Features of the formation of aesthetic feelings in children of senior preschool age

Aesthetic education of preschool children

Bibliographic description:

Mosina, N.V. Aesthetic education of preschool children / N.V. Mosina.
— Text: direct // Pedagogical skills: materials of the I International. scientific conf. (Moscow, April 2012). - Moscow: Buki-Vedi, 2012. - pp. 119-125. — URL: https://moluch.ru/conf/ped/archive/22/2011/ (access date: 02/05/2022). Aesthetic education occupies one of the leading places in the content of the educational process of a preschool educational institution. When certifying kindergartens, this area is highlighted as a priority along with the intellectual and physical development of children. Aesthetic education is the organization of children’s life and activities, contributing to the development of the child’s aesthetic feelings, the formation of ideas and knowledge about the beauty in life and art, aesthetic assessments and an aesthetic attitude towards everything that surrounds us.

For the aesthetic development of a child’s personality, a variety of artistic activities are of great importance - visual, speech, artistic-speech, play, etc. An important task of aesthetic education is the formation of children’s aesthetic interests, needs, as well as aesthetic taste and abilities.

Work on aesthetic education is based on the following principles:

— aesthetic education is carried out in conjunction with all educational work in a preschool institution. The activities of teachers to develop children's artistic creativity are considered as an organic part of the overall pedagogical work;

- children's creativity is connected with life, this connection enriches the content of children's artistic activity;

— artistic and creative activity is interconnected with all educational work;

— variability of content, forms and methods of artistic activity;

- an individual approach to aesthetic education, based on identifying individual differences in children and determining the optimal ways to develop the creative abilities of each child;

— the universality of aesthetic education and artistic activities with children, expressed in the fact that aesthetic education and artistic activities include all children without exception. This does not mean, of course, that there is no need to differentiate children, single out the gifted, and additionally conduct classes with children who show increased interest, for example, in visual arts. Children who have difficulty mastering a particular activity should also be identified.

An important principle should also be the widespread use of works created by children in the life of the group and the children's institution as a whole, so that children see the need for what they have created. Children should participate in creating decorations for dramatization games, for holidays, making costume parts, preparing dramatizations, songs, round dances, etc. children can make children's didactic and printed board games, etc.

Work on aesthetic education should be carried out throughout the day

starting from the arrival of children in kindergarten. When accepting children into a group, the teacher should ask the children about what they saw on the way to kindergarten, offer to describe what they saw, and emphasize what they especially liked. You can ask children about their favorite fairy tales and poems, if the situation is appropriate, read them a poem, tell them about what you yourself saw when going to kindergarten. Children need such meaningful communication. It will stimulate the desire to see the beauty of life around us. Every moment of a child’s life should be imbued with aesthetics, so it is important to create an aesthetic environment so that children are surrounded by beauty.

In order to solve the problems of aesthetic education, the teacher must know what creativity is in general and what the specifics of children's creativity are. This will allow him to subtly and tactfully support children’s initiative, teach children creativity, and indeed teach them, since creativity itself can only develop in certain individuals.

Creativity is an activity aimed at creating a socially significant product that has an impact on the transformation of the environment.

The result of the creativity of adults is a new product that has social significance and ensures the movement of society. A child does not create a new product for society. The significance of his creativity is limited to creating something new for himself, and this determines the significance of creativity for the formation of personality. But there is also an objective meaning of children’s creativity - society is interested in the creative development of everyone.

The famous didactician I.Ya. Lerner argues that creativity can be taught, but this teaching is special, it is not similar to how knowledge and skills are taught. At the same time, creativity is impossible without acquiring certain knowledge and mastering skills and abilities.

Taking into account all that has been said, we will understand the artistic creativity of preschool children as the creation of an objectively significant (for the child, first of all) new product (drawing, modeling, story, dance, song, game), inventing previously unused details for the known, characterizing them in a new way. creating an image (in a drawing, in a story, etc.), inventing your own beginning, end, new actions, characteristics of heroes, etc., using previously learned methods of depiction or means of expression in a new situation (for depicting objects of a familiar shape - based on the image of a formative movement, images of fairy tale heroes - based on mastering facial expressions, gestures, voice variations, etc.), the child showing initiative in everything, coming up with different options for images, situations, movements.

By creativity we will understand the very process of creating images of a fairy tale, story, dramatization game, etc., as well as methods and ways of solving problems (visual, gaming, musical).

