1960年代多元文化議題隨著美國黑人民權運動而受到世界關注。1970年代美國的兒童美術教育學者也主張隨著社會民主化，美國國內種族多元化，課程宜再建構，以反映多元文化的事實並追求公平正義。反觀台灣自古以來即是一個移民國家，自1970年代以後大量新住民的移入，使台灣的多元文化色彩更為濃烈，然而台灣的兒童美術教育在反映真實台灣文化及理解多元不同方面仍存在很大的努力空間。台灣的兒童美術教育，在理論上深受歐美及日本的影響，在實際生活環境方面深受大中國文化思維影響。在社會大眾的觀念上，深具傳統高等藝術有別於流行藝術和地方技藝之刻板偏見。在家長方面，深具以培養藝術家為目標的功利想法，或認為速成技巧的養成比人格和文化陶冶更重要的錯誤觀念。兒童美術教育的工作者成為少數群體，其聲音無法真正被聽見。北興托兒所多年來從環境、師資和課程的實踐來從事多元文化觀點的兒童美術教育，一直以積極的實際行動，推展台灣多元文化教育。本文藉由對文化的定義、台灣的多元文化事實、多元文化觀點的美術教育理論及北興托兒所的實踐現況和成果，從理論至實踐的探討，以喚醒兒童教育工作者以積極的行動，推展多元文化新視野的兒童美術教育，共同為培養民主社會的新公民而努力。

In the 1970s, movement toward multiculturalism in the world grew out of the ferment of the 1960s civil rights movement in the United States. Multicultural education has become an international education reform movement since then. In art education the reconceptualized curricula were recommended to reflect the nature of the culture and the environment in which the students were socialized. Historically, Taiwan has been the home of immigrants and in recent years, it still is. Cultural diversity is a fact in Taiwan. However, the visual art education didn’t reflect the multicultural nature and democratic society of Taiwan. The author tried to advocate through this article the understanding and respect for the multi-cultures of Taiwan in order to enhance the equity of the society. This article discussed some alternative conceptions and characteristics of culture, the nature of culture in Taiwan, the multicultural perspectives in visual art education and the implementation of art instruction which celebrate diversity through multicultural approach in Pei-Hsin Day Care Center in Chia-Yi City.