Formation of aesthetic and artistic culture

Aesthetic and artistic culture of personality

The importance of aesthetic and artistic development of the individual as an important lever of social progress increases during transitional periods that require increased creative activity from a person and the strain of all his mental powers. This is exactly the stage our country is going through now. Lasting strength in implementing reforms is determined not least by the aesthetic potential of society and living generations. It is this circumstance that makes the problem of forming an individual’s aesthetic and artistic culture and creating favorable conditions for this extremely relevant.

It is important to effectively resist the tendency to push the aesthetic environment into the background, to the periphery of conscious tasks. This has very dangerous consequences, leading to the impoverishment of the cultural life of society and the spiritual degradation of its constituent individuals. None of the purely material achievements to which present reformers are inclined to direct their attention is, of course, worth such a price.

It can also be argued that without the inclusion of the aesthetic factor in the reforms being carried out, their social and human effectiveness will be negligible.

Aesthetic education of the individual begins with the first steps of a little person, with his first words and actions. There is nothing like an environment that doesn't leave an imprint on your soul for the rest of your life. Communication with parents, relatives, peers and adults, the behavior of others, their mood, words, looks, gestures, facial expressions - all this is absorbed, transferred, and fixed in the mind.

Aesthetic education occurs at all stages of personality development. The sooner it enters the sphere of targeted aesthetic influence, the more reason to hope for its effectiveness.

What should aesthetic education be like in order to influence the full formation of personality, and on what criteria does it depend? What is aesthetic and artistic culture as a phenomenon of social life and individual consciousness?

Aesthetic culture is a manifestation, concretization of culture as a whole. Culture is understood, first of all, as the content and process of people’s activities, the result of their active and purposeful, although not always purposeful and successful, productive social activity.

Culture acts as one of the leading attributes of planetary civilization; it distinguishes human life from the life of other living beings on Earth and possible extraterrestrial civilizations.

Culture is the main, historically stable indicator of human creative activity, a correlator of the level and quality of development of communities and individual peoples, a criterion for assessing the historical path and prospects of large social units, of each individual person. Culture is “second nature.”

This model, with some amendments to the massization of production and the deepening division of labor and specialization, is still relevant today.

Mastery, artistic flair, skill and inspiration allow modern ordinary workers to achieve often amazing results, which gives grounds to qualify their work as an activity according to the laws of beauty.

All the above facts about aesthetic and artistic culture lead us to the conclusion about the extreme importance of its purposeful formation in people, about the place and role of aesthetic and artistic education in the social reproduction of man.

Goals and objectives of aesthetic and artistic education

In a broad sense, aesthetic education is understood as the purposeful formation in a person of an aesthetic attitude to reality.

This is a specific type of socially significant activity carried out by a subject (society and its specialized institutions) in relation to an object (individual, personality, group, collective, community) with the aim of developing in the latter a system of orientation in the world of aesthetic and artistic values ​​in accordance with the prevailing ones in the given society with ideas about their essence and purpose.

The process of education introduces a person to values ​​and transforms them into internal spiritual content. It is on this basis that a person’s ability to perceive and experience aesthetically, his aesthetic taste, and idea of ​​the ideal is formed and developed.

Education through beauty and with the help of beauty forms not only:

• Aesthetic and value-oriented personality, as well as
• Develops the ability for creativity, aesthetic values ​​in work, in everyday life, in actions, in behavior and, of course, in art (which should be considered the main task of aesthetic education).
• Develops human cognitive abilities.
• It teaches a person to perceive ready-made products of aesthetic activity.

Researchers note that education through the formation of “aesthetic thinking” contributes to a holistic comprehension of the characteristics of the culture of a certain era at the individual level and an understanding of their unity and stylistic kinship, which, according to scientists, is a necessary condition for their theoretical knowledge.

Aesthetic education, introducing a person to the treasury of world culture and art is only a necessary condition for achieving the main goal of aesthetic education - the formation of an integral personality, a creatively developed individuality, acting according to the laws of beauty.

Aesthetic education has two functions, which represent a unity of opposites:

• Formation of aesthetic and value orientation of the individual;
• Development of his aesthetic and creative potential.

