Nuance. The contrasting combination of features makes the object very noticeable, but it quickly tires the eyes, prevents a long examination of the object, which is why in our ideas it is not the most important thing in the object - the content, but the form that remains in the foreground, appearance. To characterize an object as a holistic and harmonious organism in its form, the consistency and proportionality of parts, their relationship and similarity should be noted. This is the role and expressive essence of the nuance. Nuance, like contrast, can manifest itself in form, size, movement, construction, lightness, texture, color.

Thus, the artistic composition of the picture plane and the decorative composition, despite the differences, have a number of similarities. This is rhythm, symmetry, asymmetry, balance, contrast, nuance. These similarities take place, because the decorative composition is part of the artistic composition, is part of it, is its kind. Artistic composition is general concept, and decorative composition - private. In this work, we are more interested in decorative composition.

1.3 Characteristics of children's creativity

Creativity is a certain activity that creates new original objects of social significance; it is an indicator of development and a trend in the development of visual activity. It has emotionality, spontaneity, content.

Children's creativity is a child's conscious reflection of the surrounding reality in an object, which is built on the work of imagination, on displaying his observations, as well as impressions received by him through the word, picture and other forms of art. Vetlugina expressed that the prerequisites for productive creativity is the formation of an artistic and figurative beginning. The image created by the children as a result creative activity cannot be identified with the artistic image of an adult, that is, the image of a child has more or less expressiveness, depends on the degree general development abilities and acquired skills. L. Poddyakov under the creativity of the child meant the result of the entire lifestyle of a preschooler, the result of his communication and joint activities with an adult, the result of his own activity. The child gradually develops his most complex contradictory inner world, which gives all the activity of the child a creative character, or vice versa, determines his development according to ready-made schemes studied. The creative process is a special form of qualitative transition from the known to the new, the unknown. The creativity of a child is the most important quality of his personality, it is a universal ability that underlies the formation of all other abilities. This is a special worldview of the child, his special attitude to the world around him, both in terms of his perception and in terms of his transformation.

The ability to create is a specific feature of a person, which distinguishes him from the animal world, makes it possible not only to use reality, but also to modify it. A correct understanding of the possibilities and originality of children's creativity requires the teacher to know what kind of activity in the field of art is in general, what expressive means the artist uses to create an artistic image, what are the stages of his creative activity.

The artist's work is a certain activity that creates new original objects of social significance. The activity of the artist is connected with the creation of works of art that reflect the surrounding life. This reflection is not a simple photographing of phenomena: the artist processes what he perceives in his mind, selects the most significant, characteristic, typical and generalizes, creating an artistic image.

At the same time, the artistic image is given in the form of an individual concrete image. The objective basis of artistic creativity is the image of the real world. But there is also a subjective side - the attitude of the artist to the depicted. The artist does not just study and reflect the world: he puts his emotions and feelings into the image, thanks to which this image can also excite other people.

A necessary condition for the creative activity of the artist is the presence of abilities, such a level of development of all mental processes which allows you to sharply perceive and deeply realize the surrounding life. The richer the experience of the artist, the more multifaceted his work and the more perfect the created images.

The condition necessary for creativity is the mastery of skills in this type of art, since otherwise the artist will not be able to translate the intended images into real forms.

("6") For the implementation of creative ideas, diligence is also necessary. Without it, the most beautiful plan may not be realized. All human forces must be mobilized and directed towards the achievement of the goal.

The creative process of each artist is unique. This is an uneven, sometimes long way to create an image. Vetlugina's book describes the following stages of the creative process.

The initial stage of creativity is the emergence of an idea, a plan. At first, it may be unclear, non-specific, it takes time for it to be clarified, the idea took shape in specific content. This incubation of the idea is the second stage of creative activity.

The third stage is the implementation of the idea, during which the content is further refined and developed, and it is translated into concrete forms. The creative process ends with the appearance of an artistic image. The further life of this work lies in its social significance - in the impact on the masses of people, in the education of their thoughts and feelings. Therefore, the more perfect piece of art the higher its social value.

Thus, artistic creativity is a complex process of cognition and figurative reflection of the surrounding reality.

In this regard, visual activity presents rich opportunities, since in essence it is transformative and creative. Here the child gets the opportunity to reflect his impressions of the world around him, to convey images of the imagination, turning them into real forms with the help of various materials.

Let us consider the features of the process of visual activity of a preschooler in connection with the conditions that are necessary for artistic creativity.

In the older preschool age, perceptions become purposeful. Most of them are based on visual sensations; with their help, the child can perceive the color, size, shape. But since his experience is still small, sight alone cannot give him completeness of perception, it is necessary to include touch and other sensations in perception, helping to form a more complete representation.

A child of 5-6 years old, perceiving the surrounding objects, is already trying to highlight their features, analyze, generalize, and draw their own conclusions. But so far they are superficial. Children are often attracted to bright, dynamic, but minor details, often not essential in working on a drawing. This is reflected both in the nature of their ideas about the subject, and in the image in the drawing or modeling.

By the older preschool age, the child develops more and more the level of analytical-synthetic thinking, which is important for the image process.

Imagination begins to play an increasingly important role in activity. But the images of the younger preschooler's imagination are still unstable, fragmentary, which also affects his drawings. With age, the imagination becomes richer, children can independently think through the content of their work, introduce new images.

An important role is played by emotions that contribute to the manifestation of interest in visual activity, the concentration of attention and feelings of the child on the image being created, and enhance the work of the imagination.

At first, the knowledge of the environment in the visual activity of the child is not associated with creative manifestations and consists in the knowledge of the properties of the material with which the child acts: pencils and paints leave marks on paper, clay is soft, you can sculpt from it.

