THE CONCEPT OF “HOME” IN CHILDREN’S DRAWINGS AND ITS DEVELOPMENTAL REPRESENTATION

Abstract

This paper explores the analysis of children’s drawings in relation to the concept of “home,” focusing on developmental differences between children aged 2–4 and 4–5 years. The study adopts a qualitative and interpretative approach, examining how children perceive, represent, and emotionally experience space through visual expression. The research is based on the observation and analysis of drawings produced by 200 children aged 2–5 years, including 50 children aged 2–4 and 150 children aged 4–5 years. The figurative material was collected in preschool institutions and primary schools in several cities of the Republic of North Macedonia. The analysis considered the general form of the home, the size and placement of elements, the use of lines and symbols, spatial organization, the figure–background relationship, and the representation of interior and exterior space.
Findings indicate that, among children aged 2–4 years, the concept of home is not represented as a structured architectural form but mainly through simple forms, lines, and elements connected with the child’s direct experience. Children organize space according to the significance of elements rather than realistic proportions or perspective. Larger forms may occupy a central position, while free and dynamic lines, circular forms, and simplified shapes reflect the child’s exploration of movement, space, and the drawing surface. At this stage, the home can be understood as an initial form of spatial organization rather than an attempt at realistic architectural representation.
At the age of 4–5 years, spatial organization becomes more intentional and structured. Children begin to understand the home not only as an external form but also as an interior environment containing different objects and spaces. Relationships between figures, objects, and empty areas become clearer, indicating a gradual awareness of figure and background. The use of simplified geometric forms becomes more consistent, and elements such as walls, doors, windows, roofs, yards, trees, and people appear in clearer relationships with one another. The emergence of strategies such as top-view representation also reflects the development of symbolic and spatial thinking.
The study also highlights the emotional dimension of the concept of home. Since the home is closely connected with family life, security, relationships, play, and everyday activities, children’s drawings may contain elements derived from personal experience, memory, fantasy, and imagination. However, individual elements such as the size of the house, the absence of a figure, a particular color, or an unusual form should not automatically be interpreted as indicators of fear, anxiety, or psychological difficulties. Their meaning should be considered in relation to the complete drawing, the child’s age, and the broader context.
Overall, the findings demonstrate that the representation of home develops gradually in accordance with children’s figurative, perceptual, symbolic, and spatial development. Children’s drawings should therefore not be evaluated primarily according to realistic accuracy, but understood as forms of visual communication through which children organize experiences, perceive space, and express what is meaningful to them. The role of teachers and educators is important in providing an environment that supports free experimentation with line, form, color, symbols, and space.