The main tasks of aesthetic education can be reduced to the following provisions:

• Develop the ability to perceive and experience the beauty of nature and social reality; draw conclusions in them about what is socially mediated as an aesthetic phenomenon;
• To instill the ability not only to actively perceive works of art, but also to understand and appreciate them
• To develop in every person the desire to skillfully use their creative powers and abilities; develop the need for beauty and the ability to understand and enjoy it
• To conscientiously strive for the affirmation of beauty in everything: in nature and social life, in work, in social and personal relationships, in everyday life and in personal behavior.

Based on the established practice of educational work, the following structural components of aesthetic education are usually distinguished:

• Aesthetic education, which lays the theoretical and value foundations of the aesthetic culture of the individual;
• Art education in its educational-theoretical and artistic-practical manifestation, the formation of an individual’s artistic culture in the unity of skills, knowledge, value orientations, tastes; aesthetic self-education and self-education aimed at self-improvement of the individual;
• Nurturing creative needs and abilities. Among the latter, the so-called constructive abilities are especially important: individual self-expression, intuitive thinking, creative imagination, recognizing problems, overcoming stereotypes, etc.

Art at school

A.A. Melik-Pashayev

HUMANIZATION OF SCHOOL AND PROBLEMS OF AESTHETIC EDUCATION

Today we see in school not just an educational institution with its own purely school problems, we see in it a reflection of all the contradictions and diseases of the adult world and at the same time the embryo of the future, the opportunity to move forward, the “growth point” of human society. And it becomes obvious that the most important, urgent and difficult tasks of the school lie in the area of ​​educating a growing person: the formation of a spiritual image, effective ideals and values, a creative attitude to life in entire generations of young people. The need for all this has become so acute that the traditional problems of improving school knowledge, despite their importance, recede into the background, especially since failures in the field of education also affect how a person acquires and applies knowledge. The core of the educational process should be the formation of the student’s personality—this is the main direction of school restructuring. Related to this are persistent calls to humanize the school: only a humanized school can educate a person.

However, most school subjects, considered basic, currently cannot purposefully educate the individual. And the point is not in the shortcomings of teaching these subjects, but in their historically established focus on knowledge of purely objective laws and facts of the external world, and not on solving educational problems. Therefore, the humanization of the content of education (and not just the nature of pedagogical communication and the organization of life of the school community), which would give it an educational function, cannot be carried out with the speed that time requires.

Almost the only opportunity in the very near future to solve serious educational problems within the framework of school programs is provided by the artistic cycle: literature, music, fine arts, since it is these subjects, due to the specificity of their content, that are capable of shaping the inner world of a growing person. But in today's school this channel is blocked, and the artistic cycle turns out to be fruitless at best. There are many reasons. These are, first of all, inadequate methods of teaching these subjects, a deep misunderstanding of their meaning and capabilities, as well as an extreme underestimation of children’s ability to master them creatively. This is the status of artistic disciplines as tertiary [2], and the corresponding attitude of children to art lessons and to art itself, and an indulgent dessert (at best!) attitude to aesthetic education on the part of parents, teachers, and school administrators who went through the same school .

There is no other area of ​​pedagogy where there would be such a waste of educational potential, such a gap between enormous opportunities and insignificant results, as in aesthetic education through the teaching of artistic disciplines! Meanwhile, almost all the phenomena of our life that are usually united under the name of “lack of spirituality” - emotional dullness, lack of mercy, environmental awareness, historical memory, creative initiative, utilitarian attitude towards everything in life, etc., etc. P. are largely due to the fact that many generations of people do not receive a full-fledged aesthetic education during their school years and are not even aware of the extent of their deprivation.

In the process of humanizing the school, its reorientation towards the goals of education (and this is not a correction of the traditional education system, not even a reform, but a kind of revolution, a change in the “pedagogical paradigm”), the subjects of the artistic cycle must move from the distant periphery of school life to its very center, become the leading element in the restructuring of the school, change its atmosphere and, over time, influence the teaching of many other, and perhaps all, subjects.

