (44 boys and 31 girls) were allocated to three groups: the reference group, the child audience group and the adult audience group. All children completed a drawing session where they first drew a neutral uncharacterised figure, followed by drawings of a sad and a happy figure in counterbalanced order. Findings demonstrated that children did consider who would be viewing their drawings when communicating emotional affect and included different features within their drawings. In particular, almost all happy drawings included a smile, but only those drawings where an audience was specified included a wave, and only the adult drawings included flower giving. Within the sad drawings tears and frowns were drawn regardless of audience type, whereas stomping was more likely to be portrayed in drawings with a child audience and thumbs down were more likely to be portrayed in drawings with adult audiences. The findings are discussed in terms of the need to further examine communicative aspects of children's drawings. Copyright © 2011 John Wiley & Sons, Ltd.     

Drawing self and others: How do children with autism differ from those with learning difficulties?

When children draw pictures of human beings, they reveal things not only about their general intellectual and artistic abilities, but also about their awareness and conception of themselves and others. What might the human figure drawings of children with autism reveal about their images of self and other – and what might they disclose about social factors that shape the drawings of children who do not have autism? On the basis of an hypothesis about the restricted social awareness of children and adolescents with autism, we predicted that there would be little differentiation between their drawings of themselves and other people. To test this prediction, we investigated a group of children and adolescents with autism and a group with learning difficulties but not autism (N = 14 per group) who were individually matched for both chronological age and verbal mental age. Participants with autism mostly drew human figures that were little distinguished from one another, but introduced clear contrasts among their houses, whereas most of those with learning difficulties drew distinctive human figures as well as houses. These different profiles of performance occurred despite similarities in the numbers and kinds of feature included in the drawings, and the individuality of participants' drawing styles. Although the results were in keeping with our hypothesis that human figure drawings might reflect abnormalities in the way that children with autism mentally represent themselves and others, we conclude by stressing our tentativeness over this interpretation of the findings.     

儿童关于图画作者年龄特征的认知发展研究

通过两项实验分别对96名4～7岁儿童和144名4～9岁儿童进行研究,考察了4～9岁儿童关于图画作者年龄特征的认知发展特点。结果表明:6岁前儿童不能恰当地推测图画作者的年龄特征,5岁到8岁间儿童在判断长于自己的作者的图画过程中表现出了"完好"倾向。研究认为早期儿童在图画判断过程中经历了一个以自我为中心到去自我中心的过程。研究为儿童美术欣赏教育提供了建议。     

How children learn to draw realistic pictures

Children of ages 5 to 17 years were given a real scene to draw from a fixed viewpoint. Their drawings were classified according to the type of drawing system used, and given a score for the number of correct representations of occlusion by overlap. Six classes of drawing system used were identified, and it was found that with increasing age children were able to use an increasingly complex type of system. This development appeared to take place in discrete stages and covered the whole age range tested. Increase in the ability to use overlap as a pictorial device appeared to be continuous; below the age of 9 few children made use of overlap, and rapid learning took place between the ages of 10 and 12. It is argued that the use of these two pictorial devices requires different abilities; and that learning to use a particular type of drawing system does not depend directly on perception or on learning culturally determined stereotypes but in its demands on creative ability closely resembles the acquisition of language.