Komarova T.S. Artistic abilities and giftedness in preschool childhood

The problem of diagnostics and development of artistic abilities is one of the central problems of the psychology of creativity. It has a fairly long history and not too happy fate. Although the nature of artistic talent has interested thinkers, people of science and art since the time of Aristotle, relatively little has been done in this area until recently. The only exception is the study of musical abilities.

At the 1978 international conference on the problem of abilities, the opinion of those Western scientists who believe that heredity and environment approximately equally affect abilities was accepted. It has been pointed out that the importance of the environment increases with age.

F. Vernon lists the obstacles of the environment: poor nutrition and illness, limited sensory experience in the preschool years and intellectual experience in school, suppression of independence and constructive games, family problems and lack of encouraging plans for the future, learning disabilities, language difficulties and the unattractiveness of adult roles in adolescence .

F. Vernon comes to the conclusion about the need for a qualitative analysis of the structure of abilities. A genetically more gifted child and his less gifted brother react differently to sound, light, and other stimuli that affect both. At the same time, gifted children to varying degrees develop different ways of responding and operating with incoming information. Hence they have a different practice in the development of hereditary traits and tendencies.

Joan Freeman lists such features of the development of a gifted child:

1) the child feels the difference with other children;

3) he chooses his own activities, and does not accept them passively;

4) has a significant memory;

5) capable of prolonged concentration;

6) lives in a vibrant, lively family environment. His parents are positive thinkers, especially his mother;

7) the educational level in the family is high. It is often the mother who is dissatisfied with her education;

8) the child studies beyond the school curriculum;

9) the role of music as a background against which the life of the family passes is exceptionally great.

Individual artistic abilities are experimentally studied by psychologists, and special tests are created to determine the degree of giftedness in artistic creativity. The Institute for Creative Problems in California conducted a study of creative personalities on large groups of prominent architects and famous writers. American researchers proceed from the statement that "the cultural phenomenon of invention in art and science is similar and characterized by the same fundamental mental processes." So, F. Barron, based on a study of 56 professional writers, of which 30 are widely known and highly original in their work, identified thirteen signs of literary creativity:

1) high level of intelligence;

2) a penchant for intellectual and cognitive topics;

3) eloquence, the ability to clearly express thoughts;

4) personal independence;

5) skillful use of techniques of aesthetic influence;

6) productivity;

7) a penchant for philosophical problems;

8) desire for self-expression;

9) a wide range of interests;

10) originality of associating thoughts, an extraordinary process of thinking;

11) an interesting, attention-grabbing personality;

12) honesty, frankness, sincerity in dealing with others;

13) compliance of behavior with ethical standards.

A special Barron-Welsh test has been developed to determine literary abilities, a test of pictorial judgments, a profile of musical inclinations, a test of Seashore's musical abilities.

D. McKinnon studies the abilities of architects by comparing personal characteristics, indicators of intelligence and creative abilities of well-known architects with a control group and processing the data by factor analysis.

R. Holt explores artistic abilities from the standpoint of psychoanalysis, using projective techniques. Torrens studies two groups of student musicians - good performers and good performers. The first on the Torrens tests get significantly higher marks.

There is a growing body of work that examines artistically gifted students in vocational schools using routine personality questionnaires and tests to find differences in performance compared to a control group of non-artistic college students. Such, for example, is J. Getzel's study of students studying at the Higher Art School in Chicago.

The formation of artists was studied over six years of professional training. Cognitive processes, personality traits, value orientations of 321 students receiving higher art education were studied. The results of these studies were compared with school grades and teacher grades on two criteria: "originality" and "artistic possibilities" (artistic potential).

The first cycle of experiments concerned perception and intellect. Compared with the regular college population, a significant difference was found in the perceptual abilities of perception of space and, to a lesser extent, in aesthetic perception and taste. The most significant were the results of the study of personal characteristics and value orientations. Differences were found in these indicators in women and men. Art school students, in contrast to college students, were oriented more towards aesthetic than economic and social values, were alienated, introspective, dreamy, more radical in their behavior. Female artists were significantly more confident and powerful than their peers. It turned out that future artists had traits that our culture traditionally associates with a female type of behavior. The author finds an explanation for this fact in the fact that an artistically gifted person has a wider range of feelings and strives to expand emotional experience.

The second series of experiments concerned the study of personality differences among students of different artistic specializations. There was a clear difference in the value system between future designers, advertising artists, painters and art teachers. "Free Artists" were focused primarily on aesthetic values, then on the material, and last of all on the social. There was a significant difference in specialization and personal qualities. The future painters were less sociable, followed generally accepted norms in their behavior, were more dreamy, less experienced and sophisticated, more trusting and naive, less conforming than students of other departments. As a rule, the personal characteristics of advertising artists were located at the other end of the continuum of these traits. Relationships were found between perception, values, and personality traits that vary by gender and specialization. Maybe this is what determines the very choice of career? The authors do not give an answer to this question, because the artistic abilities themselves as such have not been investigated. Only a correlation was found between certain values and artistic potential (0.47), almost as high as between the level of intelligence and the academic success of college students.

We see that all these studies lack an analysis of the structure of abilities in the relationship of individual components, an understanding of the specifics of the artistic activity itself.

The experimental study of artistic abilities in the Soviet Union began with the fundamental research of B.M. Teplov "Psychology of musical abilities" (1947). Exploring the features of musical activity, Teplov singled out three essential components of musical abilities: modal feeling, manifested in emotional perception and recognition of a melody; the ability for auditory representation, manifested in the reproduction of a melody by ear and constituting the core of musical memory; musical-rhythmic sense - the ability to feel the rhythm and reproduce it.

This was followed by a study by V.I. Kireenko's artistic abilities for visual activity (1959). He identified such components as the ability to accurately assess proportions, the ability to assess "light" relationships, the ability to accurately determine "by eye" the vertical and horizontal. It has been proved that "individual differences in relation to this activity must be sought primarily in the process of visual perception and the visual representations that arise on its basis." One of the most important components of artistic abilities in the visual arts is the ability of a holistic or synthetic vision. No less significant are a number of motor reactions and the muscular "feeling" associated with them, as well as the ability to form visual-kinesthetic associations.

One of the volumes of the monograph by A.V. Kovalev and V.N. Myasishchev is devoted to the problems of abilities, and it deals with literary, visual and musical abilities. A.V. Kovalev continued the study of literary abilities.

The researcher singles out the supporting property of literary abilities - tremendous impressionability (liveness and sharpness of susceptibility and the power of emotional responsiveness). It manifests itself in responsiveness to people, nature and in an aesthetic sense (selection of typical, essential, expressive impressions). As a result of the development of these abilities, observation is formed as a personality trait that is professionally significant for the writer. Another important ability of the writer Kovalev considers the ability to transform what he sees, to associate observations. Creative imagination is manifested in the ability to clearly and vividly see people and scenes, in the ease of forming associations between a word and an image (auditory, visual, olfactory representations). An important manifestation of literary abilities is sensitivity or heightened susceptibility to language. The aesthetic attitude to language is a striking feature of the writer's personality.

Development of literary abilities of A.G. Kovalev sees in the process of transforming acute sensory sensitivity into a synthetic property of a personality - artistic observation: the ability to see something special, characteristic, corresponding to the aesthetic taste of the writer. With the development of sensory sensitivity, the imagination is rebuilt, it becomes directed and powerful. Based on a high sensitivity to perception, the imagination begins to perform a regulatory function and subordinate perception to emerging artistic ideas, to complete what was outside the perceived. The most important role in the formation of literary abilities is played by the formation of a person's worldview. Simultaneously with these processes, a peculiar technique and language is formed and consolidated, corresponding to the style and method of the writer.

V.P. Yagunkov and Z.N. Novlyanskaya.

These works highlight the individual features of the structure of literary abilities, reveal and clarify the mechanisms for the emergence of evaluative perception, its connection with aesthetic and moral feelings. For one or another creative individuality, a peculiar structure of abilities is characteristic, which depends on the presence and degree of development of individual components.

In 1970, a collection of materials from the conference on the problem of abilities was published, summing up the next stage in the study of abilities. A number of articles in it were devoted to artistic abilities. So, Z.N. Novlyanskaya considered the prerequisites for the development of literary abilities and saw them in susceptibility, creative imagination, vocabulary features and the ease of forming word associations. Impressibility is manifested in an aesthetic attitude to reality, a sense of empathy for nature and man. V.P. Yagunkova wrote in this collection about the conditions for the formation of literary abilities. V.T. Razhnikov devoted his speech to the peculiarities of the conductor's abilities. He divides these abilities into two groups: purely musical and specifically conducting: the ability to manage the orchestra team, the ability to "infect" with one's interpretation, one's intention of reading a musical work, the ability to organize and direct the process of collective musical performance. The basis of these abilities is the psychological connection of the conductor with the team.