These statements may cause confusion and even protest. In fact, is it right to attach such serious importance to omissions in aesthetic education and pin such hopes on its improvement? We are accustomed to thinking that aesthetic education is the acquisition of the ability to “notice and appreciate the beautiful,” or some knowledge and skills in the field of art, or other private qualities that, for all their attractiveness, do not determine the spiritual and moral appearance of a person. (Therefore, by the way, aesthetic education should be supplemented by other, more important, although also limited and partial: moral, patriotic, environmental, etc.)

It is clear that an effective program of universal aesthetic education must be built on a more solid foundation. This or that pedagogical influence can be called “education” only in those cases when its goal is the formation of a person as an integral personality, the formation of his attitude to everything, in the world and to himself. And every single “type of education” is like a facet of an indivisible whole, through which, refracted in a special way, all other facets are visible. Therefore, each type of education solves the entirety of educational tasks, but sees them from a special perspective, places emphasis in its own way, and makes one of the aspects of the comprehensive relationship “man - world” the leader.

Below we will try to show this using the example of aesthetic education. For now, let us agree to understand it not as the development of individual qualities and abilities in a student, but as the formation of a holistic personality based on her aesthetic experience.

The concept of “aesthetic education,” on the one hand, is associated in our minds with art, on the other, it presupposes something broader, not special, universal in its meaning. There is no contradiction in this: behind every fact of creativity in any form of art lies something much more general and primary: a person’s special attitude to life. Not to art, but precisely to reality, which has not yet been transformed by anyone’s artistic creativity[3]. We will further call this special attitude of a person to reality an aesthetic attitude, having stipulated in advance that we use this term in a meaning significantly different from the generally accepted one.

Being one of the essential human forces, the aesthetic attitude to life is potentially characteristic of every person, characterizes him as a person as a whole and does not imply mandatory involvement in art as a profession. But under certain conditions, this quality acts as the psychological fundamental basis of a person’s artistic and creative talent. It gives rise to the phenomenon of art, the artistic exploration of the world, and finds its most complete expression in it. From this point of view, the artistic culture of humanity is, as it were, a clot of the aesthetic relationship of Man to the World. Therefore, it is the introduction to art that is the most effective means of awakening in every person a similar attitude towards life.

DEVELOPMENT OF AN AESTHETIC ATTITUDE TO LIFE IS THE GOAL OF UNIVERSAL AESTHETIC EDUCATION

The main goal of aesthetic education of schoolchildren, as follows from the above, is to, by introducing children to a special field of art, to develop in them the universal human ability of an aesthetic attitude to life [4].

But what is the psychological content that we put into this concept? What is its spiritual, moral value and educational significance? The answer is complicated by the specifics of the subject: we are talking about holistic experiences, the essence of which cannot be adequately comprehended in a purely rational way and completely expressed in unambiguous formulations. They can only be truly understood through empathy; The researcher is required to have his own holistic experience, similar to the one being studied. Therefore, theoretical works and individual statements of outstanding masters of art, who sought to comprehend their own experience of an aesthetic attitude towards the world, the deep-seated characteristics of the artist’s personality, and the psychological conditions for the emergence of creative ideas, acquire special significance. Getting acquainted with this extensive material, we discover that people who were separated by centuries and continents, who had dissimilar worldviews and worked in different fields of art, are so in agreement with each other, as if they were describing one enduring phenomenon of artistic consciousness.

First of all, a person with a developed aesthetic attitude does not feel like a separate “I”, to which the external world, natural and social, confronts as something alienated and objective. On the contrary, he directly experiences his participation, “same nature” in the world; the world reveals itself to him as his world, “the world of man” (K. Marx), and he recognizes himself as an integral part of the world5. This can be defined as the conscious experience of ontological unity with the world. With the utmost brevity, this experience is expressed by the famous line of F. Tyutchev: “Everything is in me, and I am in everything!...”

This experience of expanded self-awareness and self-awareness gives rise to a deep personal need for renewal, enrichment, and comprehension of such experiences (which, by the way, creates a motivational basis for a person’s independent work on aesthetic self-education).

