Vizualinio meninio ugdymo ir kultūrinio konteksto sąveikos paradigminė samprata
The changes of visual art education in the contexts of and education paradigms

Summary/Abstract: Adopting T. Kuhn’s paradigmatic concept, the newer theories of art like newer theories in science, reflect the intellectual revolutions in which one conceptual world is replaced by another. Paradigms are commonly described as any patterns, examples or models and provides different points of view. Cultural and art movements operate like philosophical or scientific paradigms. Art and cultural paradigms continually change one another. The article investigates three main directions in aesthetics, art history, art and education. The art processes and art education operates within the context of a cultural paradigm. The goal of this article is to show how these different patterns of 20th century thought was used by artists, philosophers, art historians, educators and how they reflecting in three main concepts of art education. Art education under the premodern paradigm emphasizes facts, products, skills, techniques. The modern paradigm is meant to describe aesthetic activity and response to aesthetic form. The approach is “child centred” and promotes active participation, sensory experiences, self identification and self-expression through visual forms. Educational process is seen as a dialogue with other people. Modernism and the aesthetic theory of formalism has influenced art and art education for most of the 20th century, and still entrenched in many art curricula. The postmodern paradigm refers to all modes of aesthetic thought and to all art forms. As a theoretical framework, postmodernism offers infinite possibilities for artistic activity and art education. The goal of contemporary art education is to raise student’s critical consciousness about a visual world, to be receptive to various forms of cultural production. The article survey how these paradigms reflect in art education in Lithuania, how do school level and art teacher education do cohere with the conceptual paradigms. The article concludes, that all three approaches should be viewed as foundational in the development more effective art education curriculum.

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