There are several ways in the study of artistic abilities. One of them is related to the analytical approach to the problem. The task of the researcher in this case is the selection of individual components that are effective for this ability. Researchers V.G. Razhnikov in the study of conducting abilities, V.I. Strakhov, who studied the role of attention in the structure of visual abilities, M.A. Savickayte, who devoted her research to elucidating the role of imagination in the structure of acting abilities.

Sometimes the difficulties in analyzing abilities are explained by the lack of certainty of the object of study. Thus, the study of directing abilities is hampered by the vagueness of the requirements that the activity itself imposes on the individual (there are stage directors, directors-teachers, directors-organizers).

The second way is the allocation of special psychological components of abilities, unknown in this type of psychology. For example, the eye is considered as a property of the abilities of an architect and artist, or empathy (a sense of empathy and understanding of the psychological state of another person) as a component of the ability to stage transformation. In this case, the researcher goes beyond the generally accepted psychological nomenclature and finds special processes and functions inherent in giftedness in any activity.

The third way involves the allocation in the activity of individual operations or situations in which, perhaps, what is called "psychological qualification" (fitness for this activity) will predominantly manifest itself.

A synthetic approach to the study of artistic abilities is also possible: one can direct efforts to find the relationship between the components of abilities. At the same time, abilities are studied as a whole, although consisting of components, but not reducible to their sum. It is necessary to find correlations between the components of abilities, to describe the ability as a whole, starting from the characteristics of the professional activity itself, and to establish dynamic indicators of the manifestation of abilities, vital and experimental. The next step in such a synthetic approach will be the creation of an ability model. This is the approach to the study of the acting abilities of Romanian researchers - S. Marcus and his collaborators. They believe that the scientific study of stage abilities is an experimental way to identify indicators of the structure and mental mechanisms of their manifestations. Researchers are faced with two tasks: firstly, to accurately outline the range of mental manifestations of abilities, and secondly, to develop a practical system of career guidance and career selection. According to Romanian researchers, the main indicators of stage abilities are the ability to impersonate, or stage empathy, and the ability for dramatic expression (expressiveness). They are closely related.

The ability to reincarnate, according to their hypothesis, is based on the phenomenon of identification, conscious or unconscious, explicit or hidden. The actor creates in his imagination a model of human behavior with the help of memory and direct empathy into the world of another. Based on this model, a complex act of artistic understanding, implicit communication, and emotional contagion is realized. S. Markus and his collaborators believe that the main mental mechanisms through which the process of reincarnation is realized are creative imagination and the ability to re-experience various emotional states. This requires: an analytical mind, observation, backed up by artistic intuition and a powerful memory, which is able to process a vast supply of intuitive ideas. Creative imagination is necessary for an actor in order not to fall into the temptations of imitation. The manifestation of these abilities in strictly regulated conditions seems to be specific. Therefore, it is especially important for the actor to develop directed imagination.

Another psychological mechanism of reincarnation is the ability to relive affective states. The actor, based on extensive associative processes and developed emotional memory, realizes in the role of various states that he must convey to the public. This ability is not the result of complete identification, since during the game the performer is fully aware of his personality.

The ability to experience the affective states of others, but at the same time maintain constant control over the performance, is another specific feature of acting abilities. It is about faith in stage illusion, when the actor manages to transfer his own feelings to the proposed circumstances of the play, transforming his personal characteristics into the personality of a dramatic hero.

Another side of acting talent, according to the model of Romanian psychologists, is the ability of expression. If reincarnation is a subjective indicator, then expression is objective. It contains implicit behavior, which always depends on the emotional experience of the actor, and objective physiological reactions - vegetative and motor.

It was experimentally confirmed that in the process of reincarnating an actor into a role, the indicators of the electrooculogram, electrodermogram, respiration and motor reactivity are associated with the psychological factors of reincarnation - imagination and affective memory (correlation coefficient - 0.9). Therefore, where there is a high level of creative process, there is also a high level of physiological change, and vice versa. The same connection is found in the mimic-plastic and intonation manifestations of the ability to reincarnate.

The ability of the actor to organically combine the internal development of the role and expressiveness, the authors called the stage incarnation. In their opinion, this is the true measure of talent in the performing arts. The proposed model allows us to consider the dynamics of each indicator within the structure of artistic abilities and to be able to make a scientific forecast for the development of stage abilities.

In 1974, the first laboratory for the psychology of acting was created in Leningrad at the Institute of Theatre, Music and Cinematography. In the developed model of acting abilities, somewhat different from the model of S. Marcus, the conceptual apparatus of the theory of set (works by R.G. Natadze) and ideas about the interaction of two types of imagination, of which one is reproductive (helping the actor to project his personality in the proposed circumstances of the role) ), and the other creative. The work of creative imagination is characterized by techniques: metaphor, condensation, the use of a detail as a means of recreating the whole, the rhythmic construction of rodi, etc. The mechanisms of stage experience are connected with the work of creative imagination. The feelings of the actor himself are experienced, which, according to the mechanism of empathy, are similar to the feelings of the role-model created by the creative imagination of the actor. To the extent that the images of the imagination can be controlled, the actor also controls his experiences in the role.

The ability to reincarnate is based on inclinations - the typological properties of the main nervous processes. It was experimentally proved that one of them is the high mobility of nervous processes, and the mobility of excitation is combined with a certain inertia of the inhibitory process (which is associated with steady attention, which ensures the ease of formation of the dominant role). The core of acting abilities consists of three components: "sense of faith" (attitude to action in an imaginary situation), emotional responsiveness to images of the imagination and the need to embody the reference image - the model of the role in action (ideomotor conduction). All these qualities are combined by a more general ability to transform and expressive means of the actor. Expressiveness is manifested not only in external grateful data, but also in a special type of temperament associated with the energy of impact on the viewer. The most important property of expressive abilities is freedom of manifestation, i.e. lack of excessive internal control. Increasing control leads to clamps, stiffness of behavior - the main enemies of stage truth.

General artistic talent involves the development of figurative thinking (which is realized specifically in a sense of empathy, emotional excitability, a sense of rhythm, immediacy of behavior, suggestibility). Special abilities are closely related to general ones and, in the process of their development, leave a unique imprint of the artist's individuality on them.

Recently, two significant works have been published summarizing the experience of theoretical searches in the field of studying abilities: K.K. Platonov "Problems of abilities" (M., 1972) and T.I. Artemyeva "Methodological aspect of the problem of abilities" (M., 1977). Modern studies of the typological and partial properties of the nervous system (the work of the Teplov-Nebylitsyn school) make it possible to investigate the inclinations for artistic activity. The development of the doctrine of the specialization of individual sections of the cortex, individual variants of the structure of the cortex and analyzers and their different functional maturity (works of the school of A.F. Luria) make it possible to study the ratio of various components of artistic abilities and their individual variants. The study of particular typological properties that characterize the work of certain areas of the cortex of different brain systems, different analyzers is promising in the study of the inclinations of musical, artistic, and acting abilities.

Modern ideas about the functional asymmetry of the right-left hemisphere relations as general inclinations to artistic activity are gaining importance. New possibilities in the study of special artistic abilities, the correlation of the special and the general open up ideas about the predominance of phylogenetically early forms of prelogical thinking in the period of childhood and in the creative thinking of the artist. This feature is associated with the brightness of artistic perception and vision, figurativeness, metaphorical thinking, a sense of the rhythmic organization of the creative material. These manifestations of creative consciousness are closely intertwined with personality traits - spontaneity, gullibility, naivety, freedom and naturalness of the artist's behavior.

Rozhdestvenskaya N.V. Problems and searches in the study of artistic abilities.
Artistic creativity. Collection. - L., 1983, p.105-122

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Introduction

ChapterI. Pedagogical and psychological aspects of the development of artistic and creative abilities of preschool children.

1. Artistic abilities as a property of a person's personality

2. Ability for visual activity

3. Stages of formation of abilities for visual activity

4. Conditions and means for the development of artistic and creative abilities

ChapterII. Drawing with graphic materials as a means of developing artistic and creative abilities.

1. Drawing as part of graphic art, types of drawing, materials

2. Features of creating a drawing with graphic materials

3. Drawing as a kind of creative activity for preschool children

4. Requirements of programs for drawing with graphic materials

5. The influence of graphic materials on the development of artistic and creative abilities of children aged 5-6

Conclusion

Literature

Appendix

Introduction

The problem of developing the abilities of preschoolers is today in the center of attention of many researchers and practitioners working in the field of education. This is evidenced by a large number of published articles, manuals, collections of games and exercises both on the development of various mental processes at this age (thinking, attention, memory, imagination, emotions), and on the development of various types of general abilities (perceptual, intellectual, creative , mnemonic, cognitive, motor) and special orientation (mathematical, design, musical, visual).