A specific object of aesthetic attitude, be it another person, a natural phenomenon or a work of human culture, is perceived as existing “in the first person” as a certain “I”, as a bearer of an intrinsically valuable inner life, different and at the same time related to the perceiving person. A developed aesthetic attitude does not allow us to treat anything as a “dumb thing” (M.M. Bakhtin), designed only to serve as a useful means to achieve some utilitarian goal; it removes its object from the plane of its usual practical functioning and reveals the intrinsic value of its unique existence. S.L. Rubinstein noted a very important aspect of the aesthetic attitude when he defined it as “affirmation of the existence of an object,” and in this regard emphasized the importance of contemplation, which, in contrast to transformative activity, values ​​the surrounding reality in itself, in its own being, of which it is also a part. the contemplating person himself [13; 374].

Aesthetic, as is known, means “related to sensory perception.” And a characteristic feature of the relationship under consideration, which emphasizes its uniqueness precisely as an aesthetic relationship, is that the inner life, the special value significance of phenomena is revealed to a person in connection with the perception of their unique sensory appearance. From this point of view, the aesthetic attitude to the world is the ability to perceive the sensory appearance of objects and phenomena as a direct expression of character, the state of fate, the internal life akin to the perceiving person, and thanks to this, consciously experience one’s involvement in the world.

Since, as has already been said, such an attitude to reality underlies the artistic exploration of the world and is objectified in its products, the specific task of a teacher, methodologist, psychologist working in the field of aesthetic education becomes clear: to teach art in such a way that, while joining it in a creative way, In practice and in the perception of works, each child discovered in himself the universal human ability of an aesthetic attitude towards the world. As M. Prishvin said, “the artist’s ability to see the world means an endless expansion of the usual ability of all people for related attention (this is how the writer defined a quality very close to what in this article is called an aesthetic attitude. - A.M.). The limits of this kindred attention are endlessly expanded through art - this ability of especially gifted people, artists, to see the world from the face" [12; 352].

Developing within the framework of artistic activity, the aesthetic attitude in its meaning turns out to be much broader than it and acts as a holistic characteristic of the individual. It would be naive, of course, to expect that the development of an aesthetic attitude in itself will solve all the specific problems of human upbringing: this can only happen indirectly and under the influence of many factors. But it creates a common spiritual and moral basis for this, since it brings a person a sense of belonging to the world around him and the non-utilitarian value of life.

AESTHETIC ATTITUDE TO LIFE AS A PSYCHOLOGICAL FOUNDATION OF ARTISTIC AND CREATIVE ABILITIES

The ideas about aesthetic attitude outlined above allow us to consider from a new point of view the psychological content of the concept of artistic and creative abilities and the problem of their development.

In the famous works of B.M. Teplov, as well as a number of his followers, interpret abilities for various types of art as a set of individual, fairly elementary qualities necessary to perform a given activity. But in the same studies, and above all by Teplov, a fundamentally different approach to the problem of abilities was outlined, although not implemented. With this approach, the researcher’s attention comes to more general qualities of the psyche, which are not at all similar to the individual components of abilities, and it is precisely such qualities that ultimately turn out to be decisive for a person’s artistic creativity. Let's give a few randomly chosen examples.

B.M. Teplov says, for example, that a great artist is distinguished by “the ability... to immerse himself emotionally in the captivating content and concentrate all his mental strength on it.” He writes that N.A. Rimsky-Korsakov had a developed visual imagination, a strong sense of nature, etc., and emphasizes that these qualities cannot be considered along with musical abilities themselves as an important, but “non-musical” addition to them. “That’s the point,” writes B.M. Teplov, - that Rimsky-Korsakov’s visual imagination was musical, and he felt nature musically.” And the conclusion is drawn: “A person does not have any abilities that do not depend on the general orientation of his personality” [14; 42-53].

Let us pay attention to two circumstances. First: we are talking about such an orientation that makes the entire human psyche “musical”, i.e. It is precisely this, and not individual mental qualities, that turns out to be, relatively speaking, the main musical ability. And second: the action of this orientation is not confined within the framework of musical activity itself, but determines the composer’s attitude to everything in life and thanks to this nourishes his musical creativity.

