Formation of an aesthetic attitude to the environment in the process of drawing in children of senior preschool age.
The idea of humanization , as the leading idea of modern education, requires attention to the aesthetic education of the individual - as a way of harmonizing a person with himself, with his inner world and the outside world.
Aesthetic education based on art is of particular importance in the upbringing and education of children and adolescents. It is one of the key conditions for the development of a spiritual, moral, cultural personality based on artistic values, capable of understanding them and striving to preserve them through individual artistic and creative activity.
Artistic and aesthetic development involves the development of the prerequisites for the value-semantic perception and understanding of works of art (verbal, musical, visual), the natural world; the formation of an aesthetic attitude to the world around; the formation of elementary ideas about the types of art; perception of music, fiction, folklore; stimulation of empathy for the characters of works of art; implementation of independent creative activity of children (fine, constructive-model, musical, etc.).
Research by A.M. Korshunov show that one of the priority means of forming an aesthetic attitude to the world in preschool children is the culture of aesthetic perception (knowledge) of the world, which includes the formation of aesthetic taste, judgments, assessments, etc. and age-appropriate types of artistic and creative activities.In the process of perception of objects and phenomena of the surrounding world, the child has images, experiences, emotions that he can and wants to express in his activity. And visual activity, especially drawing, is precisely the most adequate, capable of satisfying this need of the child. In order to express their attitude to the observed object or phenomenon, the child needs means of expression that are adequate to his age and individual capabilities..
In the field of aesthetic education, the problem of the formation of a child's relationship to reality was developed by A.I. Burov, E.V. Kvyatkovsky, I B.T. Likhachev, A.A. Melik-Pashaev, B.M. Nemensky, B.P. Yusov, E.K. Yanakieva and others.
V.N. Shatskaya defines "aesthetic education as the education of the ability to purposefully perceive, feel and correctly understand and evaluate beauty in the surrounding reality - in nature, in social life, work, manifestations of art" .
In the Concise Dictionary of Aesthetics, aesthetic education is defined as "a system of measures aimed at developing and improving in a person the ability to perceive, correctly understand, appreciate and create the beautiful and sublime in life and art" .
Aesthetic education should develop and improve in a person the ability to perceive beauty in art and in life, correctly understand and evaluate it.
A.A. Melik - Pashaev and Z.N. Novlyanskaya consider the aesthetic attitude as a complex of individual, selective connections of the child with various aesthetic qualities of the surrounding reality in art, nature, everyday life, and society [8, 76].
Consequently, this is not only the perception of the external side of the surrounding world, but also the perception of its internal state, mood, character.
Aesthetic attitude to the world around us is the ability to see beauty in the environment, to be able to distinguish between aesthetic categories.beautiful and ugly, characterizing phenomena from the point of view of their conformity or inconsistency with the aesthetic ideals established in society.
According to A.A. Adaskina, objectively beautiful is embodied in orderliness, proportion, harmony of parts, as well as in everything that affirms a person in life, expands the limits of manifestation of his higher feelings, which “generates a play of his physical and intellectual forces.” In the beautiful, through aesthetic forms, Good, Truth and Benefit are embodied.[ 1, 97].
The author believes that subjectively beautiful causes a person's emotional upsurge, spiritual pleasure, a sense of joy, inner freedom, generates the energy of empathy, emotional fusion with the object of aesthetic pleasure. The ugly usually acts as an antithesis to the beautiful, as the focus of the anti-aesthetic characteristics of being. Objectively ugly, as it were, encloses a person in the framework of his metaphysical (original, unchanging) sinfulness, diminishes the manifestations of the human in a person or directs his spiritual forces along the disastrous path of destruction and self-destruction, along the path of increasing world entropy. Subjectively, the ugly causes a bunch of negative emotional states up to disgust for the object of contemplation, for one or another natural or social environment, for oneself, in which the features of the ugly are revealed. .
A.A. Adaskina argues that in art the ugly can also be a source of aesthetic pleasure, which is based on the joy of recognizing reality, a sense of the artist's skill, a sharper perception (in contrast to the ugly) of the forms and ideals of beauty.
The humanist attitude to the ugly is as follows: since there is ugliness in life, it can and must be shown, reproduced in art, even in exaggerated forms. But the highest principle of life harmony requires that through the ugly, through contradictions, contrasts, conflicts between the ugly and the beautiful, the beautiful is nevertheless affirmed.[ 1, 117].
According to A.P. Velik, the aesthetic attitude is considered by modern science as a unique emotional and valuable spiritual phenomenon, a universal way of human interaction, solving the problem of personal meaning and self-realization, with the outside world and culture. Aesthetic attitude is manifested and formed in aesthetic activity.
On this basis, a person's ability to aesthetic perception and experience, his aesthetic taste and idea of the ideal are formed and developed. Education by beauty and through beauty forms not only the aesthetic and value orientation of the individual, but also develops the ability to be creative, to create aesthetic values in the field of work, in everyday life, in actions and behavior, and, of course, in art. Beauty in life is both a means and a result of aesthetic education. It is concentrated in art, fiction, is inextricably linked with nature, social and labor activities, the life of people, their relationships. The system of aesthetic education as a whole uses all the aesthetic phenomena of reality. At the same time, particular importance is attached to the perception and understanding of beauty in labor activity, the development of a person's ability to bring beauty into the process and results of labor. The most important part of aesthetic education is artistic education, which uses the means of art as an educational impact, forms special abilities and develops talents in certain forms - visual, musical, vocal, choreographic, theatrical, arts and crafts, etc..