With all the variety of topics, two main trends can be distinguished that characterize the creative development of the problem of developing the abilities of preschoolers and its entry into practice: the first is associated with the study of individual abilities and mental processes, with the introduction of special training programs for their development into the system of preschool education (development of memory, speech etc.); the second - with the integration of certain types of abilities in the subsystem (mental abilities, artistic, aesthetic) and the development of complex methods for their development.

Accordingly, the practical implementation of these approaches also differs.

A.V. Bakushinsky, D.B. Bogoyavlenskaya, L.A. Wenger, N.A. Vetlugina, T.G. Kazakova, V.I. Kireenko, T.S. Komarova, N.V. Rozhdestvenskaya and others. Researches in this area by G.G. Grigoryeva, N.A. Dudina, T.V. Labunskoy, T.Ya. Shpikalova and others.

However, the practical aspect of the implementation of the task of developing the artistic abilities of preschool children by means of fine art remains insufficiently disclosed, since many points of view regarding the psychological and artistic conditions for the formation of abilities are rapidly changing, children's generations are changing, and the technology of work of teachers should change accordingly.

Modern pedagogical and psychological research proves the need for visual arts for the mental, aesthetic development of preschool children. In the works of A.V. Zaporozhets, V.V. Davydova, N.N. Poddyakov found that preschoolers in the process of objective sensual activity, including drawing, are able to highlight the essential properties of objects and phenomena, establish connections between individual phenomena and reflect them in a figurative form. This process is especially noticeable in various types of practical activities: generalized methods of analysis, synthesis, comparison and comparison are formed, the ability to independently find ways to solve creative problems develops, the ability to plan one's activities, and creative potential is revealed.

Hence the need to engage not only in fine arts, but also in specific types of fine arts, including drawing.

This problem is relevant, and it is confirmed by the fact that the work on drawing in the modern conditions of the pedagogical process is mainly taken out of the classroom and is practiced in the form of joint or independent activities of children, which contributes to the formation and development of basic knowledge, skills and abilities in children. drawing.

Observations of pedagogical practice in the older group showed that children are very fond of drawing, drawing with great pleasure, but the technical and visual skills of children in drawing are assessed at an average level. This is due to the fact that the kindergarten does not pay due attention to drawing, and in this case, learning is difficult.

Targetsubmitted work: study of the process of development of artistic and creative abilities in the process of drawing with graphic materials in children 5-6 years old.

Tasks:

1. Conducting an analysis of special and scientific literature on the problem of studying the early diagnosis of the artistic abilities of children in senior preschool age;

2. Carrying out research work to identify the artistic abilities of children in the field of graphic representation;

3. Development of ways to develop creative abilities in the field of drawing with graphic materials;

4. To test innovative technologies for the development of artistic abilities of children of senior preschool age in the process of drawing with graphic materials.

Object of study children of senior preschool age act, their artistic and creative activity in the form of drawing with graphic materials.

Subject of study: drawing with graphic materials as a factor in the development of artistic and creative abilities.

Hypothesis: Drawing classes in graphic technique contribute to the development of special artistic and creative abilities of older preschool children if:

1) organize special classes to identify the artistic and creative abilities of children of senior preschool age in the field of drawing with graphic materials;

2) to diagnose and develop in the process of classes the artistic and creative abilities of children of senior preschool age in the field of drawing with graphic materials;

3) to acquaint children with the features of drawing with graphic materials.

Research methods will contribute to the solution of problems:

1 - universal: study of the works of domestic teachers and psychologists on the problem of the development of artistic abilities in the process of fine art of children;

2- general scientific: analysis, comparison, synthesis, generalization;

3- private: study of products of activity, construction of a hypothesis, experiment.

The experiment was carried out in MDOU No. 16 "Bell" in Zheleznovodsk.

The structure of the final qualification work: the study consists of an introduction, the main part (including theoretical and practical issues), a conclusion, a list of references, an appendix in the form of abstracts and children's work.

CHAPTERI. PEDAGOGICAL AND PSYCHOLOGICALKEY ASPECTSDEVELOPMENT OF ARTISTIC-CREATIVE ABILITIESDETETH PRESCHOOL AGE.

1. Artistic abilities as a property of a person's personality.

An attempt to determine the content of abilities was made repeatedly by different researchers.

In psychology, a solid methodological foundation for the study of general and special abilities has been developed, rich factual material has been obtained, and its meaningful interpretation has been given. The psychology of abilities is one of the most theoretical and practical problems of psychological science. The relevance of work on the diagnosis of abilities is determined primarily by the practical significance of this problem. Diagnostic methods are necessary for the early diagnosis of capable and gifted children, to identify the expression of their creative artistic abilities.

The main provisions of the theory of abilities are connected with the solution of the following questions: What are abilities? What is their content? Structure? Correlation with knowledge, skills, skills? What are the patterns, conditions for the development of abilities? How do abilities relate to inclinations? What is meant by inclinations of abilities?

There are many definitions of ability. So, B.M. Teplov believed that abilities are individual psychological characteristics that distinguish one person from another and are related to the success of an activity or many activities. According to L.G. Kovalev, abilities should be understood as an ensemble of properties of a human personality that provides relative ease, high quality of mastering a certain activity and its implementation. By definition, N.S. Leites, abilities are a property of a person, on which the possibility of implementation and the degree of successful activity depend.

Abilities are psychological qualities that are necessary to perform an activity and are manifested in it (L.A. Wenger).

K.S. Platonov believed that abilities cannot be considered outside the personality. By abilities, he understood such “a part of the personality structure, which, being actualized in a specific activity, determines the qualities of the latter.”

Abilities have their own content and structure, which are extremely important to determine, L.A. Wenger. Otherwise, it is not known what to form.

Leading in revealing the content and structure of abilities is the analysis of the psychological requirements imposed on a person by various types of activities. In other words, it is necessary to determine without which properties

(qualities, features) of the individual, it is impossible to perform this (or any) type of activity. Therefore, an analysis of activity in general or its specific type is needed. The performance of any kind of activity presupposes a certain system of knowledge, skills and abilities. Therefore, when determining the content of abilities, the question of their relationship with knowledge, skills, and abilities comes to the fore.

There is no consensus on this issue:

· Abilities are not limited to skills, abilities, but can explain the ease and speed of their acquisition (B.M. Teplov);

· Knowledge, skills are considered as one of the components of abilities, but not the main one. The core is the quality of the processes that regulate the totality of the application of ZUN (S.L. Rubinshtein).

· One of the components of abilities is the special skill of the hand as a result of improvement, generalization, skills and abilities (A.G. Kovalev, B.N. Myasishchev).

· The ability includes all substructures of personality, including ZUN (K.K. Platonov);

L.A. Wenger put forward a hypothesis, the essence of which is an understanding of the abilities of some orientation actions. As evidence, he cited the following reasoning:

Each type of activity has an indicative and performing part and, accordingly, indicative and performing actions. Approximate actions are an assessment of the problem that has arisen, the study of the conditions for its solution, correlation with one's capabilities, with known methods of solution, and the choice of a method of implementation. Performing actions - performing actions and achieving results;

knowledge, skills and abilities relate to the performing part of the activity, whether it is a practical or cognitive activity;

· the tasks of orienting actions are not independent, but they are subordinated to the solution of more general cognitive or practical tasks. When performing actions are formed, orienting actions are collapsed. When it is necessary to master new actions, the speed and quality of mastering depend on the nature of the orientation of the task (according to A.V. Zaporozhets).

L.A. Wenger, understanding by abilities indicative actions, separated them from knowledge, skills and abilities, referring the latter to the working, performing part of the activity.

B.M. Teplov in his work “Abilities and Giftedness” formulates abilities as individual psychological characteristics that distinguish one person from another, and “not all individual characteristics are called abilities, but only those that are related to the success of any activity.” In this case, it is considered as a means of developing abilities. Consequently, the ability cannot arise outside the corresponding concrete activity. A successfully completed activity creates, in turn, the originality and combination of abilities that characterizes this person.

S.L. Rubinstein, like B.M. Teplov believes that abilities are not limited to knowledge, skills and abilities. Analyzing their relationship, the author writes about the mutual conditionality of these concepts: on the one hand, abilities are a prerequisite for mastering knowledge and skills, on the other hand, abilities are formed in the process of this mastery.

A.I. Leontiev, in his works on the problem of abilities, consistently pursues the idea of the decisive role of the social conditions of education and, to a lesser extent, attaches importance to the natural side of abilities. Leontiev's main idea: all mental functions and abilities inherent in a person as a social being develop and form as a result of mastering the experience of previous generations.

B.G. Ananiev traces the closest connection between abilities and character and says that the development of abilities and character is a single, albeit contradictory, process.

IN AND. Kireenko considers the ability to visual activity as certain properties of visual perception.