For further visual activity and the development of creative principles, this period plays an important role, as the child gets acquainted with the material with which he can embody his ideas in images.

When he begins to understand that the traces left by a pencil can mean something and, at his own request or at the suggestion of an adult, he tries to draw some kind of object, then his activity becomes pictorial in nature. The child has a plan, a goal that he seeks to implement.

Thus, the first stage of the creative process - the emergence of an idea - is also present in the child's activity. But if the artist, after the appearance of the idea, usually has a long period of gestation, thinking over the content and means of implementation, then for a small child this period is most often absent. How less baby, the faster he starts to fulfill his plan. He cannot yet foresee the result of the work and the course of its implementation. Preliminary thinking, planning of work is combined with the execution process. Therefore, in the work of children, there are frequent cases of changing the content of the work in the process of depicting, including details that are not related to the image in the drawing.

The older preschooler is capable of some elements of pre-thinking and content, and means of implementation. He can already independently decide what he will draw or sculpt of his choice or on given topic, what is the main thing in the topic, where to start, how to arrange the depicted object.

In the process of work, the child implements this plan, supplementing it in accordance with the content.

We see that all three stages of the creative process are present in the activity of the child, but the ratio of these stages is different from that of an adult artist.

Further studies of children's creativity have further refined this definition. N. P. Sakulina considers the pictorial activity of the child as the ability to depict, that is, the ability to correctly draw an object, and the ability to create an image that shows the attitude of the painter towards it. This ability of expression is an indicator of children's creativity.

("7") Research in recent years is aimed at identifying specific indicators of the figurative beginning in the activities of a preschooler.

An image created by children as a result of creative activity cannot be identified with an artistic image created by an adult, since they cannot make a deep generalization. The images they create are more or less expressive, depending on the degree of general development of abilities and acquired skills.

Researchers of children's fine arts - E. A. Flerina, N. P. Sakulina, T. S. Komarova, T. G. Kazakova, N. B. Khalezova and others note that many expressive means used by the artist in painting and sculpture, available to a certain extent to the child preschool age.

child, especially younger age, the element of chance is inherent in the image of details. Not every detail depicted by him enhances expressiveness. And sometimes expressive details also appear by chance, without a conscious intention.

At senior preschool age, when the ability to plan work is brought up, the child begins to select the details characteristic of this image. Moreover, an indicator of their importance is that they get off much more carefully than anything else.

The most accessible expressive means for a preschooler is the use of color.

Color in the visual arts (painting, graphics) is an important tool expressions of artistic intent, ideas of the work. Its use is closely related to the content of the work. It has no independent meaning. Color contrasts are used to highlight the main thing in the picture; color conveys the mood: dark, muted tones - in paintings with a sad content, bright, saturated - in joyful ones.

A child of preschool age, of course, cannot use color in such a diverse way, and at first perceives it as an independent value, without connection with the real coloring of the object. The child enjoys any color of pencil, paint, painting over everything with them.

Having become acquainted with many colors, children of 4-5 years old often use them as an expressive tool that helps to make the image more beautiful, more elegant, that is, they use it decoratively. Here, too, there is a violation of the real color, since at first the child is attracted to bright contrasting combinations of colors. This decorativeness can sometimes contradict the characterization of the image.

Gradually, children of older preschool age move away from decorative coloring, mastering different shades. With the development of perceptions and aesthetic feelings, they begin to use color to convey the mood of the image. Although they still use color in an emotional way: what they like is painted in bright colors, unloved, scary images - in dark ones. This position on the use of color as an exponent of the emotional attitude of the child to the depicted, put forward by E. A. Flerina, is confirmed by recent studies by L. V. Kampantseva, V. A. Ezikeyeva, V. S. Mukhina and others.

Transferring the dynamic state of the rendered object is also one of the means of expression used by the child.

If at a younger age the movement is not depicted, then the image of objects in motion is available to older children, which can make the image expressive.

But the expression of dynamics is still difficult for the child, because the shape and arrangement of the parts of the object changes with movement. Therefore, often, despite the expressiveness of the image, its form is distorted.

Children's creativity is also characterized by the use of compositional means, primarily rhythm and symmetry. They not only give harmony, harmony to the image itself and the whole picture, but also facilitate the image, which is especially important for children who have not yet mastered fine arts.

Thus, the means of expression used by children are quite diverse: color, shape, composition. They help convey character traits image, attitude towards it. The degree of expressiveness depends primarily on the development of the child's figurative vision, the stock of impressions and the level of development of visual abilities.

Children almost always put their attitude into the work, conveying it through pictorial or other means. This allows you to call the child's drawing original, expressive.

In some cases, a child's drawing may be in the nature of a sign. This happens when the child uses a simplified image, mostly borrowed from somewhere.

In general, the creative process of an adult and a child has the same stages, differing only in the duration of the course. The difference in time intervals is mainly in the absence of a child life experience, as well as a number of psychological properties of the baby - the inability to think over an idea, to consciously use compositional means, to be critical of one's creativity, and the inability to properly use art materials. Despite this, children's works are very emotional and dynamic.

Until now, the problem of the development of creativity remains the least studied in theory and insufficiently provided in the practice of raising children.

The following indicators of the presence of creativity in the artistic activity of children can be taken as a basis:

("8") relationships, interests, abilities of children, manifested in artistic creativity;

ways of creative actions;

the quality of children's products.