From this definition it becomes obvious that in order to develop creativity, children need to acquire certain knowledge, master skills and abilities, master methods of activity, i.e. It is necessary to provide targeted training to children so that they can acquire a rich artistic experience.

For a child, creativity in creating an image can manifest itself in changing the size of objects

depicted by him.
For example, children make apples, and if one of them, having made an apple, then depicts a smaller or larger apple, then this will be a creative solution for him. Adding some details to the image can also be considered a manifestation of the creativity of children of this age: for example, a child attaches a stick (petiole) to a sculpted apple, a string to a ball, etc. A creative approach to an image can be expressed in a change in color: for example, having drawn a red apple, the child next to him (on his own initiative) draws yellow or green. Children can make various additions
related to the topic. For example, children in the middle group, on instructions from the teacher, draw a bird, whichever one they want. Having finished the image, the boy draws thin wavy lines from his open beak: “The bird is singing,” he will explain, “this is her voice.” And here we see the manifestation of imagination and creativity.

As children master visual activities, their creative solution to visual problems also becomes more complex. They take great pleasure in conveying fantastic images in drawings, sculpting, and appliqués, depicting fairy-tale characters, magical nature, fairy-tale palaces, outer space with flying ships, people going into outer space, and more.

An important stimulus for the development of children's creativity is the positive attitude of adults towards children's initiative and creativity.

Therefore, it is necessary to celebrate and encourage the creative discoveries of children, to organize exhibitions of children's creativity products in the kindergarten group, in the hall, and in the lobby.

In a child’s creative activity, three main stages should be distinguished, each of which, in turn, can be detailed.

1. The emergence, development, awareness and design of the plan.

The themes of the upcoming image, story, dance drawing can be determined by the child himself or proposed by the teacher (the specific decision is determined only by the child himself). The younger the child, the more situational and unstable his plan is.

Research in the field of visual creativity shows that initially 3-year-old children can create what they themselves have conceived in only 30–40% of cases. The rest change the idea and, as a rule, name what they want to draw at the beginning of the lesson, then draw something completely different. Sometimes the plan changes several times. And only by the end of the year, subject to systematic training with children, 70–80% of the children’s idea and its implementation coincided. The reason for this phenomenon lies, on the one hand, in the situational nature of the child’s thinking: at first he wanted to draw one thing, but suddenly another object comes into his field of vision, which seems more interesting to him. On the other hand, when naming a plan, a child cannot always correlate what he has planned with his visual capabilities. And therefore, having picked up a pencil or brush and realizing his inability, he abandons the original plan. The older the children are and the richer their experience in any artistic activity, the more stable their plan becomes.

2. Creation of an image by children.

An image or a story on a topic named by the teacher does not deprive the child of the opportunity to show creativity, but it helps to direct his imagination, of course, if the teacher does not regulate the decision. Significantly greater opportunities arise when the image is created according to the children’s plans, when only the direction for choosing the topic and content of the image is given. The child’s activity at this stage requires him to master methods of representation, expressive means that are specific to drawing, modeling, and appliqué.

3. Analysis of results

is closely related to the two previous stages and is their logical image and completion. Viewing and analysis of what children have created should be carried out with maximum activity, which allows children to more fully comprehend the result of their activity. At the end of the lesson, all images created by the children are displayed on a special stand. This gives everyone the opportunity to see the work of all the children in the group, understand the diversity of solutions, and see their work among others. Children themselves can choose the images they liked best and justify their choice. With the tactful actions of the teacher, directing the attention of children, they will see interesting findings of other children, original and expressive solutions to the topic. Viewing and analysis of children's work at the end of the lesson should be organized in different ways, avoiding patterns and stereotypes, otherwise it will be boring, and therefore not instructive for children, at the stage of creating an image.

A detailed analysis of children's work is not required in every lesson. This is determined by the features and purpose of the images being created. So, if the children were making decorations for the Christmas tree, then at the end of the lesson all the toys the children made should simply be hung on the tree with them and noted that all the toys look good. If the children created a collective composition, then upon completion, you should draw the children’s attention to how beautiful the overall picture is, and invite them to think about how they can complement it and make it even richer and more interesting. And if children decorated dresses for dolls, then it is better to “hang them in the store” so that the doll or as many dolls can choose what they like.