In the works of S.L. Rubinstein, B.M. Teplova, B.G. Ananyeva and others show that both the theories that proclaim the innate abilities (theories of heredity) and those theories that completely ignore the natural prerequisites of abilities and consider them to be conditioned only by the environment and upbringing (theories of acquired abilities) are wrong. . In the first case, the determination of abilities is reduced only to internal, and in the second case, only to external conditions, while in the formation of abilities, external causes act indirectly, through internal ones.

In psychology, it has been established that abilities are formed on the basis of innate inclinations. The assignments can be:

Typological properties of the nervous system (characterizing the work of different analyzers, different areas of the cerebral cortex), which determine the rate of formation of temporary nerve connections, their strength, lightness, etc.

· Correlation of I and II signaling systems, interaction and specialization of cerebral hemispheres.

· Individual structural features of analyzers.

Inclinations are prerequisites for the possible development of abilities. The abilities themselves are formed in the process of activity in the interaction of the child with other people, in the most concentrated form of such an impact - learning.

By definition, V.A. Krutetsky, the real value of deposits under all other conditions is as follows:

Greatly facilitate the formation of abilities;

Accelerate the pace of progress in the development of abilities;

Determine the height of achievement;

Cause early manifestations of abilities.

Inclinations have innate individual differences. All of these provisions apply to special abilities.

Specialists identify general and special abilities. General abilities include mental functions (processes): the ability to sense, perceive, remember, think, imagine, pay attention, and psychomotor ability. In a particular person, each of the abilities can be expressed to varying degrees. For example, the ability of perception is evaluated according to the following parameters: volume, accuracy, completeness, novelty, speed, emotional richness. Imagination ability - novelty, originality, meaningfulness, etc. Psychomotor ability - up to the parameters: speed, strength, pace, rhythm, coordination, accuracy and accuracy., plasticity and dexterity.

Spiritual abilities - these are the abilities for self-knowledge, for self-consciousness, self-experience, for relating oneself with the world, with other people. These abilities ensure the creation of spiritual creations. Spiritual abilities are associated not only with the concept of "activity", but also with the concept of "behavior", which limitedly includes the attitude to moral standards. Obviously, in spiritual abilities personality is manifested. Spiritual abilities are manifested in the desire for spiritual progress, mental, moral.

Thus, attempts to determine the content of abilities were made repeatedly by different researchers. The content, the structure of abilities, to a certain extent, are disclosed and presented in the psychological and pedagogical literature, but they are not indisputable, because they are different either in their essence, or in volume or in structure.

2. Ability to visual activity.

With regard to visual activity, it is important to single out the content of the abilities manifested and formed in it, their structure, development conditions. Only in this case is it possible to purposefully develop a methodology for developing teaching of visual activity.

An attempt to determine the content of abilities for visual activity was made repeatedly by different researchers. Unlike the content of abilities for other types of activity, the content and structure of these abilities are to a certain extent disclosed and presented in the psychological and pedagogical literature.

Fine art is a reflection of the environment in the form of specific, sensually perceived visual images. The created image (in particular, drawing) can perform different functions (cognitive, aesthetic), as it is created for different purposes. The purpose of the drawing necessarily affects the nature of its implementation.

The combination of two functions in an artistic image - image and expression - gives the activity an artistic and creative character, determines the specifics of the orienting and executive actions of the activity. Consequently, it also determines the specifics of abilities for this type of activity.

IN AND. Kiriyenko considers the ability to visual activity as certain properties of visual perception, namely:

the ability to perceive an object in combination of all its properties as a stable systemic whole, even if some parts of this whole cannot be observed at the moment. For example, when we see only the head of a person in the window, we do not perceive it as separate from the body. ( integrity of perception);

the ability to evaluate deviations from vertical and horizontal directions in a drawing;

the ability to assess the degree of approximation of a given color to white;

· the ability to evaluate prospective reductions.

However, the distinguished abilities only allow one to form a more or less accurate idea of the depicted object and do not make it possible to depict it. Moreover, abilities of this kind do not allow creating an expressive creative image.

B.S. Kuzin singles out only the leading and controversial properties of the abilities for fine art. At the same time, he considers the leading properties not only creative imagination, but also thinking, which ensures the selection of the main, essential in the phenomena of reality, the generalization of the artistic image, visual memory, emotional attitude to the perceived and depicted phenomenon, purposefulness and will, and supporting, also like A.G. Kovalev - the natural sensitivity of the visual analyzer, which allows you to accurately convey the shape, proportions, light and shade ratios, etc., the sensorimotor qualities of the drawing hand.

The studies of this problem by N.P. Sakulina due to their completeness, specificity, validity, consistency in the disclosure of key issues and correlation with preschool age. She accordingly distinguishes two groups of abilities for visual activity: the ability to depict and the ability to artistic expression.

The ability to depict according to N.P. Sakulina consists of:

Perception and related representations. To learn how to depict, you need to master a special way of perception: you need to see the object as a whole (perceive the content and form in unity), and the form - at the same time, dissected (structure, color, position in space , the relative value ) ;

· mastering the means of graphic embodiment of the image (mastery of a set of skills and abilities of the image, shape, structure, proportional relationships, position in space).

mastery of drawing techniques. Technical skills and abilities are closely merged with graphic ones, they are an integral part of them.

However, N.P. Sakulina distinguishes them into a separate group due to their specificity and subordination to the main - graphic.

Artistic Expression Ability:

· aesthetic perception of the phenomena of the real world, ie. not just the sensory perception necessary for the image, but the aesthetic assessment of the perceived phenomenon, the emotional response to it, the ability to see, feel the expressiveness of the object. It is this quality that creates the basis for expressing in graphic form what especially struck, surprised, delighted, etc.

· Intellectual activity. This quality is manifested in the processing of impressions, the selection of what struck the consciousness, feelings, in the direction of the child to create a new, original artistic and expressive image.

N.P. Sakulina also identifies other properties of special abilities for creative work: the activity of the imagination, the imagery of thinking, feelings, and perception. A necessary condition for this activity is the presence of a conscious goal: the desire to create an original image and master the system of visual skills and abilities. The following components are very important for the manifestation of abilities: experimentation (search actions), vision of the problem (image) in new connections, relationships (associative thinking, imagination), actualization of unconscious experience.

In the studies of T.O. Komarova on the problem of sensory education of preschoolers, the relationship between sensory education and teaching children visual activity was studied, the content was presented, and the possibility of developing a number of their sensory abilities was proved. In essence, the structure of sensory abilities has been developed, manifested and formed in art in the conditions of developmental education of children:

· The ability of targeted analytical and synthetic perception of the depicted object.

· The ability to form a generalized representation that reflects the features and properties of many objects that can be conveyed in the image.

· The ability to create an image of an object based on the existing representation according to the material, technique and visual capabilities of this type of activity.

The ability to perform complex movements under visual control.

· The ability to perceive the created and completed image and its sensory evaluation according to the representation.

· The ability to create an image based on operating with representations, i.e. attracting previously accumulated sensory experience and transforming it with the help of imagination.

Although these abilities are “sensory” by the author, analysis from the content shows that the dominant ability of perception is combined with the ability of thinking, memory, ideas, and imagination. Consequently, in real activity, all abilities are in a complex systemic combination, which is determined by the goals and objectives of visual activity.

Later T.S. Komarova noted manual skill as a kind of complex sensorimotor ability that can and should be formed in preschool age. There are three components in the structure of this ability:

· Drawing technique (how to properly hold a pencil, brushes, mastering the rational methods of their use, mastering the technique of line, stroke, spot).

Shaping movements (movements aimed at transferring the shape of an object).

Regulation of drawing movements in a number of qualities (tempo, rhythm, amplitude, force of pressure.): smoothness of movements, continuity, keeping the direction of movement in a straight line, arc, circle, the ability to change the direction of movement at an angle, the transition from one movement to another, the ability to subordinate movements to the proportion of segments along the length of images or their parts in size.

Having developed a detailed methodology for the formation of these complex abilities in children, T.S. Komarova considers them as a means, having mastered which the child will be able to expressively and without much difficulty create any image, express any idea.

3. Stages of formation of abilities for visual

activities.

Identifying abilities in children and their proper development is one of the most important pedagogical tasks. And it should be decided taking into account the age of children, mental development, upbringing conditions and other factors.

The development of children's abilities for fine arts will only bear fruit when teaching drawing and other types is carried out by the teacher systematically and systematically. Otherwise, this development will go in random ways, and the visual abilities of the child may remain in their infancy.

The development of the ability of the image primarily depends on the education of observation, the ability to see the features of surrounding objects, compare them, and highlight the characteristic. At the same time, one cannot ignore the age of the children and, consequently, require a complex plot construction from a 3-4 year old baby, even if training begins very early. His thinking has not yet reached the required level for solving such a problem, which an older preschooler, with appropriate training, can easily solve.