The first group includes:

sincerity, truthfulness, immediacy of experiences;

developed creative imagination, on the basis of which past experience is transformed; the ability to enter into the depicted circumstances, into conditional situations;

enthusiasm, preoccupation with activities;

ear for music);

modification of special artistic abilities (figurative vision, poetic and motives of activities that give children pleasure with their results;

the emergence of needs, interests in creativity.

The second group reveals the quality of the ways of creative actions. It includes:

additions, changes, variations, transformation of already familiar material, creation of a new combination of learned, old elements; application of the known in new situations;

independent search for the best solution to the task;

finding new methods of solution (when the old ones are no longer enough), independence and initiative in their application, finding their own original methods for solving creative tasks;

speed of reactions, resourcefulness in actions.

Most of these indicators are manifested in the process of activity, which requires the educator to purposefully monitor children, analyze their behavior, understand their internal state, empathize, sympathize, and help them, if necessary.

The third group - indicators of the quality of children's art products:

finding adequate (corresponding) figurative and expressive means to embody the image;

individual "handwriting" of children's products, the originality of the manner of performance and the nature of the expression of one's attitude;

("9") compliance of children's products with elementary artistic requirements.

The last indicator can be specified by highlighting such qualities children's drawing(crafts), as expressiveness, literacy and originality of the image in unity and taking into account the specifics of the interaction of these qualities.

All indicators of creativity in the activities of children can be used in the analysis of the activities of a particular child; in general, the group in the classroom, outside the classroom, in the process of independent artistic activity.

The development of creativity as a personality trait of a preschooler should become one of the main tasks in the system of raising a child.

One of the main conditions for the development creative personality preschooler is a broad approach to problem solving (creativity: lifestyle). Of course, that the game and artistic activity are great opportunities for this. Preschool age is sensitive for the development of the imagination, and therefore an adult should not rush to give the child answers to the questions posed. We mean everyday life children. The teacher needs to make the natural process of life and activity of children creative, to put children in situations of cognitive, artistic, moral creativity. Special work in the classroom, in games, etc., aimed at developing creativity, should organically enter the life of the child.

Another most important condition for the manifestation of creativity in artistic activity is the organization of an interesting, meaningful life for a child in a preschool institution and family; enriching it with vivid impressions, providing emotional and intellectual experience, which serves as the basis for the emergence of ideas and will be the material necessary for the work of the imagination.

IN last years in a number of preschool institutions, classes in fine arts are conducted by specialists. In this regard, it is especially important that such a specialist knows the children of the group and each child individually well. He needs to maintain constant contact with the teacher, to know overall plan work of the teacher or participate in its compilation, analysis of the results of the work. In agreement with the educator, the specialist includes in the general content of work with children everything that is necessary for subsequent visual activity (everyday observation of the phenomena that will be depicted, etc.) It is very useful to attend children's classes in other activities, maintain relationships with parents, advising them to watch something on Sundays or during the hours of communication with children, go to the museum with the children, etc.

The more adults work with children, the more interaction there should be between them. Only in the case when teachers are united by a common vision of the problem, it is possible to educate the personality and the full-fledged mental development of a preschooler. Consequently, 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 children's creativity.

The development of artistic and creative activity is unthinkable without communication with art. With the right influence of adults, the child understands the meaning, essence of art, visual and expressive means and their subordinate meaning. And on this basis, he understands his own activities better.

Since creativity is always an expression of individuality, taking into account individual features child at purposeful formation creativity is needed. 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 the day when creative work is to be done.

An indispensable condition for creative activity organized by adults should be an atmosphere of creativity. The child should feel free, relaxed, comfortable. This is possible if an atmosphere of trusting communication, cooperation, empathy, faith in the strength of the child, support in case of failures, rejoicing at achievements reigns in the classroom or in independent artistic activity.

The most important condition for the development of creativity is the complex and systematic use of methods and techniques. Motivation of the task, and not just motivation, but the proposal of effective methods and leading children, if not to independently setting, then to accepting the task set by an adult, is an essential condition for the child's creative activity.

Another condition is a careful attitude to the process and result of children's activities.

Another condition for the development of children's creativity is learning as a process of transfer and active appropriation by the child of visual activity as a whole, organized by adults. Children's education system fine arts provides for the acquisition and development of skills of creative activity. This system includes a program of requirements for visual skills and a methodology based on the education of observation in preschoolers, the ability to see a variety of colors, shapes, and movement in the surrounding life. N. P. Sakulina considered activity, independence and initiative as essential components of creativity, she noted that internal activity, that is, the activity of sensory and mental actions, is important for creativity. Education of children should be focused on the development of creative abilities. Such a statement of the question was initially due to the specifics of the activity, its artistic and creative nature. Mastering the relevant knowledge, skills and abilities in teaching artistic activity should be a means, not the ultimate goal. Knowledge, skills should be mastered in connection with the creation of an image, with the need to express oneself, one's attitude or character of the depicted character. For this knowledge, skills must be flexible, variable, skills - generalized, that is, applicable in different conditions. In the context of developmental learning, it is important to formulate creative tasks that do not have an unambiguous solution.

Stages of complication of creative tasks:

Tasks that require children to have a common orientation in creative activity. Tasks that involve purposeful actions to find the right solution, to realize that the acquired skills can be combined, modified (the atmosphere of co-creation with an adult). They differ in ways. Tasks designed for independence creative action on thinking over the idea, planning their actions, selecting expressive means.

It is very important that presented to adults creative tasks were taken by the child. Motivation of the task, and not just motivation, but the proposal of effective motives and leading children, if not to independently setting, then to accepting the task set by adults - important condition creative activity of the child.