But in his specific studies, the scientist deliberately limited himself to the analysis of individual mental qualities directly related to certain types of musical activity, although he himself recognized this as only “an introduction to a full-blooded analysis of musical activity.” From our point of view, the study of the most general aspects of artistic talent should be not so much the conclusion as the basis of the study, since they do not consist of elementary abilities, but, on the contrary, subordinate, modify individual mental qualities and themselves give them the status of artistic abilities. Such a quality for all types of artistic and creative talent of a person is an aesthetic attitude to reality.

Masters of art from different times and peoples unanimously testify that such an attitude to life is an indispensable and main condition for the emergence of independent artistic ideas; Without it, the picture will not turn out, the poem will not be born. As M.M. spoke about this. Prishvin, “subjectively, I and the world are one, but objectively the created new form remains evidence of this,” i.e. work of art [12; 343]. Thanks to the aesthetic attitude, the artist’s life experience, similar, it would seem, to the experience of all other people, is transformed into the potential content of his works (and is not exhausted in other types of activity, in everyday behavior, in ordinary emotional reactions to events and impressions, etc.) .

Therefore, a developed aesthetic attitude to reality becomes an almost inexhaustible source of artistic content. It also has a motivating force: a person relentlessly strives to preserve, objectify, and share with other people a vision of a humanized world, which opens up through the direct experience of unity and kinship with his subject - and thereby express and affirm his own non-alienation from the surrounding reality. And for this it is necessary to create a sensually perceived image (pictorial or verbal, musical or plastic) adequate to the given content.

This gives a special character to all mental processes: it awakens and stimulates the work of the imagination, which acts as the ability to create an image that expresses the non-figurative content of aesthetic experience, thereby imagining it; gives selective focus to perception and memory; imparts a creative character to the special knowledge, skills and abilities that a person possesses, and encourages the development of new ones, since they are necessary for the implementation of plans, etc.

This understanding of the aesthetic attitude allows, from our point of view, to implement a personal approach in the study of artistic abilities and overcome the inevitable limitations that are associated with the idea of ​​them as a set of individual components, such as the proximity of these components; the disunity of “abilities as such” and the motivational aspects of the psyche, which extremely complicates the path from the study of abilities to their development in teaching practice; difficulties in developing the problem of creative abilities (the idea of ​​abilities only as individual qualities that meet the requirements of activity contradicts the personal nature of creativity, which generates and develops activity itself); the unconvincingness of attempts to distinguish abilities from abilities and skills, etc.

Let's touch on another serious problem. As you know, artistic abilities are traditionally classified as special, in contrast to general, which refers to general mental abilities. We see, however, that the concept of general artistic abilities is just as legitimate [9], the most important of which is the aesthetic attitude to reality, which represents, as it were, a single root of all types of artistic exploration of the world. In relation to it, more specialized abilities (literary, musical, etc.) act as its concretization in relation to individual areas of art, which display the world differently, work with different materials, require different sensory support, etc.

Problems associated with aesthetic attitude as the basis of artistic abilities are of interest not only from a research point of view, but also from a pedagogical point of view, including for special education. The main difficulties in the professional training of art workers are rooted in a misunderstanding of the role of the aesthetic attitude and in the inability to develop it. Because of this, the selection of applicants becomes short-sighted, since the opportunity to assess the potential of a beginning artist and his ability for independent creativity is lost. The learning process itself becomes undirected: it does not actualize and develop the student’s potential as a creative person. The result of such training too often becomes a failed artist who has mastered the necessary array of special skills, but has not acquired the most important thing - the ability to transform his own life, his unique life experience into artistic creativity.

A rich, developed aesthetic attitude to reality is the key to not only the uniqueness, but also the universal significance of what the artist creates, since in his creativity he expresses his attitude to the “only life” common to all, ... not exempt from non-aesthetic moments. In the absence or deficiency of this quality, an artist can easily fall into subjectivist arbitrariness, get lost in purely professional problems, and can lose a sense of responsibility for the impact his work has (which is quite typical for the art of modern times, but not for the history of art as a whole). We can say that the aesthetic attitude to the world is artistic in every person and universal in a professional artist.