T.S. Komarova notes that increased attention to aesthetic education and the formation of creative abilities in children is the main way to humanize the pedagogical process, which creates an emotionally favorable environment for each child and ensures his spiritual development.
When revealing the theoretical positions of the tasks of aesthetic education, N.A. Vetlugina emphasizes the need to educate an aesthetic attitude in the adequate development of the child. A child's aesthetic attitude to the environment is a whole system of his individual, selective connections with the aesthetic qualities of the environment [4, 34].
The formation of aesthetic activity in preschool age occurs at all stages of the formation and development of the individual, starting from early childhood. Aesthetic activity with children involves the maximum disclosure of their individual abilities in various areas of children's artistic and compositional creativity by means of painting, drawing, sculpture or applied art. Children's creativity from an early age develops compositional thinking, forms the need for figurative representation and the ability to convey their feelings, emotions, sensations. It helps to create an expressive art form and figurative content in children's works.
Preschoolers, engaged in visual activity, in the process of creativity create various emotional and artistic images by means and techniques borrowed from acquaintance or study of the best examples of fine art works of art.
According to I.G. Belyavsky, the formation of an aesthetic attitude to reality among preschoolers allows them to develop their artistic and aesthetic taste, makes it possible to learn the true beauty of social aesthetic ideals. He believes that the originality of aesthetic perception is expressed in the full meaningful development of an aesthetic subject, the ability to grasp the subject correctly, in all details, sharply and accurately, in emotional immediacy, enthusiasm that persists in the analysis of the perceived object.
Thus, the entire personality of a person is involved in the process of aesthetic perception.
The leading place in the artistic and aesthetic development of preschoolers is given to various types of visual activity, and above all to drawing. Drawing is perhaps the most interesting activity for preschool children. It is in the drawing that the child has the opportunity to convey the forms, colors, features of objects and phenomena.
Drawing is the most accessible form of artistic creativity for children. In addition, this is the very first species that is mastered by a little man. Drawing, the child shows his desire for knowledge of the world around him, and from the drawing, to a certain extent, you can find out the level of this knowledge. The more developed children's perception, observation, the wider the stock of their ideas, the more fully and accurately they reflect reality in their work, the richer, more expressive their drawings..
Mastering visual activity in kindergarten is of great importance for a child: a preschooler gets the opportunity to independently create a drawing, create a positive emotional mood, promotes the development of creativity, aesthetic sense, figurative representations and imagination. Visual activity allows children to express in drawings their idea of the world around them, their understanding of it and their attitude towards it.
Creativity activates the learning process: initiative, independence and activity developing in the process of creativity encourage children to acquire knowledge, skills, skills, form their ability for self-learning and self-development. Children's drawing attracts the attention of the viewer with the individual attitude of the little author to the world around him.
This, in Firstly, sincerity, emotionality, direct expression of the child's thoughts and feelings. Usually it is not the form and methods that strike in a child's drawing, but the ability to use a minimum of means, to convey one's state.
Secondly, the content of the picture. The drawing of even the smallest child carries some content.
One of the most accessible means of expressiveness and conveying an aesthetic attitude to reality for a child is color. The use of bright, pure colors in a variety of combinations is inherent in preschoolers of all ages.
Consequently, the effectiveness of the implementation of aesthetic education in general and the development of artistic and creative abilities in particular, from our point of view, is determined by the interconnected use of all means of aesthetic education and a variety of artistic and creative activities (game, visual, theatrical, artistic speech, music). The relevance of developing the problem of integration in relation to the aesthetic education of older preschool children is determined by the fact that integration allows you to combine the impressions of children, deepen and enrich the figurative content of children's creativity through the relationship of the figurative content of art and children's artistic activity.
Integration in the system of specially organized classes combines these tools and is therefore very relevant, because:
- integrated classes contribute to the deep penetration of children into the meaning of the word, the world of colors and sounds;
- helps the formation of competent oral speech, its development and enrichment;
- develops aesthetic taste, the ability to understand and appreciate works of art;
- affects the mental processes that are the basis for the formation of the artistic, creative and musical abilities of the child.
Thus, based on the foregoing, it must be remembered that the activities of older preschool children related to art should always be relaxed, saturated with joyful aspiration, creative imagination, and initiative. Hence,it can be argued that the aesthetic attitude of children to the world around them is an urgent problem today. It is through acquaintance with the surrounding world of activity that the child develops, learns the world and communicates with peers.
Bibliography
1.Adaskina, A.A. The specifics of artistic imagination[Text] / A.A. Adaskin - St. Petersburg: Soyuz, 2007.
2.Belyavsky, I.G. Problems of aesthetics in psychology[Text] / I.G. Belyavsky - M.: Nauka, 2013.