But it is known that children of the same age can be at different stages of development. It depends on the upbringing and on the overall development of the child. The teacher should not forget about this, because. An individual approach to a child is one of the main conditions for successful upbringing and education.

Pedagogy considers the development of the child not as a simple quantitative process of growth, but as qualitative changes in his physical and mental characteristics under the influence of the environment, primarily education and training.

reimagehitspruce period in unfolditiiabilities.

The first stage in the development of children's artistic abilities begins from the moment when pictorial material - paper, pencil, crayons, cubes - falls into the child's hands for the first time. there is still no image of the subject and there is not even a plan and desire to depict something. This period plays an important role in the further development of visual abilities. The child gets acquainted with the properties of materials, masters the various hand movements necessary to create pictorial forms.

If the material falls into the hands of children 5-6 years old and 2-3 years old for the first time, then, of course, the older children have an idea faster, because. they have more experience in understanding the world around them. On their own, few children can master all the movements and necessary forms available to them. The teacher should lead the child from involuntary movements to limiting them, to visual control, to a variety of forms of movement, then to the conscious use of the acquired experience in the drawing. This indicates the further development of abilities. Children, through associations, learn to find similarities in the simplest forms and lines with which - or an object. Such associations may arise involuntarily when one of the children notices that his stroke or shapeless mass of clay resembles a familiar object.

Usually, the child's associations are unstable: in the same drawing, he can see different objects.

Associations help to move to work according to the plan. One of the ways of such a transition is the construction of the form that he got by chance. Having recognized some object in the drawn lines, the child consciously draws again, wanting to depict it again. Such a drawing begins to speak of a new, higher stage in the development of visual abilities, because. it came into being by design.

Sometimes there may not be a complete repetition of the entire image, but the addition of some details to the associated form: arms, legs, eyes - for a person, wheels - for a car, etc.

A large role in this process belongs to the educator, who, by asking questions, helps the child create an image, for example: “What did you draw? What a nice round ball! Draw another one like it."

Pictorial period in developmentand abilityth.

With the appearance of a conscious image of objects begins a visual period in the development of abilities. The activity becomes creative. Here, the tasks of systematic education of children can be set.

The first images of objects in drawing, modeling are very simple, they lack not only details, but also parts of the main features. This is explained by the fact that a small child still has little developed analytical-synthetic thinking, and, consequently, the clarity of recreating a visual image, coordination of hand movements is poorly developed, there are still no technical skills.

At an older age, with properly organized upbringing and educational work, the child acquires the ability to convey the main features of the subject, observing the form characteristic of them.

In the future, with the accumulation of experience by children, the mastery of visual skills, they can be given a new task - to learn to depict the features of objects of the same type, conveying the main features, for example: in the image of people - the difference in clothes, facial features, in the image of trees - a young tree and an old one, etc. .d.

The first works of children are distinguished by a disproportion of parts. This is explained by the fact that the attention and thinking of the child are directed only to the part that he depicts at the moment, without connecting it with another, hence its inconsistency with proportions. He draws each part of such a size that all the details that are important to him fit on it at once. Gradually, under the influence of general development and learning, the child acquires the ability to relatively correctly convey proportional relationships between objects and their parts.

Sometimes children deliberately violate the proportions, wanting to convey their own attitude to the image. For example, the commander walking in front is twice your soldier. This does not mean that children have already mastered the visual skills and can work independently. In this conscious violation of proportions, the first attempt is made to create, to create an image.

At the first stages of development of visual abilities, the child does not think about the arrangement of objects. He places them on his paper space, regardless of the logical relationship.

All objects acquire a certain arrangement when their connection is predetermined by the content. For example, a house, a tree grows near it. To combine objects, the earth appears in the form of one line (sometimes the child draws a second line above the first line to fit more objects ).

Thus, older preschoolers, having gone through a series of pictorial stages, begin to try to depict objects and phenomena more realistically, conveying the correct shape, proportions, color, and arrangement of objects.

4. Conditions and means for the development of artistic and creative

abilities.

Using the phrase « children are capable”, we thereby emphasize that there is a certain special category of children who are qualitatively different from their peers. In the specialized literature, they constantly and much write about their exclusivity. Without touching on the content side of these discussions, we note that such an approach is fair and justified. Indeed, nature does not equally divide its gifts and gives someone "without measure", without sparing, but someone "bypasses".

A person is able to think and act creatively, and, without a doubt, this is the most wonderful gift of nature. Note that everyone is marked with this "gift". But just as obvious is the idea that with its gifts nature rewards someone more, and someone less. It is customary to call someone capable, whose gift clearly exceeds certain average capabilities, the abilities of the majority.

These, at first glance , purely theoretical research eventually makes it possible to better understand the very real practical pedagogical problems. In pedagogical science, at least two practical problems should be associated with the concept of “ability”:

Special education and upbringing of capable children;

Work on the development of the intellectual and creative potential of each child.

Therefore, the development of the problem of abilities in psychological and pedagogical research is not should be considered as a private task aimed at educating and educating the child population (2 - 5% according to various estimates) - capable children. This problem concerns the entire system of public education.

General approaches to organizing the education of capable children have this property; all of them can be combined into three main groups:

1. "Separate education" - special educational institutions for capable and gifted children.

2. "Joint-separate education" - special groups, classes for capable children in a traditional educational institution.

3. "Co-education" - an organizational approach in which capable and gifted children learn in a natural environment, that is, when they are removed from the circle of ordinary peers.

Each of the described strategies has advantages and disadvantages, they are often discussed and widely known.

The first two options are the most popular in modern educational practice due to their logical simplicity and external clarity. But it should be noted that the latter is of great importance. It should be understood that in our country, most of the talented children traditionally study in ordinary mass educational institutions. This is happening and will continue to happen not only in rural areas, where other educational options are purely physically unavailable, but also in big cities, where parents theoretically have a choice.

The originality of the manifestation of visual abilities in children is greatly influenced by the environment of the child, the conditions of his upbringing and education.

Psychologists have found that the child often depicts in his drawings the conditions of the environment in which he grows up, what he sees around. For example, a child growing up in a dysfunctional th family, in the drawings depicts only the father, walks with him, etc., because. mother paid less attention than father or did not pay it at all.

The mood of the child is very easy to recognize by the colors he uses. In the example above, dull, little variety and even gloomy colors are used more often.

A child brought up in a happy and wealthy family, thanks to the family, saw and noticed more influence. Therefore, will create iridescent drawings and most often with an enriched plot.

One of the main conditions for the development of a creative personality of a preschooler is a broad approach to solving the problems of an aesthetic attitude to the environment. This task should be solved in all spheres of a child's life: in relation to nature, the man-made world, including art - in all types of activities. Of course, the game and artistic activity provide great opportunities for this.

The teacher must make the natural process of life and activity of the child creative, put children not only in a situation of artistic, but also cognitive, moral creativity. And special work in the classroom, in games, etc. should organically enter the life of the child.

Another important condition for the development of visual abilities in children is the organization of an interesting meaningful life for the child in the preschool educational institution and the family, enriching him with vivid impressions, providing emotional and intellectual experience that will serve as the basis for the emergence of ideas and will be the material necessary for the work of the imagination.

This experience is created by the entire system of the child's life activity (observation, activities, games) and serves as the basis for the realization of creativity in artistic activity.

The unified position of teachers in understanding the prospects for the development of the child and the interaction between them is one of the most important conditions for the development of fine: abilities.

Another condition for the development of visual abilities is learning, as a process of transfer and active assimilation of visual activity by a child as a whole (motives, modes of action, the entire complex image system), organized by an adult, i.e. the sphere of education also includes the formation of the ability to emotionally respond to the world around, and the need to express one's worldview in an artistic form.

Another condition for the development of visual abilities is the complex and systematic use of methods and techniques, among which preliminary observations, the creation of problem situations that identify the task, and the lack of ready-made means of resolving them, which stimulates search activity (game motivation enhances the creative state) are of the leading importance. children).

Taking into account the individual characteristics of the child is one of the main conditions for the development of visual abilities in the learning process. It is important to take into account the temperament, and character, and the characteristics of some mental processes (for example, the dominant type of imagination), and even the mood of the child on that day.

Thus, the creation of the above conditions for the development of visual abilities in children is quite within the power of any teacher, accessible to any institution. It is only necessary to understand: artistic perception remains truly aesthetic if it delivers aesthetic pleasure.

Nature in all its diversity plays an important role in the development of visual abilities in a child.

Children should be taken on excursions more often: to the forest, to the lake, to the dacha. Be sure to involve the child in its beauty, wildlife, vegetation, natural phenomena (snow, rain).

With the right acquaintance of a child with nature, he gets a positive idea of the world around him, emotions, feelings, and this can very clearly affect his visual abilities for the better. Knowledge about nature, love for it, interest will encourage the child to visual activity. To fulfill the desire of a child to display the seen beauty of nature, not much is needed: an album sheet, pencils, paints or even a pen.