An essential condition is material support visual activity of a preschooler. Of course, the variety of basic and additional materials, free access to them stimulate the creative activity of children.

("10") All these conditions must be created in preschool institutions and, if possible, in the family.

Thus, children's creativity is unique. It differs from the creativity of an adult, although it has a number of similar features. In case of manifestations of creativity in children, it is necessary to develop it, treat the results of creativity with care, and create special conditions for its stimulation. Need to diagnose Creative skills children in order to determine the line of further movement, the level of development. Only if the above conditions are observed, we can achieve a manifestation of creative activity from children, without ruining it in the bud.

1.4 Methodological approaches to the development of children's decorative art

Currently, much attention is paid to aesthetics in construction, engineering and other areas of production. Therefore, future specialists should have an artistic taste and a sense of rhythm. The solution of this important task is facilitated by classes in kindergarten on the creation of various decorative products based on folk applied art.

The methodology of working with children should be carried out simultaneously in two directions:

General educational work based on the materials of folk decorative art. Special education children of relevant activities in the classroom.

Both directions (bloc) are closely interconnected. This relationship is due to the unity of the goal and objectives of familiarization with folk art. Within each direction, between individual classes, between all types and forms of general educational work, there is also a close connection. Each subsequent of them is based on the previous one and contributes to the increasing development of children's ideas, feelings, and their own artistic skills. The knowledge and skills of children are gradually becoming more complete, accurate, diverse. The system-forming beginning of work with children (the first direction) is the formation of emotional and intellectual experience among preschoolers, which contributes to the emergence in children of effective motives for their own visual activity and its meaningful development. An ideal option when you can organize an excursion to the relevant production (to the art workshop, workshop, etc.). In the absence of such nearby, you can organize an exhibition of products of folk craftsmen in a preschool institution. It is good if a spacious bright room is provided for this, where you can beautifully and conveniently place the exposition. The selection of items, products is not limited. Such an exhibition can be designed for her children to visit other preschool institutions. The meaning of such an excursion is to activate children's feelings (admiration for beauty, etc.). And against this background, the message to children of knowledge about the range of products and their functional purpose; features, originality of patterns (elements, color, compositions); technological manufacturing process.

An addition to such work with children can be watching films, filmstrips, art albums, postcards on relevant topics. Reading literature or a story that reveals in an accessible and interesting way a small amount of information about the history of art craft, its features will be useful to the oldest children.

After the accumulation of relevant knowledge, it is useful to conduct a generalizing conversation with the children. Then you can move on to practice. The program content of the classes also implies the gradual formation of all components of decorative and artistic activity: motives, goal-setting, a set of actions, from perception, intent to visual and control and evaluation actions. At the same time, the complexity of the program content goes along the line of determining the degree of independence of children and creativity. This is determined by the level of knowledge and skills of children in the perception and conception of the image, the use of visual methods of its embodiment. The system uses a combination different types classes, and the learning process, respectively, provides for the initial acquaintance of children with the methods of representation, a variable exercise in their application, and, finally, the creative solution of the visual task by children.

The system of tasks also corresponds to the system of methods and teaching methods. The relationship with general educational work does not exclude, but implies the inclusion in it, immediately before classes (a day or two) of purposeful preliminary work with children. Its essence is the formation in children of "live" ideas, visual images.

Thus, the system of classes is based on the sequence of formation of generalized, flexible, variable knowledge and skills.

One of the problems of the methodology for the development of children's decorative art is the selection of elements and pattern compositions accessible to children in the style of a particular folk painting. In most early childhood education programs for middle group elements that children can master are clearly defined. These are dots, strokes, rings. in essence, these are elements of the Dymkovo painting. IN senior group- Gorodets painting, in the preparatory - Gorodets, Khokhloma, Zhostovo, etc. However, none of the programs gives an exact set of elements. The task of the teacher is to determine them independently. If we take into account that the nature of the chosen painting is determined taking into account local conditions, then the range of choice is quite wide and it is difficult, and even useless, to regulate it.

In addition to the elements, the teacher should select the most typical and accessible patterns for children. Typical compositions are associated with the arrangement of pattern elements on paper of various sizes. Color is one of the expressive means in decorative painting. Its development is subject to the laws of coloring of a certain art, since they are definite and typical for well-known traditional types of folk painting.

Folk arts and crafts should enter into everyday life kindergarten, delighting children, expanding their concepts, cultivating artistic taste.

Folk toys with their rich themes influence the child's idea during modeling, enrich the idea of the world around them. In addition, the possibilities of children in plot modeling are expanding.

Under the influence of folk art objects, children perceive illustrations for Russians deeper and with great interest. folk tales such artists as I. Bilibin and Yu. Vasnetsov, whose work is based on national traditions.

In the process of developing decorative creativity, one should not forget about modeling. The main visual means of modeling is plasticity, the transfer of form and movement. The form is sometimes perceived as a frozen movement. It is necessary that children see and feel this plasticity, otherwise they will not be able to appreciate a good sculpture later. When depicting living beings, it is necessary to teach children, even of younger preschool age, to convey movement. After sculpting, it will be easier for them to depict movement when drawing. Both clay and plasticine make it possible to bend the molded figure, achieving an image of more accurate and expressive movement, so the child learns to convey movement in modeling more productively than in other types of fine arts - drawing, appliqué.

And only in constructing from natural material - twigs, knots - an amazingly plastic movement can suddenly open up to the eye of a child, if he has developed an associative fantasy by this time. Such discoveries unusually quickly develop creative abilities in children.

Color, like shape and movement, is a means of expression in modeling. If you have a choice - to sculpt from plain plasticine or from color, the child will always prefer color.