3.Great A.P. The system of aesthetic education growing up generations: (Some methodological issues aesthetic education of preschoolers and primary schoolchildren)[Text] / A.P. Great - Kazan, Publishing House of Kazan University, 2006.
4. Vetlugina, N.A. Artistic creativity and the child[Text] / ON THE. Vetlugin - M., Pedagogy, 2002
5. Concise Dictionary of Aesthetics[Text]; ed. M. Ovsyannikov a - M., Education, 2003
6. Komarova, T.S. Children in the world of creativity[Text] / T.S. Komarova - M., 2005.
7. Korshunov, M.A. imagination and rationality. Experience of Methodological Analysis of Cognitive Functions of Imagination[Text] / M.A. Korshunov, M.: Publishing house Moscow State University, 2009
8. Melik-Pashaev, A.A. Steps to creativity.[Text] / A.A. Melik-Pashaev, Z.N. Novlyanskaya. - M., 2010.
9. Shatskaya, V.N. Aesthetic education of children in the family[Text] / V.N. Shatskaya - M., 2010.
Aesthetic (from the Greek aisthetikos - sensually perceived) - man's attitude to a world in which the essence of man is contained in a concentrated form as free and a conscious being. The features of the aesthetic attitude to the world are manifested in its emotional fullness, in a special feeling of pleasure, "disinterestedness" of aesthetic experience.
However, these are only external features of the aesthetic attitude to the world. Kant I. considered the aesthetic as "expediency without purpose." Everything around in an aesthetic sense turns out to be involved in a person as active, a goal-setting being, but a concrete, practically limited, person having certain goals in an aesthetic sense, as it were, "is not present."
Everything around is filled with meaning, everything is related to a person, but the specific, "ultimate meaning" is hidden, everything in an aesthetic sense, according to Schiller F., is only a "promise of joy." Aesthetically, a person experiences his own "ancestral" possibilities, experiences humanity as a free, meaningful, creative being, experiences itself in the "horizon of the possible". Aesthetic orientation presupposes the experience of the world in its integrity, organization, infinite diversity as a prerequisite for the universal deployment of human abilities, as sphere application of his creative efforts. Aesthetic attitude embodies need of a person "to remain himself" and "to be everything", the need to become a universal being, to penetrate into the laws the starry sky and into the depths of your own soul. The aesthetic attitude to the world is the development of the world in its semantic perspective. Man applies to the world not as an object of knowledge, production, socially transformative impact: the world no longer revolves around my egoistic "I". There is a decentralization of the world. A person begins to feel the "soul" of things, acquires the ability to understand the Other. Aesthetic attitude to the world is not rational design, it is easily "connected" to various spiritual formations (and operated them) - to utopian consciousness myth,ideologies. Basic aesthetic values- beautiful, sublime, tragic - become the basis of aesthetic estimates surrounding. Thus, being conscious, aesthetic values begin to perform the function of the initial principles of an aesthetic attitude to reality - they become aesthetic categories. Aesthetic categories (like the categories ethics) lead a "double" existence. They are the "glasses" through which the subject of an aesthetic attitude looks at the world, experiences it, evaluates it; at the same time, the aesthetic categories of the beautiful, the ugly, the sublime, the base, the tragic, the comic are the object of study of a special science - aesthetics.
Beautiful and ugly.
One of the major modifications aesthetic in classical aesthetics, which for many centuries has been the subject of explicit aesthetics, is the category beautiful. It most fully characterizes traditional aesthetic values, expresses one of the main and most common forms of non-utilitarian subject-object relations that cause aesthetic pleasure in the subject and a complex of verbal and semantic formations in the semantic fields of perfection, optimal spiritual and material existence, harmony of the ideal and material spheres, ideal and idealization, etc. Along with goodness and truth, beauty is one of the oldest ethno-socio-historically determined concepts of culture, theology, and philosophical thought.
First of all, it is obvious that today it is possible with a sufficient degree of probability to distinguish between the concepts beautiful and beauty. If the beautiful is one of the essential modifications of the aesthetic, i.e. characteristic of subject-object relations, then the beauty, as the experience of historical and aesthetic research shows, it is a category that is included in the semantic field of beauty and is a characteristic only an aesthetic object. With its help, in fact, from antiquity, they tried to designate that elusive set of object properties(natural, objective, works of art), which leads to the generation of a sense of beauty, to non-utilitarian pleasure.
Categoryuglyemerged in aesthetics as an oppositional categorybeautiful. It denotes that area of non-utilitarian subject-object relations, which is associated with anti-value, with negative emotions, feelings of displeasure, disgust, etc. Unlike the main categories of aesthetics aesthetic, beautiful, sublime, tragic, comic it has a complex indirect character, because it is usually determined only in a relationship to other categories as their dialectical negation or as an integral antinomic component (beautiful, sublime, comic). Most actively developed in the fieldimplicit aesthetics since ancient times, where it was comprehended in two aspects: ugly in reality and ugly in art.