To enrich the child's knowledge of nature (animals, natural phenomena), human behavior in it, etc. should be used: slides, videos, cartoons, illustrations, literary works (fairy tales, stories, poems), visual aids and much more. All these means are of great pedagogical and psychological significance. They develop the child's aesthetic taste, the cognitive side. Bright colors can cause a child a great psychological mood, inspiration. It is quite possible that a child’s talents can show through even in other areas of activity.

CHAPTERII. DRAWING WITH GRAPHIC MATERIALS AS A MEANSDEVELOPMENT OF ARTISTIC AND CREATIVE ABILITIES.

1. Drawing as part of graphic art, types of drawing,

materials.

Drawing is the basis of all types of fine arts, including graphics. The word “drawing” replaced the Old Slavic words “banner”, “sign”, meaning “creation of an image”, and “drawing”, “inscription”, indicating the technique of making an image. Since the 18th century, the word “drawing” has become a term denoting an image as the creation of an image using lines, features that are important for recognizing the features of an object: shape, size, structure, movement, which are transmitted in all types of art.

The simplicity of line drawing techniques and the versatility of the principles of form construction made drawing the basis of graphics and other art forms. When comparing a drawing, for example, with a drawing, its remarkable features become apparent. First, the drawing is done by hand. This speeds up the execution of the image and, therefore, makes it possible to quickly respond to various events of the current life. Secondly, the drawing is done by eye, capturing the object, not only as it is, but also as it seems. This visible image is understandable and accessible to everyone. Thirdly, the drawing is clear; it illusoryly conveys the main external features of an object, its materiality, volume, illumination, spatial arrangement, etc. certain thoughts and feelings.

For a more complete study of the features of the drawing, several types are conditionally distinguished, differing in visual, material and technical means and in purpose.

According to the use of visual means, drawings are linear and tone. Linear drawing is, as a rule, light, light, generalized. Lines create an artistic image, tables, diagrams, drawings on the blackboard are made.

Drawings in tone give a more complete description of the object and environment by conveying volume, illumination, materiality and spatial relationships. Such drawings are called chiaroscuro and tone or tonal. In the mass and contour of some objects, character, movement and other properties are very clearly expressed. Therefore, for their image, sometimes the simplest type of tone pattern is chosen - a silhouette - a contour pattern filled with one even tone.

According to the technique of execution, the drawings are original and printed. Original drawings are made by the artist by hand in one copy. Printed prints are made with a cliché on paper and are called prints. There are several types of prints. The main ones are engraving (on wood - xylography, on linoleum - linocut, on metal - etching) and lithography (an impression from a lithographic stone, on which a drawing was made with a lithographic pencil and acid etching).

According to the intended purpose, academic drawings and creative drawings are distinguished. Academic drawing is a long drawing performed with the aim of teaching drawing, mastering image techniques and studying various forms and features. It is characterized by the fixation of all the main features that determine the appearance of the subject of the image. A creative drawing is a work of fine art that figuratively expresses the thoughts, feelings and worldview of the artist.

Sketch, sketch, sketch are widely used in educational and creative work. A sketch is a short-term drawing. The main means of sketching is a line, supplemented by a rare hatching or its rubbing. A detailed study of the subject of the image or part of it is carried out through a sketch. It traces and notes for a relatively long time the most important external and internal properties and features of the object. The living material of reality studied in studies and sketches is used to create a creative drawing or painting, the composition of which begins with a preliminary drawing - a sketch.

2. Features of creating a drawing with graphic materials.

The process of creating a drawing involves the establishment of permanent and very subtle connections between the drawing and the subject of the image, between the drawing and the drawing, between all elements of nature and drawing. These connections are established by the knowledge of the whole process of drawing - the methods of drawing, the sides of the drawing process, the principles of drawing and solving educational problems.

Drawing methods. Reality, influencing the consciousness of a person, forms images of this reality in his perception and ideas. Due to the difference between the image of a real object, formed in the process of visual perception, and the image stored in memory in the form of a representation, there is also a difference in the methods of their representation. These methods are called drawing by perception and drawing by representation.

Drawing by perception is characterized by the fact that the object of the image is in front of the painter throughout the work. Carefully observing from a certain place the signs and parts typical of a given object, the painter transfers what is observed to paper, trying to depict everything as it really is and as his eye sees, that is, visually similar. This method of drawing is also called drawing from life. The Latin word "nature" is translated as "nature", "real reality". Nature - the subject of the image can be everything that exists, that is, everything that has its own form and content.

Drawing from life, leaving a person face to face with the subject of the image, makes you think about its form and content, determine its features and properties, comprehend their relationship - in a word, thoroughly study the subject; at the same time, drawing from life brings up attention and observation, teaches you to see and think correctly.

Work from nature not only expands the circle of knowledge about reality, it allows visual means to fix the images of understood things and phenomena, their essence and beauty. These remarkable qualities made it possible to draw from life to become one of the main ways of teaching the image.

In the old Russian school, at the first stages of learning to draw, they often replaced living nature with an original drawing made by a good artist. In this original, all visual tasks were exemplary solved. The students, copying the original, imitated the masters, learned to use the material and visual means correctly and mastered the "exemplary" image techniques. This method of drawing from originals also takes place in the practice of teaching educators not only as a visual means of mastering image techniques and solving educational problems, but also as a means of helping to create all kinds of tables and cards necessary for conducting classes with children.

Drawing by representation is characterized by the fact that the object of the image is absent, is not in front of the eyes of the painter. The image once formed in his mind is recreated by the painter from memory, description or imagination. It is clear that the images of representations are less concrete and complete than the images of perceptions, and therefore the drawings made according to the representation have a somewhat generalized character. Their content and originality depend on the conditions of image formation. Drawing according to the idea develops visual memory, saturates thinking with vivid images and contributes to the development of creative imagination.

The methods of drawing considered by us are widely used in modern practice of teaching fine arts. However, it should be noted that these methods are not equivalent. Indeed, for competent drawing, the ability to meaningfully see, highlight and remember the main thing is required.

3. Drawing as a kind of creative activity of preschool children

age.

Each of the types of visual activity has its own capabilities and means for depicting objects and phenomena, together making it possible to display reality in a diverse and versatile way.

Drawing is a more complex means of depiction than modeling and appliqué.

Graphic activity, drawing strokes on paper attracts the attention of the child even at preschool age. Children about a year and a half are already willingly doing this, however, such activities at first have the character of fun, playing with a pencil. At a younger preschool age, drawing acquires the character of an image. Children draw in kindergarten with pencils and paints. Drawing with paints, the child has the opportunity to more holistically, albeit indistinctly at first, convey the shape of the object, its color. Linear pencil drawing allows you to more clearly convey the parts and details of the subject. In this process, visual control over the movement of the drawing hand, behind the line that forms the contour of the object, is of great importance. Drawing with colored material (pencils or paints) allows you to convey the color of objects. Children, drawing patterns, decorate squares, circles, stripes, as well as toys molded by them from clay, made from paper.

The expression in the drawing of a coherent content requires mastering the transfer of the space in which the objects are located, their comparative size, position relative to each other,

The peculiarity of each type of visual activity determines the tasks of education and development.

Children are mainly engaged in drawing while sitting at the table, so the education of the correct sitting skills, the position of the hands on the table, and the legs under the table is of great importance. This is very important for the physical development of children.

Each lesson in visual activity begins with the teacher addressing the children, talking with them, and often also showing some visual material. Therefore, it is necessary from the very beginning to educate children's attention to words and visual demonstration. Visualization is of great importance in the classroom of fine arts. This contributes to the development of observation, children develop the ability to consider what is shown to them for a longer time, to re-refer to visual material in the process of doing work.

Along with this, children develop an ever more steady attention to verbal instructions that are not supported by the display of visual material.

It is extremely important from the first steps to cultivate in children a steady interest in visual activity, which contributes to the education of perseverance, ability to work, perseverance in achieving results. This interest is initially involuntary and is directed to the process of the action itself. The educator gradually carries out the task of developing interest in the result, in the product of the activity. This product is a drawing, visual and thus attracts the child to itself, attracts his attention.

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1. Artistic abilities as a property of a person's personality.

An attempt to determine the content of abilities was made repeatedly by different researchers.

There are many definitions of ability. So, B.M. Teplov believed that abilities are individual psychological characteristics that distinguish one person from another and are related to the success of an activity or many types of activity. According to L.G. Kovalev, abilities should be understood as an ensemble of properties of a human personality that provides relative ease, high quality of mastering a certain activity and its implementation. By definition, N.S. Leites, abilities are a property of a person, on which the possibility of implementation and the degree of successful activity depend.

Abilities are psychological qualities that are necessary to perform an activity and are manifested in it (L.A. Wenger).