Carrying out work on the development of children's creativity, it is necessary to include children more widely in all processes of preparation for performance

(the older the children, the more they need to be activated): listen to their opinions, consult with them. For example, talk to them about which fairy tale to choose for dramatization, ask them to think about what items might be needed to decorate a group or a hall, what can be found ready-made and what needs to be made themselves, what costume details for the characters in the fairy tale are necessary. It is important to place children in the position not of obedient performers, but of active participants in the preparation of creative activity and its implementation.

The creative nature of the activity requires the creation of a relaxed atmosphere

: children can study while sitting at tables arranged in different ways, standing at tables, in front of easels or a board, should be able to go to a book corner, to a toy shelf to look at a toy, illustration, or look out the window to see flowers on the kindergarten site, houses nearby or far away, people walking, etc. In such classes, there is no need to demand from children a complete answer to the teacher’s question: the conversation should be lively, direct, because the establishment of various formal requirements in visual arts classes contradicts the artistic and creative nature of the activity itself.

You should also not require children to raise their hands to answer. Natural, free answers from the seat, and choral statements are completely acceptable. In a word, the atmosphere should be free and relaxed.

A very effective condition for the development of children's creativity is the widespread inclusion of games, game situations, and game techniques in the pedagogical process.

Fine arts are closely related to play in their roots. Therefore, the more the teacher relies on game images and situations, the more personally significant drawing, modeling, and applique classes become for children.

Remarks to children and negative assessments are inappropriate

during the discussion of the upcoming image and at the time of its creation. This is distracting, reduces the emotional and joyful mood, and disrupts the atmosphere of fabulous mystery. You can maintain attention by including game techniques, fairy-tale episodes, poems, songs, and offering to come up with something unusual, new, your own, mysterious.

The social orientation of the classes also helps to increase interest in classes and create a joyful, creative environment.

: children like to do something that can bring joy to other people - prepare a surprise, a gift, an invitation to a children's party, a birthday card, make games and toys for kids, holiday decorations for a group room, hall, attributes for games, etc.

An interested attitude towards the activity is caused in children by the opportunity to freely choose the topic of the image,

materials for color and compositional design of the theme. The creation of a positive attitude is also facilitated by the teacher’s respectful, careful attitude towards children’s creativity and its products, and their widespread use in the life of the kindergarten. It is advisable to organize exhibitions of children's works as often as possible in kindergartens, in institutions where parents work, in houses where children live.

When caring for the development of children's artistic creativity, it should be remembered that any artistic activity does not tolerate formalism and templates. The management of this activity, first of all, requires a creative approach to it by the teacher himself. The creative attitude of educators to the management of children's creativity is determined by knowledge of the specifics of a particular artistic activity, its figurative aesthetic character, which not only allows for variety and variants of tasks, figurative solutions, forms of organization, but necessarily requires such diversity and does not tolerate dryness, boredom, monotony which, unfortunately, often also accompany classes with children.

Such phenomena in the management of artistic activity arise, as a rule, either from ignorance of the specifics of creativity, or from ignoring it.

Particular attention should be paid to such an important means of aesthetic education as nature.

Being a human habitat, nature contains enormous possibilities for a multifaceted influence on a person and on the formation of his personality. And the sooner a child’s purposeful communication with nature is carried out, the deeper the mark it will leave in the child’s soul, determining his humanistic orientation and spiritual development.

The perception of nature, the variability of its objects depending on lighting, the time of year, the degree of maturity, etc. contribute to the development of children’s imagination, imaginative aesthetic perception, and the formation of imaginative ideas. When talking about nature, the teacher can select bright, poetic lines from the works of poets and writers. A special role in the development of aesthetic feelings, ideas, imagination, and aesthetic taste belongs to the fine arts in which these images are embodied. , familiarization of children with the works of artists - illustrators of children's books deserves great attention.

. Each artist depicts nature in his own way, in a manner unique to him, which enriches both the aesthetic perception of children and their creativity.

Solving the problems of aesthetic education with the help of nature does not happen on its own, but requires the purposeful activity of the teacher: when observing objects and natural phenomena, when reflecting the impressions received in various types of artistic activity, and above all in the visual arts (drawing, sculpting, appliqué).

The task of introducing children to nature includes familiarization with the seasons

, their specificity and change, with such phenomena as rain, snow, frost, with the animal and plant world. The proposal to depict pictures of nature, animals, and plants always receives a positive response from children. Images created by children on nature themes help to consolidate and clarify knowledge about natural objects, enrich children's creativity with new images, and develop interest in nature and a positive attitude towards it.