The beauty of an aesthetic object is a non-verbalizable display or expression of some deep essential (spiritual, eidetic, ontological, mathematical) laws of the Universe, being, life, revealed to the recipient in the corresponding visual, audio or procedural organization, structure, construction, form of an aesthetic object. In this, beauty is fundamentally different from prettiness, which relies only on a system of superficial formal characteristics of an object, determined by fleeting trends of superficial taste and fashion. The perception of beauty is also influenced by historical, social, national, cultural, religious, anthropic and other parameters of the subject of perception, however, a certain essential core of it remains constant, at least for a person as homo sapiens, and is adequately perceived by most of the aesthetically developed recipients of all mankind ( This is evidenced, in particular, by the planetary legitimation of the beauty of many works of classical art, whether it be the ancient Egyptian sculptural portrait of Nefertiti, the Venus de Milo or the classical Japanese engraving of the 17th-18th centuries). Beauty is one of the most mysterious ontological characteristics of an object, a person and the Universe as a whole, which is optimally revealed only in the act of aesthetic perception.
The beauty of the object of aesthetic attitude is necessary a condition for the actualization of the aesthetic in the mode of beauty. There is no beauty - there is no beauty. However, the presence of beauty is by no means a sufficient condition for an event of beauty to take place. To no lesser extent, it depends on the subject of perception, its objective characteristics (the presence of a sufficiently developed aesthetic taste, artistic flair) and subjective aesthetic attitudes object. The latter, however, is not always necessary in the presence of a beautiful object and a highly developed aesthetic taste in the subject. Upon their contact (visual or audio, as a rule), a spark of aesthetic perception is sparked spontaneously, and a person, even without a conscious attitude to aesthetic perception, becomes involved in it, automatically turning off (even for a moment) from any other relationship with reality.
The main concept that defined and limited the subject field of aesthetics as scientific knowledge was the concept of "aesthetic relationship" (M. S. Kagan).
Attitude- the relationship of various quantities, objects, actions, determined and manifested through comparison or comparison.
A relation can be characterized as a connection between an object and a subject. The relation is considered as one-way interaction: from the subject to the object. The subject of the relationship can be, for example, a specific person, a group of people or humanity as a whole. The object of the relationship can be a natural phenomenon, a specific thing, another person, ipyima people, etc.
The aesthetic perception of the world is universal: everything that surrounds a person can be the subject of his aesthetic attitude. The aesthetic perception of the world is, as it were, dissolved in everyday life itself. Moreover, aesthetic orientations and preferences that arise as a result of a person's relationship with the world are manifested mostly implicitly. A person cannot think and analyze at every step why he likes something or not. Therefore, the aesthetic attitude in a certain sense is a phenomenon that is difficult to comprehend by the mind. But on the other hand, the aesthetic attitude is the beginning of structuring and mentioning
alignment of the world, since it is the aesthetic experience for any person that is the most obvious criterion in terms of choice.
The aesthetic attitude is a manifestation and a form of being of culture, since the aesthetic preferences of each person are determined not only by his individuality, but also by the cultural environment to which he belongs. The relation reveals and reveals the nature of the connection that exists or arises between the subject and the object. Therefore, the relation itself can be considered as a ratio of the properties of the subject and object in the process of their interaction.
Object of aesthetic attitude has a number of formal features: color, smell, proportions, symmetry, geometric shape, etc. These features can be perceived and evaluated by the subject at different levels: theoretical, utilitarian and aesthetic. The utilitarian level of perception is associated with the physiological response and biological manifestations of a person as a living organism. The theoretical level characterizes conscious processes and is conditioned by rational human activity. The utilitarian and theoretical levels are the extreme poles of various manifestations of relations that arise between the subject and the object. Between the theoretical and utilitarian levels of the relationship between man and the world, a level of aesthetic relationship arises, which combines the sensual and rational principles of man as a subject of perception.
The features of an object can also be represented as a system, arranging them according to the principle of materiality, importance for the manifestation of its essence. Our perception begins with a response to the manifestation of individual features of the object (phenomenon). For example, at dusk, at first, a person sees only color stain, then form subject, features accessories of a given object or phenomenon to any kind or class, physical characteristics and, finally, holistic recognition object. Thus, the process of cognition begins with the perception of the phenomenon, and then the essence, and not vice versa.
In a work of art, the corresponding pair of concepts essence and phenomenon will be a pair content and form. Therefore, perceiving a work of art, we first perceive its constituent forms, which, uniting into a system, allow us to judge the content of this work of art.
Sometimes a specific feature of an aesthetically perceived object can be perceived separately. When listening to music played on some instrument, we can be captured by the special warmth of the timbre, leaving aside our perception of all other characteristics of the perceived music.
However, the nature of interaction can be different and presented in different forms: from theoretical to practical (utilitarian).
The utilitarian attitude is the first sign of the emerging contact of the subject with the object - internal and external. It is represented by the sensual reaction of the subject at the biological level. Next comes the awareness of the subject of their sensations. This is a more complex process, which includes not only a sensory-biological, but also a rational reaction. In this case, the attitude is still mostly utilitarian in nature.