Abilities have their own content and structure, which are extremely important to determine, L.A. Wenger. Otherwise, it is not known what to form.

Leading in revealing the content and structure of abilities is the analysis of the psychological requirements imposed on a person by various types of activity. In other words, it is necessary to determine without which properties

(qualities, features) of the individual, it is impossible to perform this (or any) type of activity. Therefore, an analysis of activity in general or its specific type is needed. The performance of any type of activity involves a certain system of knowledge, skills and abilities. Therefore, when determining the content of abilities, the question of their relationship with knowledge, skills, and abilities comes to the fore.

There is no consensus on this issue:

· Abilities are not limited to skills, abilities, but can explain the ease and speed of their acquisition (B.M. Teplov);

· One of the components of abilities is the special skill of the hand as a result of improvement, generalization, skills and abilities (A.G. Kovalev, B.N. Myasishchev).

· The ability includes all substructures of personality, including ZUN (K.K. Platonov);

L.A. Wenger put forward a hypothesis, the essence of which is the understanding of abilities as indicative actions. As evidence, he cited the following reasoning:

Each type of activity has an indicative and performing part and, accordingly, indicative and performing actions. Indicative actions are an assessment of the problem that has arisen, the study of the conditions for its solution, correlation with one's capabilities, with known methods of solution, and the choice of a method of implementation. Performing actions - performing actions and achieving results;

Knowledge, skills and abilities relate to the performing part of the activity, whether it is a practical or cognitive activity;

The tasks of orienting actions are not independent, but they are subordinated to the solution of more general cognitive or practical tasks. When the performing actions are formed, the orienting actions are collapsed. When it is necessary to master new actions, the speed and quality of mastering depend on the nature of the orientation of the task (according to A.V. Zaporozhets).

L.A. Wenger, understanding orienting actions by abilities, separated them from knowledge, skills and abilities, referring the latter to the working, performing part of the activity.

B.M. Teplov in his work “Abilities and Giftedness” formulates abilities as individual psychological characteristics that distinguish one person from another, and “not all individual characteristics in general are called abilities, but only those that are related to the success of any activity”. Activity in this case is considered as a means of developing abilities. Therefore, the ability cannot arise outside the corresponding concrete activity. A successfully completed activity creates, in turn, the originality and combination of abilities that characterizes this person.

A.I. Leontiev, in his works on the problem of abilities, consistently pursues the idea of the decisive role of the social conditions of education and to a lesser extent attaches importance to the natural side of abilities. Leontiev's main idea: all mental functions and abilities inherent in a person as a social being develop and form as a result of mastering the experience of previous generations.

B.G. Ananiev traces the closest connection between abilities and character and says that the development of abilities and character is a single, albeit contradictory, process.

IN AND. Kireenko considers the ability to visual activity as certain properties of visual perception.

In the works of S.L. Rubinstein, B.M. Teplova, B.G. Ananyeva and others show that both the theories that proclaim the innate abilities (theories of heredity) and those theories that completely ignore the natural prerequisites of abilities and consider them to be conditioned only by the environment and upbringing (theories of acquired abilities) are wrong. In the first case, the determination of abilities is reduced only to internal, and in the second case, only to external conditions, while in the formation of abilities, external causes act indirectly, through internal ones.

In psychology, it has been established that abilities are formed on the basis of innate inclinations. The assignments can be:

· Correlation of I and II signaling systems, interaction and specialization of cerebral hemispheres.

· Individual structural features of analyzers.

By definition, V.A. Krutetsky, the real value of deposits under all other conditions is as follows:

Greatly facilitate the formation of abilities;

Accelerate the pace of progress in the development of abilities;

Determine the height of achievement;

Cause early manifestations of abilities.

Inclinations have innate individual differences. All of these provisions apply to special abilities.

Specialists distinguish between general and special abilities. They refer mental functions (processes) to general abilities: abilities of sensation, perception, memory, thinking, imagination, attention, psychomotor ability. In a particular person, each of the abilities can be expressed to varying degrees. For example, the ability of perception is evaluated according to the following parameters: volume, accuracy, completeness, novelty, speed, emotional richness. Imagination ability - novelty, originality, meaningfulness, etc. Psychomotor ability - up to the parameters: speed, strength, pace, rhythm, coordination, accuracy and accuracy., plasticity and dexterity.

Spiritual abilities are the ability to self-knowledge, to self-awareness, self-experience, to correlate oneself with the world, with other people. These abilities ensure the creation of spiritual creations. Spiritual abilities are associated not only with the concept of "activity", but also with the concept of "behavior", which includes, to a limited extent, the attitude towards moral norms. Obviously, in spiritual abilities personality is manifested. Spiritual abilities are manifested in the desire for spiritual progress, mental, moral.

Thus, attempts to determine the content of abilities have been made repeatedly by different researchers. The content, the structure of abilities, to a certain extent, are disclosed and presented in the psychological and pedagogical literature, but they are not indisputable already because they are different either in their essence, or in volume or in structure.

The best product of arts and crafts, highlight and mark the most successful work. This will help attract more and more schoolchildren to the arts and crafts classes. 3.2 Methodological program of lessons on artistic processing of birch bark. 3.2.1 Explanations. The methodological program for the artistic processing of birch bark is based on ...

Toys The goal of the formative pedagogical experiment was to choose the most effective way of developing technical skills and abilities in modeling classes using the Dymkovo toy as a means of developing creative abilities. The choice of the Dymkovo toy is not accidental, because it is the brightness, imagery, expressiveness of these toys that is most attractive to children. Familiarization with...

Arts: paintings, fiction, music. A child from early childhood should be surrounded by genuine works of art. Of great importance in the artistic and aesthetic education of preschool children is folk arts and crafts. The teacher should introduce children to the products of folk craftsmen, thereby instilling in the child a love for ...

Artistic ability. We confidently say that they are, even more confidently that the child does not have them. But what do we mean by this, what criteria do we use? Able - because he quickly grasps the explanations, assimilates the shown technique, the rule. He has a firm hand, he feels the proportions, catches the resemblance "And mine is completely mediocre! He can't draw a straight line." He finds a rhyme for any word, "puns" to the delight of his elders, easily builds complex phrases (and his unlucky antipode "cannot connect two words", "puts mistake on mistake"). If he hears a melody, he will unmistakably pick it up by ear (and to the incapable one, "a bear came on his ear", and the world of music is forever closed to him).

Able - because he has a rich imagination. He will compose such a story that even an adult cannot come up with, and he tells it in such a way that you are ready to believe! He does not need to be prompted: "Write about that, draw it" - inexhaustible ingenuity, even draws a New Year's tree every time in a new way. It happens that some strange colors will pick up, but it turns out well. Able - because in his writings, stories, drawings, one feels his own view of the world, some kind of his own, special, unique attitude to life. This, however, is rarely heard about a child. More often they say this about a great artist, but they immediately add that he - a mature, wise person - managed to preserve "something childish" in his attitude (and they call it spontaneity, disinterestedness, openness, freshness of eyes, gullibility - in different ways) . The ability to convey in the drawing the resemblance to the subject - and rich imagination, giving an unusual, and even unprecedented, unprecedented character to a drawing or story. His special attitude to everything in life - and a good ability to learn the generally accepted technical methods of drawing, versification, playing a musical instrument. - how different, almost opposite, these qualities are, and we call them all the same: artistic abilities.

Indeed, the artistic talent of a person can be considered from different points of view and, as it were, at different levels. Is it because the process of human artistic development is so multi-layered, so difficult to predict and manage? And yet, in order to engage in the artistic development of a child, you need to have an idea of what qualities we want to develop in him. What is artistic ability? It would be a mistake to start looking for an answer by studying the children themselves and their creativity. We will be able to understand what artistic abilities are by observing them in real, great artists. Then it will be easier for us to discern the germs of these qualities in children. And first of all, you need to understand what art itself is, why it exists, what tasks it sets for the artist. Only after we have answered these questions will we come to an understanding of human artistic abilities.

Based on this, we can conclude: Artistic abilities are the abilities for artistic creativity in a certain field of art, characterizing the degree of development of this activity as, in terms of worldview, the ability to produce the idea of a work of art as "one's own world", which will evoke a response from the viewer, listener, reader , and in the technical ability to choose the means of artistic expression that are adequate to the idea and the skills that make these means effective.

There are different ways to develop artistic abilities. As a rule, artistic abilities develop in almost any lesson. The only thing is that it all depends on the degree of interest of the students themselves. As we described earlier, artistic ability does not necessarily mean good drawing. It can be both science and creativity. Today, the world has accumulated sufficient experience in including artistic activity in the process of developing children's artistic abilities. The philosophers of ancient Greece wrote about the need to give children the opportunity to create. Famous teachers attached great educational importance to this: Ya.A. Comenius, I.G. Pestalozzi, F. Frebel and others. The formation of a creative personality is one of the most important tasks of pedagogical theory and practice at the present stage.