Children with great pleasure accept the teacher’s offer to convey objects of nature in drawings, modeling or appliqués. Of particular interest to them is the image of living creatures: butterflies, bugs, birds, fish, animals, both wild and domestic. Animals attract the attention of children with their habits, mobility, habitat, and connection with humans. Children became acquainted with many animals by listening to fairy tales, stories by E. Charushin, V. Bianki, and saw their images in children's books. When introducing children to images of animals, it is important to pay attention to the difference in the artists’ style. Thus, E. Charushin depicts animals in a touchingly realistic manner, conveying, for example, the softness of the fluffy hair of young animals and the dense, harder hair of adult animals. The images of animals depicted by Vasnetsov are based on fairy-tale and decorative realism. Vasnetsov’s images are given a fabulous decorative quality by a certain conventionality and humanization of animals (as a rule, the vertical position of the body, preoccupation with human affairs and ornamented details of costumes). T. Mavrin depicts animals in a completely different way. Her style is conventionally magical and fabulous. Her animals seem scary at first glance, but children are not afraid of them: large, conditional strokes and lines conveying fur emphasize their fabulousness.

To ensure children’s successful portrayal of animals and thereby give them joy from what they have succeeded in, it is necessary to organize children’s perception of animals.

They can see and observe animals when visiting a zoo, a fur farm, a circus, a barnyard, or on the street. But a living object is in motion, which, on the one hand, captivates the child, and on the other hand, does not always allow one to derive from observation an accurate idea of ​​the shape of the animal’s parts, their size, and location. Therefore, to clarify the image, you can use toy animals, their images in photographs and illustrations. Then children will be able not only to carefully examine what is then to be depicted, but also to trace each part with their hand. This will help you draw, sculpt or cut out an animal from paper. Learning to depict animals is very important for children - this will help them create illustrations for fairy tales in the future.

The relationship between visual activity and children’s familiarization with nature enriches both children’s knowledge about nature and their visual creativity. Both in the process of learning about nature and in the process of depicting it, children develop mental processes, such as perception, mental operations (analysis, comparison, likening, generalization), imagination, and children’s emotional and positive attitude towards both nature and visual activity. Attention (in the figurative expression “the gateway to the world of knowledge”) and memory also develop.

In order to fully and purposefully carry out the aesthetic education of children, the teacher must have an idea of ​​the end result,

those. about what children should acquire while attending preschool. In general terms, this result could be presented as follows. The selected indicators are given on average: very low results can only be achieved in children who are often ill, who attend preschool irregularly, or children with mental retardation. Obtaining higher results in the field of aesthetic education should not be limited.

Artistic culture of the individual.

By the end of their stay in a preschool institution, children must achieve a certain level of personality culture.
In the field of aesthetic perception of art and reality:
- see and note the beauty of works of art (musical, visual, literature, architecture, various types of folk art), surrounding objects, nature, show an emotionally positive attitude towards them (express a feeling of pleasure, joy, express a desire to admire them);

- know the names and some works of 2-3 composers and artists; know the names of several children's writers and some of their works;

- know and use in your creative activity the basic expressive means of art: in music - rhythm, tempo, dynamics; in fine arts - line, shape, color, composition; in a dramatization game - facial expressions, gestures, movements, posture, voice;

- know and name works of folk art: 2-3 Russian folk songs, chants; riddles, proverbs, sayings, nursery rhymes, fairy tales; 2-4 types of folk arts and crafts (Dymkovo, Filimonov, Gorodets, Khokhloma, Gzhel).

In the field of artistic and creative activities:

- children should have an interest in artistic and creative activities in one or more types of art, an emotionally positive attitude towards the teacher’s proposals to engage in visual, musical, artistic and speech activities, as well as to the proposal to examine works of fine art, folk arts and crafts, architecture ; be able to listen to music and retell works of children's literature and folklore;

- children should develop a variety of skills to create their own works in any type of artistic activity;

- you should also form the desire and ability to do what is possible with your own hands (a toy as a gift to a friend, younger brothers and sisters, a greeting card to parents, teachers, decorate a holiday, make a didactic or printed board game, etc.

By the end of their stay in a preschool institution, children should be able to aesthetically evaluate the results of their activities and the activities of their peers, and, if possible, justify this assessment. Children should strive to communicate with each other about and in the process of artistic activity.

