Art Education based on Child-Centered Education in Japan after World War II, The second Part

本作品是对二战后日本以儿童为中心的艺术教育研究的延续。在这些研究中，我主要关注的是Souzobiiku运动，因为这一运动被定位为二战后日本以儿童为中心的艺术教育的实现。在第一个研究中，我调查了Souzobiiku运动的组织特征，并全面考察了涉及运动原理的理论问题。在这项研究中，我通过两位美术老师的实践来探讨声吸运动的实际情况，他们分别是声吸运动的领导者木井郁夫和批评声吸运动的冈津庆一郎。虽然这两个人对艺术教育的想法不同，但他们有一个共同点：他们都为青少年儿童提供艺术教育。通过分析他们在艺术教育方面的思想和实践，明确了苏佐比库运动中存在的几个问题以及今后改进艺术教育的措施。

This work is a continuation of a study on art education based on child-centered education in Japan after World War II. In these studies, I focused on the Souzobiiku Movement, because this movement has been positioned as an realization of child-centered art education in Japan after World War II.In the first study, I investigated the organizational characteristics of the Souzobiiku Movement and comprehensively examined the theoretical problems involving the principles of the movement.In this study, I explored the actual situation of the Souzobiiku Movement through the practices of two art teachers : Ikuo Kimizu, who was a leader of the Souzobiiku Movement, and Keiichiro Okatsu, who criticized the movement. Although the thoughts of these two individuals on art education were different, they shared one common aspect: They provided art education to adolescent children. By analyzing their thoughts and practices on art education, I clarified several problems of the Souzobiiku Movement and measures for improving art education in the future.