At the next stage, what was called catharsis by the brilliant Aristotle (the transition of one into another, a qualitative change in the experienced) is carried out. This qualitative change determines the transition of the utilitarian into the aesthetic. The feeling of a biological nature becomes spiritual. What is perceived is not just rationally-theoretically evaluated, but acquires a new quality. A sign of this may be the emergence of the response of the subject at the personal level. A person who perceives gets the opportunity to respond to what he perceives from the position of manifestation in himself of the Human, the highest spiritual principle. Therefore, the aesthetic attitude is associated with the familiarization of the individual with spiritual values and the opportunity to realize their personal potential in the world. This is such a relation of a person to a perceived object, when the sensory reaction is correlated with the criterion of aesthetic evaluation. Aesthetic attitude is the result of the correlation of the desired and the actually perceived. At the same time, there is no specifically utilitarian in the aesthetic, since the aesthetic is different. lack of interest(I. Kant) or disinterestedness(N. Chernyshevsky), while the utilitarian is a manifestation of the highest practical interest of the subject in the object.
On the other hand, the aesthetic does not contain the specifically theoretical, since the aesthetic attitude is distinguished by being experienced, and not comprehended. Therefore, it is senseless to single out theoretical and utilitarian separately in aesthetic terms, since both levels are synthesized in it into a new quality, characterized as conscious enjoyment.
The subject of aesthetic attitude acts as a unity rational and emotional, mind and feelings. The subject, as well as the object, can be identified the most significant characteristics of aesthetic perception, which can also be built in a certain hierarchy: sensation, perception, idea, notion.
When they talk about the subject of an aesthetic relationship, they mean its spiritual and physical aspects. The aesthetic attitude includes a fusion of the sensual, the intuitive, and the rational. The originality of this complex determines the peculiarity of the human personality and is the basis of its aesthetic response to the object of perception.
The rational in a person is largely due to the specifics of his spiritual originality (ideal). The sensual in a person is represented to a greater extent by his physiological capabilities (real). The intuitive is due to the ability of a person to predict, figuratively model what is desired. It is common for a person, as a subject of an aesthetic attitude, to experience different states, sometimes gravitating towards the rational-spiritual pole, and sometimes towards the physiological one.
Therefore, it can be considered that the aesthetic relation has one important distinguishing condition for its realization - it has a disinterested character. Aesthetic attitude provides and implements the transition of sensory-biological experience to the spiritual realm. The perception of an object is associated with the processes of transition of response to its individual characteristics to rational awareness of the object as an integrity or sensory response to a specific feature to their conscious-semantic (rational) comprehension.
Terminological space of the educational field Artistic and aesthetic development Formation of an aesthetic attitude to the surrounding world Value-semantic perception Introduction to art Productive activities Artistic and aesthetic object-spatial environment
The goals of the educational area To introduce to art, to form elementary ideas about the types of art. Contribute to the formation of an aesthetic attitude to the surrounding world, to the natural world. To develop productive activities for children (drawing, modeling, applique, constructive modeling activities). To promote the development of independent creative activity of children (fine, constructive-model, musical, etc.).
Tasks of the educational field "Artistic and aesthetic development" Development of the prerequisites for the value-semantic perception and understanding of works of art (verbal, musical, visual), the natural world. The formation of an aesthetic attitude to the surrounding world. Formation of elementary ideas about the types of arts. Perception of music, fiction, folklore. Stimulation of empathy for the characters of works of art. Implementation of independent creative activity of children (fine, constructive-model, musical).
To attach to art, to form elementary ideas about the types of art 1. The development of the aesthetic perception of children. 2. Formation of elementary ideas about the types of art (fine, musical, fiction, folklore). 3. Stimulation of empathy for the characters of works of art.
To attach to art, to form elementary ideas about the types of art Types of fine arts: arts and crafts, graphics, painting, sculpture, architecture, design. Introduction to museums. Discussion of the content and expressive means of works of art, expression of one's attitude to the work. The role of arts and crafts in human life: the unity of utility and beauty. Features: brightness, elegance, connection with nature, folk life, traditions and customs. Fairy-tale images in art. Means of expressiveness of different types of arts and crafts. Decorative and applied art of the Urals: stone-cutting art, Kasli casting, Zlatoust engraving, Nizhny Tagil tray, Ural painting, embroidery, lace-making, etc. Genres and expressive means of painting. Types of sculpture: monumental, landscape gardening, small sculpture. Means of expressiveness of sculpture: material, processing technique, volume, plastic form, composition, dynamics, pedestal. Features of architecture: purpose, strength, beauty. Expressive means: material, volume, decorations (columns, arches, lattices, porticos, domes).
Contribute to the formation of an aesthetic attitude to the surrounding world, to the world of nature 1. Give an idea of the categories: beautiful-ugly (beautiful - ugly); form and content (pleasant - unpleasant, comic - tragic, real - fantastic, sublime - base, cheerful - sad, living - inanimate, truthful - false); space and time (movement - rest, cause - effect, change: development - destruction). 2. To develop the aesthetic, emotional, evaluative, activity experience of children.