In the field of fine arts and visual activities:

- know the names of 2 - 3 artists - painters and 1 - 2 paintings of each;

- know the names of 2 - 3 children's book illustrators;

- know 3-5 types of folk arts and crafts (Dymkovo, Filimonov, Gorodets, Khokhloma, Gzhel);

- know the basic shapes - circle, square, rectangle, triangle, oval, name objects of this shape;

- know 7 colors of the spectrum and 3 - 4 shades or varieties of colors (for example, red, pink, crimson, burgundy; green, light green, marsh);

- know visual materials: for drawing - pencils (simple, graphite, colored), paints - gouache, watercolor; colored wax crayons, pastel, sanguine; for modeling - clay, plasticine, plastic mass; for working with paper - paper of various colors and textures;

- be able to create images of objects of different shapes, conveying proportions and characteristic details, expressing the image in one’s own way;

- be able to use various means of expressiveness: lines of different nature, shapes of different sizes and proportions, color - its varieties and shades, compositional means (place an image on a sheet of paper in accordance with their proportions, convey the relationship in size between objects when depicting a plot picture, convey occlusion some images by others);

- be able to use various tools and materials when creating images (various brushes, paints, pencils, scissors, etc.), use their expressive means when conveying an object image, decorative or natural.

In the field of music:

During the initial period of training:

- show interest in music, a desire to listen to music, sing calmly, in a natural voice, pronounce words clearly, take a breath between short musical phrases. Sing with and without instrumental accompaniment; listen to the voice of others, coordinate your actions with others;

— show interest in Russian folk songs;

- express a desire to listen to Russian folk songs and sing them;

- highlight the expressive means of music: distinguish dynamic shades of music (loud - quiet), pitch (high - low), rhythm.

At the senior preschool level:

- respond emotionally positively to music of a different nature (march, dance, etc.);

- be creative in singing and moving to music;

- distinguish between happy and sad melodies;

— show interest in folk and classical music;

— know Russian classical composers (P.I. Tchaikovsky, N.A. Rimsky-Korsakov) and foreign composers (Mozart, Chopin);

- show a desire to listen to different music and determine its character (calm, cheerful, sad, solemn, song, dance, marching);

- be able to sing expressively, melodiously, easily, take breath between musical phrases and hold it until the end of the phrase, pronounce words clearly, sing in harmony in the choir;

- be able to sing to music without accompaniment, maintaining the tempo and rhythm of the musical work;

- know notes as signs denoting sounds, understand the relationship between the location of note signs on the staff and the pitch of the sound;

- be able to perform simple melodies on children's musical instruments.

In the field of architecture and design:

- know and define architecture as a form of art, as part of the spiritual culture of society;

- understand the essence of the profession of an architect;

- understand the dependence of the appearance of a building on its purpose;

- know architectural structures for various purposes (using the example of buildings located near the kindergarten and the house where the child lives);

- name the properties of architectural structures: usefulness, strength, beauty; see the beauty of architectural structures;

- highlight the expressive means of architecture: the beauty and expressiveness of the form of buildings and structures and their individual parts, significant relationships (their harmonious combination), decorations used by the architect;

- highlight the environment in which the building is included, name its components, define them as beautiful or ugly;

- distinguish the shape of parts of wooden and plastic construction kits, name such as cube (cube), brick, block, prism (trihedral), plates;

— determine the degree of their stability, the possibility of use in the construction of buildings;

- show interest in making various fakes from paper (bending, cutting, gluing it);

- show a desire to decorate the created products using familiar elements of Dymkovo painting.

Features of teaching preschool children.

The learning process carried out in kindergarten is an integral part of the educational process and is aimed at the comprehensive development of the child’s personality. The purpose of education is the systematic transfer to children of elements of the socio-historical experience of mankind. Of course, no one person, much less a child, can assimilate all social experience. Taking this into account, scientists have identified its main elements, the assimilation of which is necessary for the comprehensive development of the individual.

Knowledge is required to carry out any activity

, more precisely, a body of knowledge, including knowledge about methods of activity.
However, for the normal implementation of activities, knowledge alone is not enough. You can know what needs to be done, know the methods of activity, but not be able to carry them out. In other words, any activity (intellectual, practical) requires skills
.
For example, a child has seen and knows: in order to lace boots or sneakers, you need to thread the laces into the holes in a certain way, but if he has never done this himself, he will not develop the necessary skills and will not be able to lace the shoes himself. It follows that important components of learning experience are skills and abilities
that the child also acquires during the learning process.[5]

Play is the main activity of preschoolers.