("11") B junior group children decorate their products with in-depth relief (they apply a pattern with a stick), then the task becomes more complicated and the children are offered high relief(small moldings on the figurine). Already this initial activity brings the kids to the understanding that the work done can be decorated, it will become more interesting and beautiful. With age, children's acquaintance with folk art expands, and therefore the tasks of decorating objects become more complex. Children begin to sculpt and decorate dishes, dolls, and animals like folk toys with ornaments. Gradually, they learn to select and combine decorative elements, make a pattern out of them, place it first on a flat, and then on a three-dimensional object. All this, in turn, develops in children the need to create beautiful products, develops their artistic taste.

Being engaged in decorative modeling, children begin to understand the combination of decorative elements in the pattern and their location on the surface of objects.

A child of 3-4 years old quickly learns the rhythmic application of colored spots on paper. It is not difficult for him to rhythmically decorate figurines fashioned from clay with a stack: to outline the location of feathers on the wings of a cockerel. As a result, the toy acquires a more spectacular and attractive appearance.

The desire of children to create a beautiful object and decorate it largely depends on the interest of the educator in the work of children. The teacher should carefully consider the work of the child, show it to other children, and then invite the child to tell how he managed to make the toy so beautifully. Consequently, all the actions of the educator should be aimed at teaching the child how to depict objects and leading him to the desire to make his work as interesting and beautiful as possible, to make it clear to him that such work is expected of him.

Systematic studies in decorative modeling and enrichment of children's impressions with objects of folk art lead to the fact that the ideas of children become more independent, and the objects fashioned by them, decorated with relief and painting, acquire expressiveness, i.e. children have the ability to find various options for creating figurative figures.

The child has a creative mood, under the influence of which he can realize his plans. Children 5-6 years old sculpt based on folk toys, and they need to be able to see the model from which they sculpt. Therefore, in the process of independent activity of children, it is necessary to have appropriate toys. With advice, questions, the educator directs the work of the child. Thus, the teacher creates an environment in which one or another child can express himself: come up with the position of the figure, introduce additional objects into the image in the form of moldings or any other design elements. The educator directs the children with leading questions to the fact that the dishes in the service should be of the same size, the decorations should be in the same style. With the skillful guidance of the teacher, children will certainly cope with such work. As already noted, the folk toy opens up great opportunities for teaching composition to children. The ability to create a composition of 2-3 figures is very difficult and is available only to children of older groups. The child needs to be taught to understand the relationship between objects and place them on a stand. Creating a composition of several figures, he mentally discusses its content, about those means that should help expressively arrange objects in relation to each other. T. G. Kazakova believes that the educator should teach to examine and examine objects of decorative and applied art. For this, things are selected, upon acquaintance with which children see a pattern in volume and on a plane. When teaching children certain image techniques, the teacher pays attention to the transfer of the characteristic features of the image. In creative tasks, children are placed in unusual conditions, they are invited to find various options for color solutions, compositional construction. The teacher teaches children to compositionally arrange objects, figures in accordance with the plan, highlighting the main thing. Children learn color, composition, ornamental elements that are characteristic of a particular object when viewed.

Marina Tuguskina
"Features of children's creativity at primary school age"

Childhood a short period of life when a person is not yet dominated by rational requirements for compliance with a certain status in society and he is not yet subject to critical self-analysis of a teenager. The child was not touched by the harsh right hand of life, therefore creation it is light and carefree, it is indifferent to the norm and least of all presupposes the gaze of another. 1

According to psychologists, the origins creative manifestations are laid precisely in the early childhood. By nature children's creativity is synthetic, often has an improvisational character and makes it possible to fully judge individual manifestations and identify them in a timely manner.

Creation activates the child's imagination, encourages the realization of his plan. 2

The main genetic source of development children's artistic creativity is a game enriching the experience of the child with new impressions and allowing him to realize his ideas, interests, needs, and his imagination.

The game causes qualitative changes in the psyche child: it lays the foundations creativity, and learning activities. 3

It is important to highlight the factors influencing creativity:

Most researchers agree that to start creative process needs a problem, that is, a goal or the absence of a known way to achieve it. Thus, the desire for something and the lack of opportunities to achieve this encourages you to independently look for a way to solve the problem. A person who is completely satisfied with everything has no desire to invent.

However, the absence of something is not a sufficient condition. creativity. How many people dream about something, create castles in the air that remain in their heads. For creativity it is necessary to realize the dream, which requires perseverance, diligence and skill.

Anything creativity is based on experience. It seems incredible, but all the variety created, nevertheless, is built on forms taken from the real world and further modified. Even the image of God in different religions is described in the likeness of a person or an animal, or on the basis of a combination of parts of one and the other. The experience of a child is possible through the knowledge of the world, which occurs from the earliest age.

While still lying in the lullaby, the child already compares the visible movement of his hand with the tactile sensations from touching it with some object. Then he connects these objects with the sounds that adults are pronouncing at this time, then he begins to highlight the general parameters of various objects, combining individual ones. All these are stages of knowledge, development cultural heritage understanding of what society has accumulated. 1

The child hears human speech for the first time and manages to find meaningful content in it. He perceives music for the first time and finds an explanation for it. He sees the picture and connects the stylized apple in it with an apple of a different color and shape that he had at breakfast. At some point, he will take a brush, draw an uneven circle and call it a word "apple", although not a single adult will be able to recognize in this object of the real world the form familiar to him.

Similar creation is the leading tool of cognition only until the child has mastered human speech so that it can be used to start purposeful learning. From that moment spontaneous manifestation creativity is on the wane.