Aesthetic attitude to the world The structure of aesthetic experience: components Cognitive Emotional Evaluative Activity Aesthetic Perception Representation Concept Judgment Aesthetic Emotions Feelings Experiences States Aesthetic Evaluations Tastes Norms Ideals Perception Performance Creativity
Contribute to the formation of an aesthetic attitude to the surrounding world, to the world of nature. The role of arts and crafts in human life: the unity of utility and beauty. The diversity of forms in nature as the basis for decorative forms in applied arts (flowers, butterflies, intertwining tree branches, frost patterns on glass). The beauty of man and animals, expressed by means of sculpture. The beauty and diversity of nature, expressed by means of painting, graphics. An idea of the purpose of the design. Features of design of clothes, accessories, interior, landscape.
The development of productive activities of children to form skills related to the artistic and figurative reflection of objects and phenomena in various types of visual activity. to teach children to create multi-figure plot compositions (in drawing, modeling, appliqué). learn to create decorative compositions (in drawing, modeling, appliqué). to learn to independently find image techniques when integrating types of visual activity and artistic work. to support the desire to combine familiar techniques, to help master new ones, to combine different ways of depiction on their own initiative.
Development of productive activities for children Drawing materials: felt-tip pen, gel crayons, graphite pencil, colored pencils, charcoal, pastel, sanguine, wax crayons, etc. Techniques for working with graphic materials: hatching, shading, shading. Different ways of conditionally planar depiction of fruits, flowers, trees, birds, animals, humans. Depiction of buildings and vehicles in many ways. Variety of lines (thin, thick, straight, wavy, smooth, sharp, spiral, flying) and their iconic character. Transmission through the line of the emotional state of nature, man, animal. Painting materials: gouache, watercolor. Color is the main means of expression in drawing. Warm and cold colors. Color mixing. Emotional possibilities of color. Practical mastery of the basics of color science, experimenting with color. Transmission using the color of the character's character, his emotional state. The choice of means of artistic expression to create an image in accordance with the plan. Decorative drawing based on folk paintings: Dymkovo, Gorodets, Khokhloma, Gzhel. The special role of rhythm in arts and crafts. Simple geometric shapes. natural forms. The dependence of the composition on the shape of the object. Story drawing. Reflection of the phenomena of the surrounding life in the plot drawing. Elementary methods of composition on the plane. Concepts: horizon line, more closer, less further, blocking. Compositional center: the main and secondary in the composition.
The development of productive activities for children Materials for creating an expressive image in modeling: clay, plasticine, wet sand, paper, etc. Elementary techniques for working with plastic materials to create an expressive image: rolling, rolling, flattening, pinching, etc. A variety of materials for artistic design and modeling (plasticine, paper, cardboard, etc.). Elementary techniques for working with various materials to create an expressive image (plasticine rolling, volume setting, shape drawing; paper and cardboard bending, cutting, cutting, twisting, etc.). Constructive-model activity.
Contribute to the development of independent creative activity Transfer of mood in creative work with the help of: color, tone, composition, space, line, stroke, spot, volume, texture of the material; various artistic techniques and materials (collage, scratching, appliqué, paper plastics, gouache, watercolors, pastels, wax crayons, ink, pencil, felt-tip pens, plasticine, clay, improvised and natural materials).
Contribute to the development of independent creative activity Contribute to the development of verbal creativity (invent rhymes, stories, fairy tales). Predict the possible actions of the characters, the place of action, the completion of the plot. Reflect literary experience in independent artistic and aesthetic activity. Realize creative ideas, freely and skillfully combine different artistic techniques. Sing your favorite songs, improvise the simplest intonations with your voice. Encourage children to play with instruments together. Perform, independently invent musical and rhythmic movements. To encourage children to elementary independent music-making.
Forms, methods of organizing the educational process Joint activities Independent activities Educational activities with the family (in the family) Directly educational activities Regime moments Educational situations Classes Creative projects Solving problem situations Experimenting Observation Examining works of photographs, illustrations Excursions Conversations Discussion Morning of joyful meetings General result of the day Cultural leisure Virtual travel Stories Meeting interesting people Didactic games Entertaining shows Observations Considering Solving problem situations Conversations Situational conversations Solving problem situations Didactic games S.-r. Games Observations Examination Collecting material for children's design, decorative art Experimenting with materials Examining art objects Consultations Master class Contests Conversations Participation in group work Exhibition of works Observation Stories Excursions Situational learning Reading
Artistic and aesthetic activity in regime moments: Morning period of time Individual work on the assimilation of technical techniques, visual skills Game exercises Examination of objects and toys Observation Problem situations (“How to color plasticine?”, “What color is snow?”, “Reflection of light. How to see rainbow?”) Examination of drawings and diagrams, illustrations, etc. Walk Didactic games Problem situation Individual work on the development of visual perception Modeling Evening period of time, including a walk Games - experimentation Exercises for the development of fine motor skills of hands Situational conversations Virtual travel
Artistic and aesthetic activities in direct educational activities: Educational situations (“Secrets of the horizon line”, “Details in the picture”, “Nature does not have bad weather”), Educational activities (“Pick a palette”, “Magic line”, “Figured prints ”) Creative projects: (“Issue of a children's newspaper”, “Toys from around the world”, “My family tree”, “Museum of Beauty”) Solving problem situations Experimenting Observation Excursions Conversations Discussion Considering objects of the real and man-made world, their examination. Virtual travels Stories Meeting interesting people Didactic games Entertaining demonstrations Examining albums of photographs, illustrations, reproductions, collections Experiments Contests
Artistic and aesthetic activity in independent activity: Solving problem situations Didactic games Role-playing games Observations Examining Collecting material for children's design, decorative art Experimenting with materials Examining art objects
Artistic and aesthetic activities in the family: Situational learning. Exercises. Collecting Watching videos Examining works of art Examining items Home experimenting Joint creativity Accompanying the family: Conversations Consultations Open viewings Exhibition of works Meetings on request Interactive interaction through the site Joint games Joint classes Master classes Polls, questionnaires, information sheets
Technology R.M. Chumicheva Familiarization of preschoolers with painting 1. Emotionally - personal Personal motives, own understanding associated with the child's experience, his emotions, interests are characteristic 2. Highlighting the cognitive, aesthetic and moral values of the content of the work
Diagnosis of determining the levels of development of ideas about works of art (R.M. Chumicheva) Indicators of the levels of ideas about works of fine art High Answers questions about what is depicted, what the picture is about, what the artist said. Confirms with logical connections between content and expressive means (color, composition, shape, facial expressions, posture), accurately defines and justifies mood, feelings, uses figurative language). Intermediate Answers questions correctly, but does not explain why he thinks so, rarely uses epithets, comparisons. Low Finds it difficult to answer questions, emphasizes insignificant connections in content and expressive means.