Unfortunately, these questions, fundamental for the education and self-education of creative artists, are forgotten in special educational institutions. The exception is the pedagogical systems of some outstanding masters of art (see, for example, [10], [15]).

PRELIMINARY RESEARCH RESULTS AND PROSPECTS

The first attempts to study and purposefully develop an aesthetic attitude are, of course, exploratory and partial in nature, and do not cover the subject in all its complexity and completeness; nevertheless, they confirm a number of the main points made above and allow us to specify the tasks of further work.

These studies involved adults working creatively in various fields of art (painters, musicians, artists, director, architect). The results of this “reference” group confirmed the idea of ​​aesthetic attitude as an integral characteristic of a person, giving a special direction to various mental processes. They also showed that an aesthetic attitude to the world is characteristic of people gifted in various fields of art, and can be considered as a common element of different types of artistic and creative talent. Let's briefly talk about some of these studies.

One of them studied the features of generalization processes characteristic of representatives of the artistic group; It turned out that for an aesthetically developed person, the preferable, and sometimes the only acceptable basis for grouping various stimuli is not their belonging to one or another logical class, but the commonality or difference of the emotional-evaluative attitude that arises in connection with the perception of their specific sensory appearance [5 ].

It was shown that when perceiving and describing everyday objects for representatives of the artistic group, what comes to the fore is not the utilitarian function of this class of objects, not generalized knowledge about them, not objective recording of external features; they describe the external form of an object as an expression of a certain “character”, “mood”, and look for evidence of its “life collisions” in it.

Some features of the imagination of these people were also revealed, manifested in the ability to form a sensory image that expresses a certain attitude, assessment of what is depicted, and to attract adequate means for this (visual, verbal, plastic, musical, etc.). Tasks affecting the motivational sphere of the subjects showed that an aesthetically developed person is inclined to set himself the specifically artistic task of creating an emotionally expressive image, not caused by the requirements imposed by the experimental situation [6], [7].

Research conducted using the same methods with students of different ages showed that primary schoolchildren have favorable prerequisites for aesthetic, artistic and creative development and, in terms of their results, are closer to the adults of the artistic group than teenagers and especially than adults who are not related to artistic creativity. It can be assumed that elementary forms of an aesthetic attitude to the world are characteristic of many, and perhaps all children, but in the future these possibilities develop only in a few people who have connected their professional destiny with art, and sharply decline in most others. This appears to be actively promoted by the general orientation of school education. For example, the above-mentioned ability to generalize on an emotional-evaluative basis, attention to the specific sensory appearance of a single object in school education does not appear at all as a favorable prerequisite for aesthetic education, but as an age-related weakness of logical thinking, which can only interfere with the assimilation of educational material. On the other hand, the experience of experimental teaching of children both in creative studios and in the classroom of a general education school ([3], [4], [8], [11]) allows us to believe that the purposeful development of an aesthetic attitude in children is feasible and that it really is the driving force. the power of developing the child’s artistic and creative abilities[6]. This work made it possible to identify the main psychological and pedagogical conditions for the development of children’s aesthetic attitude and creative abilities: the child’s involvement, at an age-appropriate level, in solving full-fledged creative problems, i.e. to the aesthetic transformation of his own life experience, thanks to which he discovers in himself the potential ability of an aesthetic attitude towards the environment; parallel work on artistic perception, which is constructed as a “dialogue” mediated by the work with its author, is based on the author’s experience of the children themselves and educates readers, viewers, listeners capable of aesthetic self-education in the process of independent communication with art; the use of favorable age-related prerequisites: a tendency to animate the environment, emotional responsiveness to sensory impressions, rich “pre-aesthetic” (A.N. Leontiev) experience in role-playing games, their transformation into primary forms of artistic creativity; the dialogical nature of communication between the teacher and children and between children.