The desire to know the world is an unconscious quality for a child. Just as the grass tends to occupy everything around, the activity of the child is directed to all spheres of human life. Baby don't able to explain why he wants to know everything, it happens unconsciously.

The child, like a sponge, absorbs the impressions of life, accumulates material and actively processes it. Hence, creation- the destiny of any child, it is a normal and constant companion child development . For children, any creation associated with research. When a child draws an apple, he explores form and color, he experiments with volume and space. difference children's creativity from an adult lies in the limited experience of children. From this point of view, they creativity should be poorer. However, unlike adults, who have more elements for combinations, but consciously cut off those that, according to experience, are impossible, children easily combine incompatible things without criticizing the result.

Ya. A. Ponomarev described two types of experience. Intuitive, which cannot be arbitrarily actualized by the person himself, but is formed against his will and is outside the zone of his attention, is opposed to logical experience, which is conscious. It is intuitive experience that forms the basis of that process, invisible to man and observer, which generates the new.

Creation person depends on the condition. It is often necessary to forget for a while, to be distracted from constant reflection on a certain topic. This is possible during rest, sleep, dreams, observations of nature.

Quite often promotes creativity emotional experience, such as love. It not only awakens the imagination, but also gives strength to bring it to life, which sometimes requires no less effort than inventing an image. That is why, during falling in love, poets create not just separate poems, but cycles and poems. Emotion provides a different associative array to familiar images, gathering them in a single center around a loved being, which allows you to connect things that other people cannot be combined.

There is mutual reinforcement between emotional experience and creative imagination: a feeling generates an associative connection, but also created by the imagination enhances feelings. Art affects a person, causing certain emotions. The more the poet imagines his beloved without seeing her (for example, A. Blok - the Stranger, the more interesting the feelings for her; the more vividly the child draws a monster in his imagination, the more he is afraid, forgetting that he himself gave birth to him. Analogous way art affects people. To experience the magic of the theater, you need to surrender to your feelings and believe in the veracity of what is happening on stage. Becoming an accomplice in the action, you can, together with the troupe create a performance. But without getting involved in this process, one can only see with irritation the actors dressed in sham costumes moving around the stage.

And finally creative the process depends on the culture in which the person is immersed. Any creative man is always the product of his time and his environment. His creation always proceeds from those needs that were created before him, and partly relies on those possibilities that, again, exist outside him.

Creation represents a historically successive process, where any subsequent form is determined by the previous ones and, in turn, is a point of divergence for subsequent forms.

IN Lately the view that culture influences creation, including through features of education. The ideology of Western society is aimed at the formation of individualistic aspirations in a person, while the Eastern one is collectivist. The latter requires from a person obedience, submission, and therefore to a lesser extent promotes defending one's own point of view, without which it is impossible to promote new ideas. Many studies have revealed the relationship of conformity with culture. Moreover, a negative effect of comfort on the manifestation of creativity has been shown.

Another important factor is personal peculiarities which, on the one hand, allow you to create something new, on the other hand, give strength to overcome those many obstacles that always stand in the way of the new. There are people who easily come up with new variants of forms and new explanations for phenomena, but there are also those for whom variability is akin to something unpleasant and disturbing. However, this difference can also be explained feature of the environment in which it develops child: she can actively encourage creative capabilities, sometimes even weakly expressed, but can also interfere less actively, suppressing a clearly distinguishable talent. Separate the role of culture and personality in creative process is not possible.

difference children's creativity from an adult also lies in the insecurity of the latter. An adult, creating something, always looks at it not only with his own eyes, but also tries to evaluate the result through the eyes of others. 1

The child discovers and uncovers many possibilities by creating different kinds of the same solution. Due to immediacy and lack of life experience, he is not yet able to recognize and separate the successful version of his creativity from unsuccessful - from the point of view of the culture in which it grows and develops. An adult judges creativity from the standpoint of life experience, tastes and stereotypes that have developed in society.

The child looks at his creation exclusively with their own eyes, loving what is created. He is absolutely sure that, looking at his drawing, everyone sees what he sees himself. But adults do not have the imagination of a child. He sees only scribbles on the sheet, and not the supposed images depicted by the child.

So, children's creativity is distinguished by openness to the world, optimism, focused not on what is needed, but on what is possible. difference children's creativity from creativity of an adult person lies in the fact that a child, by virtue of his spontaneity, trusts the products of his activity more, in contrast to an adult who is placed within the framework of established stereotypes.

IN modern psychology creativity in preschool childhood is considered as a mechanism for adapting a child to the world, as a universal natural function inherent in every healthy child (N.S. Leites, E.I. Nikolaeva, etc.).

Distinctive feature children's creativity - his general character, because everything cognitive development baby goes exclusively in a creative way, its absence in childhood is a pathology.

It is typical for a child variable thinking, which manifests itself in the fact that it discovers and reveals a lot of possibilities, creates many types of the same solution, but is equally attached to each and is not yet able to separate the successful option from the unsuccessful from the point of view of the culture in which it develops. Adult creativity, on the other hand, presupposes selection and screening from the standpoint of the taste accepted in society, its culture.

Such creativity, according to psychologists, is the leading tool of cognition until the child masters human speech enough to start learning with its help, which is no longer creative, but with the help of cognitive learning methods taken under the control of adults.

So, for example, the researcher of the problem of children's creativity E. I. Nikolaeva compares it with oral folk art, in

difference from written literature as a result of adult creativity. At the same time, only those who have studied writing, who have a special sense of language and extensive experience in observing what is happening in the world and between people, can create written literature. Folk poetry flows from the heart, it does not know the rules, but obeys certain laws inherent in the rhythm of the life of the people. It constantly changes in accordance with the mood and tasks of the new narrator.