Stages of work on the formation of elementary ideas in preschoolers about the types of art Stage 1: Purpose: creating interest in the work, developing the ability to carefully consider, emotionally respond to its content Stage 2: Purpose: to develop the ability to independently analyze the content, highlight means of expression Stage 3: Purpose: to form a creative perception of fine art works. Stage 3 Stage 2 Stage 1
L.A. Technology Paramonova Designing in kindergarten Two types of design: technical and artistic Designing from paper and natural material belongs to the artistic type of design. The technical type of design often includes: construction from building materials, from designer parts with different fastening methods, from large modules, as well as design based on computer programs. Lego construction is designed to develop the mental abilities of children. The series includes a variety of constructors: models for children from 3 years old for drawing up and playing out everyday scenes, elementary mechanisms that drive the model from a tensioned spring or a solar battery, robotics.
L.A. Technology Paramonova Tasks of teaching design: Pattern design (F. Fröbel) is that children are offered samples of buildings made from parts of building material and designers, paper crafts, etc., as a rule, showing how to reproduce them. Designing according to the model (A.N. Mirenova, A.R. Luria) consists in the fact that children are presented with a model as a model, in which the outline of its individual elements is hidden from the child. Children must reproduce this model from the building material they have. Construction by conditions (N.N. Poddyakov) The design tasks in this case are expressed through conditions and are of a problematic nature, since there are no ways to solve them. This form of work contributes to the development of creative design. Design according to the simplest drawings and visual diagrams was developed by S. Leon Lorenzo and V.V. Kholmovskaya. Separate functional features of real objects are recreated, it provides opportunities for the development of internal forms of visual modeling. Designing according to a plan, in comparison with designing according to a model, has great opportunities for developing children's creativity, for manifesting their independence; in this case, the child himself decides what and how he will design. In designing on a theme, children are offered a general theme of constructions (for example, "City"), and they themselves create ideas for specific buildings and crafts, choose how to implement them, and material. Frame design proposed by N.N. Poddyakov, involves the initial acquaintance of children with a simple frame as the central link of the building (its parts, the nature of their interaction) and the subsequent demonstration by the teacher of its various changes, leading to the transformation of the entire structure.