Of course, all of the above should be considered as a first approximation to the study of psychological problems of aesthetic education and artistic and creative development of children, which allows us to outline many tasks for further research. Here are just a few of them, most closely related to the key problem of the aesthetic attitude to reality.

An in-depth study of the personality traits of a person with a developed aesthetic attitude to the world; studying age-related prerequisites and searching for optimal ways of its development in schoolchildren of different ages, as well as in preschoolers; the study of the conditions under which this universal human property - aesthetic attitude - begins to act primarily as the basis of special artistic abilities and determine the professional fate of a person (the question borders on the problem of individual differences in artistic and creative talent); studying the aesthetic attitude to the world as a unity of abilities and motivation for artistic creativity; a specific study of the interaction of general and special aspects of talent for different types of art; the problem of harmonizing the mental development of schoolchildren while enhancing the emotional and aesthetic aspects of learning and many others.

A group of research tasks with a clear practical orientation is also outlined. The main ones are: development of indicators of general aesthetic and artistic and creative development; unified psychological and pedagogical principles of teaching artistic disciplines; special courses and programs for training and retraining of teachers, as well as psychological justification, development and experimental testing of a propaedeutic course of general aesthetic development for younger schoolchildren.

Let's look at the last question in more detail. Since the aesthetic attitude to the world is the unified basis for all types of artistic exploration of the world, it is necessary to begin training not with historically isolated types of art with their specific technique and language, but with an undifferentiated introductory course specifically aimed at developing an aesthetic attitude in children 6-7 years old to the world. We emphasize that this has nothing to do with combining individual elements of several artistic disciplines within one lesson. In these lessons, the child, in the form of creative games that develop into primary forms of artistic creativity, with the free use of material and means of different types of art, will master, experience, and realize that special participation in the phenomena of life that gives rise to all types of artistic creativity. With this approach, a single foundation for the artistic cycle is initially laid: both in the teaching methodology and in the consciousness of the child himself, different arts turn out to be “trunks from the same root” - a special attitude to life. Let us note in passing that with existing teaching methods, as special surveys show, these disciplines are not perceived by children as a single cycle.

The child will be immediately introduced to the most general forms of artistic exploration of the world and thanks to this will be able to navigate all types of art, including those that are not included in current school curricula, but play a large role in shaping the inner world of a modern young person. And finally, starting not with special details, but with the development of primary forms of aesthetic attitude to the world, we immediately bring a universal spiritual and moral basis to the teaching of the artistic cycle, defining it as the area of ​​personality formation. The artistic cycle will become an example in the sense that the assimilation of its content will directly act for the child as a process of self-knowledge: the disclosure of his essential powers, the achievement of a new level of self-awareness and self-awareness in the world around him. And a gradual restructuring of the entire content of education on similar grounds will lead to the fact that there will be no alienated knowledge and, learning something about the world and its laws, a growing person will discover something in himself, learn his capabilities, comprehend his place in nature, history, the Universe; the learning process will be inseparable from the process of personality formation. Of course, such a transformation of the school as a whole will require enormous work and a lot of time. But the first steps towards this goal can be taken now, in the field of aesthetic education and artistic and creative development of children.

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14. Teplov B.M. Favorite works: In 2 vols. T. 1. M., 1985. 328 p.
15. Chekhov M.A. Literary heritage: In 2 vols. M., 1986. 457 pp.; 557 pp.

1 The article was written based on a report at a meeting of the Bureau of the Department of Psychology and Developmental Physiology of the Academy of Pedagogical Sciences of the USSR on October 24. 1988 [2] For reasons unrelated to art and artistic development, literature is an exception. This subject is listed among the main ones, but it is taught using inadequate methods and remains fruitless for the artistic, creative and general aesthetic development of children. Moreover, its very inclusion among the artistic disciplines sometimes causes sincere bewilderment even among educators. [3] Wed. with M.M. Bakhtin: “My aesthetic activity is not in the special activity of the artist-author, but in a single life, undifferentiated and not freed from non-aesthetic moments, syncretically concealing within itself, as it were, the embryo of a creative plastic image” [2; 38-39]. [4] The important question of the possibility of aesthetic education by means of other subjects requires serious study, without which an appeal to the aesthetic effects of chemical reactions, mathematical formulas, movements of a trained body, etc. lead to theoretical and practical confusion. 5 See about this, in particular, [1]. [6] In asserting this, we also take into account the experience of advanced art pedagogy: teaching children fine arts under the program of the Union of Artists and the Research Institute of Art, the work of the Dnepropetrovsk cartoon studio “Vesnyanka”, etc.