To explain the phenomenon of children's creativity, psychologists proposed the idea of the existence of "naive" (primary) and "cultural" creativity (V. S. Yurkevich and others).

The bright creative possibilities of the child are a kind of primary creativity. He draws blue grass and pink skies simply because he doesn't know that the grass is always green and the sky is blue.

The whole world is new to him, and therefore he does not yet know "how it happens." This is an age-related gift for creativity, that is, a gift that is characteristic of all preschool children, which disappears along with the acquisition of knowledge about the world around them.

In this regard, it should be noted that it is in this situation that a small child finds himself at every minute of his life. A similar situation arises in the child in the development of speech, when, not knowing many words, he replaces them with his own, which is called "word-creation".

“Naive creativity” should be replaced by "cultural creativity" the essence of which is not in the absence of experience, but in its acquisition, in a conscious desire to get away from the patterns, stereotypes of everyday consciousness. This is already creativity, which has become a quality of personality, which often does not happen, and in most cases the child turns into a “reasonable, conservative and prudent adult conformist” (E.I. Nikolaeva).

A similar approach to this problem can be seen in D. A. Leontiev, who singles out creativity as universal natural function, inherent in all normally developing children, and creativity as higher psychic fuschia, into which children's creativity develops in the process of growing up. The essence of natural creativity, according to the scientist, lies in the play of possibilities, in the creation of a subjectively new without any evaluation; the essence of adult creativity is a dialogue with culture and the introduction of something objectively new into it.

At the same time, the transformation of naive creativity, as an age quality, into cultural creativity, as a personality trait, is associated by researchers primarily with environment, surrounding

child, And high level social intelligence, in particular, the volitional qualities of the individual, the ability to achieve the goal, win the fight, etc.

At the same time, the researchers argue that the environmental factor more important factor heredity and can sometimes completely compensate or level the actions of the latter (Yu. B. Gippenreiter and others).

Page 3

Kudryavtsev V., and Sinelnikov V., highlight another universal characteristic of creativity - children's experimentation. Experimentation - as a special way of spiritual and practical development of reality, aimed at creating such conditions in which objects most clearly reveal their essence, hidden in ordinary situations. Experimentation is the leading functional mechanism of a child's creativity. A distinction is usually made between a real and a thought experiment. In preschool children, both of these forms of experimentation are merged with each other. Only somewhere towards the end of preschool childhood does the mental experiment become an independent kind of activity. Through experimentation, the child transfers and includes the properties of familiar objects in the context of new situations, and also reveals the possible transformations of these properties in this context.

In the process of deploying his experimental activity, a preschooler is able to focus not only on the outwardly empirical properties of objects, but also on their figuratively presented internal, key characteristics.

Sometimes it is difficult for him to create "experimental" conditions in which the nature of a thing would manifest itself most fully and vividly. In such cases, the decision of this task takes on an adult. The child can actively intervene input changing conditions. As a result, the features of "experimental behavior" objects receive their sensory generalization in the images of children's imagination.

Komarova T.S., says that the specificity of children's creativity is to create an objectively new child for a number of reasons (lack of certain experience, limited necessary knowledge and skills.) Cannot. And, nevertheless, children's artistic creativity has an objective and subjective meaning in the process of perception of the depicted objects and in their embodiment in images. At the same time, in the process of mastering activity, subject-subjective relations are realized. This happens with the development of its motives, especially social, socially directed with the enrichment of themes and ideas, social in content, public assessment and public use of the final result. Thus, the child as a subject of activity is included in the system of social relations through the content of the activity. In addition, subject-subjective relations arise between the child and adults, children among themselves regarding activities (when performing collective work; during the participation of all children in their analysis and evaluation, etc.). In other words, the process of mastering activity by a child is the process of development of the child as a subject of activity in the system of social relations. At the same time, all spheres of the child's personality develop.

Thus, on the part of educators, we understand creativity as an activity that results in the creation of a new, original product of social significance.

A special place is occupied by the fine art of a child, which is somewhat different from the fine art of an adult.

This type of children's creativity is the most effective means for developing the creative abilities of a child. In the process of visual activity, the child experiences a variety of feelings: he rejoices at a beautiful image created by himself; frustrated if something didn't work out. But the most important thing: by creating an image, the child acquires various knowledge; his ideas about the environment are clarified and deepened; in the process of work, he begins to comprehend the qualities of objects, memorize them characteristics and details, to master fine skills and abilities, learns to use them consciously. Moreover, the creativity of a preschooler in the classroom for fine arts is inextricably linked with the work of the imagination, cognitive and practical activities. Assimilation by children in the learning process various options images, techniques will contribute to their creative development.

Particular attention should be paid to the mental properties and personality traits that are necessary for the successful mastery of various types artistic activity and development of creativity. We single out general mental processes necessary for the successful implementation of any type of activity (musical, visual, musical-motor, gaming, etc.), and special ones that are important for a particular area (only for music or only visual). Common processes are: imagination, perception, figurative representation and thinking, interest in activity and an emotionally positive attitude towards it, memory and attention. Emotions play an important role, which contribute to the manifestation of interest in fine art. The child experiences different feelings, expresses attitude towards them. The attitude is both emotionally positive and negative character associated with feelings of joy, sadness, admiration, indignation, love, hatred and others.

New about pedagogy:

Features of individualization in teaching mathematics
Currently, there is a reduction in the time allotted curricula to the study of traditional courses (including mathematics), which is inadequate to changes in program requirements for the level of assimilation academic disciplines. The current...