Methods and techniques used Sensory examination of Lego parts to get acquainted with the shape, color and determine the spatial relationships between the parts in order to holistically perceive the building Demonstration and examination of illustrations and paintings depicting objects for construction Observation of natural objects Using diagrams and drawings creating a model Explaining the sequence and methods of building construction Using diagrams and drawings Showing and analyzing a sample Presenting a speech sample Creating a problem situation Analysis and evaluation of constructive activities
Features of the artistic and aesthetic object-spatial environment in a preschool educational institution O the educational environment should take into account the age-related interests of preschool children O the educational environment should correspond to the capabilities of the child on the verge of transition to the next stage of development The object-spatial environment should correspond to the structure of the child's cognitive sphere The dynamics of the educational environment should take into account initial initiative of the child
The tasks of the musical development of children are the formation of ideas about the connection between the music of the word, gesture and movement with life; fostering interest in music-making through gaming activities; education of the need for self-expression through collective and individual creativity; development of tactile sensations (rhythmic pulsation) through sounding gestures; development of improvisation skills through word, gesture, sound, movement; development of motor sensations through plastic improvisation; development of speech activity through onomatopoeia development of intonation hearing through onomatopoeia and playing musical instruments development of timbre hearing through playing instruments development of the ability to build associative analogies between images of reality and images of sound, plastic, artistic
Forms, methods of organizing the educational process Joint activities Independent activities Educational activities with the family (in the family) Directly educational activities Regime moments Listening Conversations Discussion Musical and didactic games Theatrical activities Examining portraits of composers Use of music: at morning exercises, while washing, in role-playing games, in computer games, before daytime sleep, upon awakening. Individual work Musical and didactic game, Holidays. Entertainment. Watching cartoons, children's musical films S.-r. Games in the "holiday", "concert", "orchestra", "musical lesson", "television". Improvisations of melodies, movements. Singing. Round dances. Improvisation on instruments Musical didactic games Dramatization games Children's ensemble, orchestra Visiting children's musical theatres, Listening to audio recordings Watching videos Learning to play musical instruments
Using music in joint activities: Improvisation games: fairy tale game; ballet game; opera game; carnival game; fantasy game; Motor-playing improvisations (showing plastic images of "Malvina", "Pinocchio", showing plastic characters of images (Cheerful Pinocchio, Angry Malvina); Vocal and speech improvisations; Intonation etudes (playing scenes from the life of animals, birds, objects and phenomena) ; reincarnation in characters; playing a role for all the characters in the table theater; Game situations (enter the depicted situation and imagine puppets in the circus); Instrumental improvisations; Plot composition; Musical and game compositions: greeting games; speech games; games with sticks; games with sounding gestures, assimilation games, mood games, image games; Instrumental music making; Dance miniatures; Computer musical game programs
Use of music in independent activities: Creation of conditions for independent musical activities in a group: selection of musical instruments, musical toys, theater puppets, attributes, costume elements for theatrical activities, TCO; Games in "holidays", "concert", "orchestra", "musical lessons", "TV"; Creation of game creative situations for children (role-playing game), which contribute to improvisation in singing, movement, playing music; Improvisation of melodies on own words, inventing songs; Inventing the simplest dance movements; Dramatization of the content of songs, round dances; Compilation of dance compositions; Improvisation on instruments; Musical and didactic games; Accompaniment in singing, dancing, etc. Children's ensemble, orchestra; Creation of a system of theaters for theatrical activities: theater on springs; plane theater; masque; ball theater; theater made of natural material; theater from waste material; theater of fashion; origami theater; knitted toy theater; puppet theater from old newspapers; theater on spoons; matchbox theater; theater "Smeshariki"
The use of music in the family: Studying the opinion of parents about music and musical education (questionnaires, interviews, observations). Thematic musical lectures. Pedagogical conferences with the invitation of experts. Game workshops for parents. Creation of a mini-library on the issues of musical and aesthetic education of children. Interest clubs. Organization of family leisure. Joint holidays, entertainment in the preschool educational institution (inclusion of parents in the holidays and preparation for them). Theatrical activities (concerts of parents for children, joint performances of children and parents, joint theatrical performances, orchestra). Open music classes for parents. Creation of visual and pedagogical propaganda for parents (stands, folders or moving screens). Assistance to parents in creating a subject-musical environment in the family. Visits to museums, exhibitions, children's musical theaters. Listening to audio recordings with viewing of relevant illustrations, reproductions of paintings, portraits of composers. Watching videos.
1) The ability of emotional experience.
2) The ability to actively assimilate artistic experience (aesthetic apperception), to independent creative activity, to self-development and experimentation (search activities).
3) Specific artistic and creative abilities (perception, performance and creativity).
Methods of aesthetic education:
1) The method of awakening vivid aesthetic emotions and experiences in order to master the gift of empathy.
2) The method of inducing empathy, emotional responsiveness to the beautiful in the world around.
3) The method of aesthetic persuasion (According to A.V. Bakushinsky, “Form, color, line, mass and space, texture should convince themselves directly, they should be valuable in themselves, as a pure aesthetic fact.”).
4) The method of sensory saturation (without a sensory basis, introducing children to artistic culture is unthinkable).
5) The method of aesthetic choice ("beauty persuasion"), aimed at the formation of aesthetic taste; » a method of diverse artistic practice.
6) Method of co-creation (with a teacher, craftsman, artist, peers).
7) The method of non-trivial (unusual) creative situations that arouse interest in artistic activity.
8) Method of heuristic and search situations.
Principles of an integrated approach:
1) It is based on the concept of polyartistic development. All arts appear as phenomena of life as a whole. Each child can successfully advance in each of the types of artistic activity and creativity.
2) Art interacts even if the teacher does not know about it or does not want to take it into account. Color, sound, space, movement, form are closely related, interchangeable. They are different expressions of the same spiritual phenomena and qualities of the world. In an integrated approach, it is important to take into account the internal, figurative, spiritual connections of the arts at the level of the creative process. This must be distinguished from the usual interdisciplinary connections or mutual illustration of one art by examples of another - in terms of their plot and content.
3) An integrated approach involves taking into account the geographical, historical, cultural factors of the consciousness of works of art in a single stream of culture. The arts developed unevenly, and among some peoples in certain historical periods, some arts either prevailed or were simply absent.
4) Accounting for regional, national-historical artistic traditions associated with the area, material objects, and the spiritual aspirations of the people. Connections of regional and world artistic cultures.
5) Relationships between art and sciences in a single field of creative manifestations of mankind, where they feed on each other's achievements, often combined in one person.
Table - productive activity