In the development of a child and a group of children, a huge role belongs to the main type of children's activity in the preschool period - play.

Philosophers, historians, ethnographers, psychologists, and teachers study the origins of games, their place in a child’s life, and the possibilities of effectively using games to solve educational problems.

N.K. made a significant contribution to game theory. Krupskaya. Emphasizing the social nature of children's games, the reflection in them of the phenomena of life, she first of all saw in the game a means of expanding impressions and ideas about the surrounding reality, connections with it. “For children of preschool age,” she wrote, “games are of exceptional importance: for them, play is study, play for them is work, play for them is a serious form of education. Play for preschoolers is a way of learning about their surroundings.” [1, p. 207]

The social nature of the content of games and play activities is due to the fact that the child lives in society. From the first months of life, he strives to communicate with others, gradually mastering language - a powerful means of communication and assimilation of social experience. The child wants to be an active participant in the lives of adults, but this need does not yet correspond to his capabilities. In the game, imitating the actions of his elders, empathizing with their joys and sorrows that are accessible to him, he becomes familiar with the life around him in such a unique way.

Highly appreciating the educational role of children's games, A.S. Makarenko wrote: “The game is important in the life of a child, it has the same meaning as an adult’s activity, work, service. What a child is like at play, so in many ways he will be at work when he grows up. Therefore, the education of a future figure occurs primarily in play” [2, p. 373]

The originality of the game as an activity for children.

The main feature of the game is that it represents children’s reflection of the life around them - the actions, activities of people, their relationships in an environment created by the child’s imagination. In the game, a room can be the sea, a forest, a metro station, or a railway carriage. Children give the environment the meaning that is determined by the design and content of the game. [3]

Outstanding director and actor K.S. Stanislavsky, in his book “Working on Oneself,” characterizing children's play, says that a child’s play is distinguished by faith in the authenticity and truth of fiction. As soon as a child says to himself “as if,” fiction already lives in him. At the same time, one more property is noticed in the child: children know what they can believe, and what they should not notice. [4, p.170]

Literature:

1. N.K. Krupskaya “On preschool education”, p.207;
2. A.S. Makarenko Works, vol.IV, p. 373;
3. Preschool pedagogy. A textbook for students of pedagogical schools in their specialty. 2002 "Preschool education" and 2010 “Education in preschool institutions” V.I. Yadeshko, F.A. Sokhin, T.A. Ilyin et al., edited by V.I. Yadeshko, F.A. Sokhina. – 2nd ed. corr. and additional – M.: Education, 1986 – 415 p.
4. K.S. Stanislavsky “The Actor’s Work on Oneself” Moscow, 1954.
5. L.F. Bolotina, T.S. Komarova, S.P. Baranov. Preschool pedagogy: A textbook for students of secondary pedagogical educational institutions. 2nd ed. – M.: Publishing House 1997 – 240s. – ISBN 5-7695-0137-5

Key terms
(automatically generated)
: child, aesthetic education, children's creativity, kindergarten, artistic activity, visual activity, know, game, preschool, image.

The concept and essence of aesthetic education of preschool children

Definition 1
Aesthetic education is a purposeful process of influencing the personality of a preschool child, with the goal of developing his ability to see beauty in the world around him, works of art, as well as the ability to create beauty on his own.

Note 1

Aesthetic education of children must begin from the very first days of life.

Aesthetic education is a purposeful process of developing creative activity in preschool children, the ability to perceive and appreciate beauty in nature, life and art. Aesthetic education of preschool children includes instilling in children an aesthetic attitude towards social life, work, nature, art and everyday life. However, knowledge of works of art is very multifaceted, so it stands out as a separate part of the aesthetic education of children.

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In the process of aesthetic education, preschool children become acquainted with the beauty in the surrounding life, nature and art, they learn to perceive and feel this beauty. This process contributes to the development of their imagination and imagination.

The system of aesthetic education for preschool children includes:

• education through artistic means;
• education through art;
• education through extra-artistic means (nature, work, environment, educational activities, etc.).

Note 2

Thus, the process of aesthetic education includes general cultural, philosophical and psychological-pedagogical education.