학교교육에서 ‘미술’은 가장 생명력 있는 활동으로 인식되고 있다. 미술이 타 교과목과 구분되는 몇 가지 뚜렷한 이유 중의 하나는 먼저 글자와 숫자를 다루지 않고 이미지와 상징적 표상을 다룬다는 점이고 또 무엇보다 학습자의 ‘몸’과 감각에 직접적으로 호소함으로써 사고하는 방식과 유형에 근원적 차이를 가져온다는 점이다(Jalongo & Stamp, 1997; Schirrmacher, 2002). 오늘날 미술교육은 그 용어상 ‘조형’의 의미를 더 많이 사용하는 경향이 있는데 이는 미술이 그리거나 색칠하는 단순한 활동을 넘어서서 다양한 재료를 선택, 구별하고, 또 만들고 다듬는 복잡한 예술 활동을 포함하는 과정임을 더 강조하고자 함에 있다(류지후, 유혜숙, 양경희, 박정선, 2001
This study explored the meaning of art environment in art education, which has been undermined in traditional art education. The trends of art education on today more likely tend to put an emphasis on academic aspect of art education in order to overcome the social bias on art education which has mainly focused on sense and practice rather than on knowledge and cognition. However, this study insists on the fact that the vitality of art education can only be accomplished thorough doing art and practicing art. And art environment should be one of the most significant factor to support ‘doing art’. Reggio Emilia school, known for internationally, considers ‘environment’ as the most critical element to influence the ‘quality’ on children's knowledge construction in art. Many scholars agree on that environment of Reggio Emilia school gives us a breathtaking feeling of beauty, and a sense of admiration because of the Reggio teachers' consistent efforts to make it the best condition. This study examined the characteristics of art environment of the Reggio Emilia, particularly focusing on the space for art, art material, and children's art works which are called a ‘symbolic language’. Based on this exploration, this study discussed the educational meanings derived from Reggio art environment, insisting the reconceptualization of the concept of traditional art environment. Namely, it suggests to integrate art environment with educational environment in order to overcome social bias of art education and to make art education more meaningful and academic.