Numerous psychological studies prove that there are no incapable people. However, abilities, including artistic and creative, can be developed to a greater or lesser extent. Purposefully, mass development of the entire spectrum of children's abilities is influenced by such institutions as kindergartens, schools: general education, art, music, sports, houses of creativity for children and youth, clubs, etc., i.e. those institutions that carry out educational activities. To do this, it is necessary to give the student the opportunity to express himself in various fields of activity, starting from a very young age. This is the most effective way to develop the individual abilities of children and introduce them to subsequent active, creative activities.

The main condition for the successful development of the individual artistic abilities of the individual, teachers and psychologists consider their components (intellectual activity, search initiative, the desire for self-improvement). Of all the variety of specific activities, in our opinion, it is arts and crafts that are the most significant in the process of artistic development of a person, since this contributes to the active formation and improvement of its various qualities, opening up wide opportunities for self-realization. Creative abilities in the process of decorative and applied activity can be formed only taking into account its features. Their purposeful development, as noted above, should be based on the individual qualities of a person, on his natural inclinations, inclinations, providing self-expression, self-improvement and self-development of a growing personality.

Classes in arts and crafts form and develop the artistic abilities of the individual, deliver moral satisfaction, aesthetic pleasure, the joy of creativity. The beauty of decorative art objects, having great expressiveness, contributes to the development of taste, the formation of positive personality traits. The sense of beauty is closely connected with the purposeful and conscious artistic activity of a person. The great thinker, the founder of many teachings, K. Marx wrote: “An animal forms matter only according to the measure and needs of the species to which it belongs, while a person knows how to produce according to the standards of any kind and everywhere knows how to apply the appropriate measure to an object; because of this, a person forms matter also according to the laws of beauty."

In the process of developing artistic perception, students acquire the ability to see the world in all its diversity of forms, phenomena and colors. Immersion in the world of art cannot be accompanied only by a contemplative perception of works of art. Practical, real life in art, mastering the laws, techniques, materials of various types of art - this is what students need to prepare for free creativity. The aesthetic perception of reality can be successfully carried out provided that the beautiful enters into the activity of an individual or a team as a creative practical task. In the process of developing artistic abilities, the creative thinking of the individual is also formed. These processes proceed inextricably, therefore they are not opposed to each other and are not considered separately.

Considering the concept of "creative thinking", we can distinguish its main components. They fully correspond to the functional levels of human mental activity considered above. It should be noted that these are:

1) analytical components (conceptual logical thinking): consistency, mobility, selectivity, associativity, ingenuity, ability to differentiate, etc.;

2) emotional components (sensory-figurative thinking): brightness of images, emotional evaluation of events, facts, phenomena, works of art, etc.;

3) creative components (visual-effective thinking): the search for rational solutions, non-standard (manifestation of individual originality, overcoming stereotypes), the ability to anticipate the result, the desire to synthesize the best qualities of familiar products in the object being created, choosing the most appropriate solution from possible options and the ability to justify correct choice.

The development of artistic thinking is the most important result of the artistic development of the individual and at the same time a prerequisite for a higher level of aesthetic education in general. In addition, the teacher's knowledge of the individual typological characteristics of students largely determines the success of that purposeful, organized and controlled process, which is the development of the artistic potential of the individual by means of decorative art.

General abilities that affect the result of artistic ability

General artistic ability

Special Artistic Ability

Stages of development of abilities: Makings, Abilities, Giftedness,

talent, genius Makings- these are congenital, anatomical and physiological features of the body, the basis for the development of abilities is natural prerequisites (developed fine motor skills of the hands). Capabilities- these are personality traits that are conditions for the successful implementation of a certain type of activity. Abilities are not limited to the individual's knowledge, skills and abilities. They are found in the speed, depth and strength of mastering the methods and techniques of some activity and are internal mental regulators that determine the possibility of acquiring them.

giftedness- the presence of potentially high abilities any human. B. M. Teplov defined giftedness as "a qualitatively peculiar combination of abilities, on which depends the possibility of achieving greater or lesser success in the performance of a particular activities»

Talent- certain or outstanding abilities that open with the acquisition of experience, forming a skill.

Genius(from lat. genius - spirit) - the highest degree manifestations of creativity. It is realized in the creation of certain works that have important meaning for the development of society.

general (manifesting in all types of human activities - for example, intellectual)

analytical selection of the components of artistic abilities

the ability to see holistically, the ability to feel sharply vertical and horizontal directions, the ability to accurately assess deviations from reference directions, the ability to accurately assess proportions, the ability to assess "light" relationships, the ability to assess perspective cuts, the ability to color, the visual memory. . In addition, this author further proves that "individual differences in relation to a given activity must be sought primarily in the process of visual perception and the visual representations that arise on its basis." One of the most important components of artistic abilities in the visual arts is the ability of a holistic or synthetic vision. No less significant are a number of motor reactions and the muscular "feeling" associated with them, as well as the ability to form visual-kinesthetic associations.

special (manifesting in certain types of activities (mathematical, music, art).

Capabilities- these are the psychological qualities that are necessary for the performance of an activity and are manifested in it (L.A. Wenger). Artistic ability- mental properties of the individual, ensuring the success of the artistic and creative. Activities: drawing, modeling, etc. Are divided into: 1.main or leading(properties of artistic imagination and thinking, providing. Creation of the original composition); properties of visual memory; emotional attitude - especially developed aesthetic feelings; volitional qualities of the individual, ensuring the practical implementation of creative ideas . 2.Auxiliary or supporting(high natural sensitivity of the visual analyzer to color, tone, factor, proportion ..) Sensory qualities that contribute to the rapid assimilation of the techniques of working in the material. Arts Ability Indicators: the presence of a tendency to art; transfer of similarity with the image object (n); speed of assimilation of special ZUNOV (p); the presence will express the compositions in the work (4); the ability to discern and convey the characteristic, typical of the subject (n); the presence of the integrity of the image (p); performance, etc. Patterns of manifestation in the learning process. The natural basis for the development of cholesterol is inclinations, under the influence of decisive factors of development (social environment, activity), the development of art begins either purposefully or spontaneously. Age features of manifestation: natural Tendency to out - 5-9, peak 6-7, fading of interest - from 10 years; manifestation of a conscious inclination from the age of 10-12.

Conclusion: By themselves, artistic ability cannot be innate. Only inclinations can be congenital. From inclinations to abilities - this is the path of personal development. The teacher's knowledge of the features of artistic abilities and their consideration in the pedagogical process makes the path of personality development more efficient. Aesthetic attitude as the basis of abilities for artistic creativity

B. M. Teplov and his followers did not focus on creativity in art. According to A. A. Melik-Pashaev, the basis of artistic creativity is not limited to a set of abilities (elementary or complex), but is a special state of the individual, described by many people of art. This is a special experience that captures the whole personality, a way of seeing the world.

A developed aesthetic attitude is characterized by the experience of unity with the world, the absence of opposition between oneself and surrounding objects. An artist (in the broadest sense of the word, a person engaged in art) sees and discovers in the object an inner life related to him. The external form of a thing serves as an expression of the internal essence, a certain character, mood. The aesthetic attitude is non-utilitarian, since it removes the object from the practical, everyday plane. It changes and transforms consciousness in a special way. Creativity is experienced as going beyond the boundaries of ordinary consciousness, the artist wants to preserve the experience, make it accessible to the perception of other people. This is the motivating aspect of the aesthetic attitude - the artist's experience of a different appearance of objects, a different life, must be preserved, which leads to the creation of an artistic image. New experience is perceived deeply emotionally. Note that emotionality is generally one of the distinguishing features of the artistic type of personality.

All private aspects of the human psyche, his specific skills and abilities become artistic abilities only to the extent that they contribute to

Creation of an expressive image. For example, the ability to distinguish colors subtly has traditionally been attributed to painters. However, there are many people who are well versed in shades of color, but at the same time have nothing to do with art. The difference between the artist is that he uses the expressiveness of color to convey subtle shades of mood, colors for him - the expression of spiritual essence.

Studies have shown that children aged 6-10 have good inclinations to develop an aesthetic attitude. Based on the results of many tasks that explore the development of aesthetic attitudes, they were closer to adult artists than adolescents and adults who were not associated with art. Children tend to animate the surrounding objects - this ability, necessary in the game, is often lost as the game leaves the child's life. Primary schoolchildren still do not have clear boundaries separating the Self from the world, they are open to impressions and are guided more by emotional perception than by intellectual and logical knowledge of reality.

It is necessary to rely on these features of the child's psyche in the development of an aesthetic attitude to the world. The development of precisely this basic quality of the artist is the main task of the aesthetic development of children. With this approach, the child is taught to appreciate his own unique view of the world, and the formation of specific skills and technical skills is only a subordinate moment of art education.

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