The article was published in the journal “Questions of Psychology” Received by the editors on October 20, 1988.

Principles of aesthetic education

Creative potential is formed most effectively through the systematic perception of works of art and in the process of amateur artistic creativity. E.V. Ilyenkov in his work “On the Uniqueness of Art” Fr.

Art is a product of creativity, and its reception presupposes the creativity of the recipient. “The reason why art can enrich us is its ability to remind us of a harmony that lies beyond the reach of systematic analysis,” said Niels Bohr.

In other words, art is capable of developing thinking, emotional culture and value orientations, achieving optimal unity of the rational and emotional in the mental world of the individual, therefore its heuristic function should be widely used in the educational process. In the higher education system, cultural and aesthetic education of students is one of the most important tools for updating the cultural and educational process.

The creative process is an extremely important tool for self-knowledge, since everything created by man has a pronounced human subjectivity. The creative process depends on the richness of culture, human content and the degree and quality of its expression. Without them there can be no creativity. Therefore, in order to form a creative person, we must strive to give her the opportunity to freely express her creative individuality.

From the psychological side, the creative transformation of the world is possible because the results of this transformation have special meaning for a person.

Speaking about the role of nature, art and other means of aesthetic education in the development of creativity, it should be remembered that their aesthetic and educational effect is fully realized in inextricable combination with other areas of education. Outside of work, creative and aesthetic education loses not only its basis, but also its purpose.

The universality of the result of aesthetic education is that it stimulates and develops all human senses. But aesthetic education brings the desired result only when the necessary material and spiritual conditions are created for it.

8 The principle of continuity is one of the most general laws of dialectics and expresses objective connections between phenomena in the process of progressive development.

The continuity process implies:

• The transfer of the results of their activities by the previous generation to the next, as well as the creative processing and use of this heritage.
• Interaction of old and new experience, knowledge, performance results; connection between different stages of development, with partial repetition of the positive elements of the old, their qualitative renewal, but at a higher level; the connection between the new and the old in the process of expanding and deepening knowledge, skills and abilities on a higher scientific and practical basis.

The importance of artistic and aesthetic development of preschool children

The artistic and aesthetic development of preschool children is one of the main directions of the educational work of preschool educational institutions. This is the daily work carried out by educators, which permeates all types of activities of a preschool child. In preschool age, children at different stages of their development experience significant changes in their perception of the surrounding reality. In this connection, the process of aesthetic and artistic education of preschool children is a long and rather complex process.

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Note 1

The main goal of the team of preschool teachers is to develop creative potential in preschool children and create all the necessary conditions for this.

The process of artistic and aesthetic development includes the following stages:

1. Getting first artistic impressions.
2. Introduction to the world of art.
3. Mastery of various types of artistic activities (drawing, design, appliqué, modeling).

Aesthetic and artistic education of preschool children influences all aspects of a child’s development, contributes to the formation of moral qualities of an individual, broadens their horizons and knowledge about the world around them, nature and society.

The significance of the organized artistic and aesthetic development of preschool children lies in the fact that a person’s aesthetic, moral and artistic qualities are not innate, they require special development through targeted training and upbringing.

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Course work Artistic and aesthetic development of preschool children 490 ₽ Abstract Artistic and aesthetic development of preschool children 220 ₽ Test work Artistic and aesthetic development of preschool children 220 ₽

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Artistic and aesthetic activities develop children’s thinking and memory, and are also the basis for the child’s intellectual development and his readiness for schooling.

Note 2

Thus, the main task of preschool teachers is to organize the targeted artistic and aesthetic education of preschool children, in accordance with the requirements of the Federal State Educational Standard for Preschool Education.