Evaluation of the effectiveness of innovative development of education
The concept of innovative development of education Novosibirsk region offers modern approaches to the assessment of the quality and effectiveness of education. In accordance with such approaches, the assessment system relies more on qualitative ...

Characteristics of children's creativity

Children's creativity is a child's conscious reflection of the surrounding reality in an object, which is built on the work of imagination, on displaying his observations, as well as impressions received by him through the word, picture and other forms of art. Vetlugina expressed that the prerequisites for productive creativity is the formation of an artistic and figurative beginning. The image created by children as a result of creative activity cannot be identified with the artistic image of an adult, that is, the image of a child has more or less expressiveness, depends on the degree of general development of abilities and acquired skills. L. Poddyakov under the creativity of the child meant the result of the whole way of life of a preschooler, the result of his communication and joint activities with an adult, the result of his own activity. The child gradually forms his most complex contradictory inner world, which gives all the child's activities a creative character, or vice versa, determines his development according to ready-made schemes studied. The creative process is a special form of qualitative transition from the known to the new, the unknown. The creativity of a child is the most important quality of his personality, it is a universal ability that underlies the formation of all other abilities. This is a special worldview of the child, his special attitude to the world around him, both in terms of his perception and in terms of his transformation.

A necessary condition for the artist's creative activity is the presence of abilities, such a level of development of all mental processes that allows one to perceive and deeply realize the surrounding life. The richer the experience of the artist, the more multifaceted his work and the more perfect the created images.

The condition necessary for creativity is the mastery of skills in this type of art, since otherwise the artist will not be able to translate the intended images into real forms.

Hard work is also necessary for the implementation of creative ideas. Without it, the most beautiful plan may not be realized. All human forces must be mobilized and directed towards the achievement of the goal.

The creative process of each artist is unique. This is an uneven, sometimes long way to create an image. Vetlugina's book describes the following stages of the creative process.

The initial stage of creativity is the emergence of an idea, a plan. At first, it may be unclear, non-specific, it takes time for it to be clarified, the idea takes shape in a specific content. This incubation of the idea is the second stage of creative activity.

Thus, artistic creativity is a complex process of cognition and figurative reflection of the surrounding reality.

Let us consider the features of the process of visual activity of a preschooler in connection with the conditions that are necessary for artistic creativity.

By the older preschool age, the child develops more and more the level of analytical-synthetic thinking, which is important for the image process.

Thus, the first stage of the creative process - the emergence of an idea - is also present in the child's activity. But if the artist, after the appearance of the idea, usually has a long period of gestation, thinking over the content and means of implementation, then for a small child this period is most often absent. The smaller the child, the faster he starts to fulfill his plan. He cannot yet foresee the result of the work and the course of its implementation. Preliminary thinking, planning of work is combined with the execution process. Therefore, in the work of children, there are frequent cases of changing the content of the work in the process of depicting, including details that are not related to the image in the drawing.

The older preschooler is capable of some elements of pre-thinking and content, and means of implementation. He can already independently decide what he will draw or sculpt of his choice or on a given topic, what is the main thing in the topic, where to start, how to arrange the depicted object.

In the process of work, the child implements this plan, supplementing it in accordance with the content.

We see that all three stages of the creative process are present in the activity of the child, but the ratio of these stages is different from that of an adult artist.

Further studies of children's creativity have further refined this definition. N.P. Sakulina considers the visual activity of the child as the ability to depict, i.e. the ability to correctly draw an object, and the ability to create an image showing the attitude of the painter towards it. This ability of expression is an indicator of children's creativity.

Recent studies are aimed at identifying specific indicators of the figurative beginning in the activities of a preschooler.

Researchers of children's fine arts - E.A. Flerina, N.P. Sakulina, T.S. Komarova, T.G. Kazakova, N.B. Khalezova and others note that many of the expressive means used by the artist in painting and sculpture are accessible to a certain extent to a preschool child.

A child, especially at a younger age, has an element of chance in the depiction of details. Not every detail depicted by him enhances expressiveness. And sometimes expressive details also appear by chance, without a conscious intention.

The most accessible expressive means for a preschooler is the use of color.

Color in the visual arts (painting, graphics) is an important means of expressing the artistic intent, the idea of the work. Its use is closely related to the content of the work. It has no independent meaning. Color contrasts are used to highlight the main thing in the picture; color conveys the mood: dark, muted tones - in paintings with a sad content, bright, saturated - in joyful ones.

Having become acquainted with many colors, children of 4-5 years old often use them as an expressive tool that helps to make the image more beautiful, more elegant, i.e. use it for decoration. Here, too, there is a violation of the real color, since at first the child is attracted to bright contrasting combinations of colors. This decorativeness can sometimes contradict the characterization of the image.

Gradually, children of older preschool age move away from decorative coloring, mastering different shades. With the development of perceptions and aesthetic feelings, they begin to use color to convey the mood of the image. Although they still use color in an emotional way: what they like is painted in bright colors, unloved, scary images - in dark ones. This provision on the use of color as an expression of the child's emotional attitude to the depicted, put forward by E.A. Flerina, is confirmed by recent studies by L.V. Kampantseva, V.A. Ezikeyeva, V.S. Mukhina and others.

The transfer of the dynamic state of the depicted object is also one of the expressive means used by the child.

If at a younger age the movement is not depicted, then the image of objects in motion is available to older children, which can make the image expressive.

Thus, the means of expression used by children are quite diverse: color, shape, composition. They help to convey the characteristic features of the image, the attitude towards it. The degree of expressiveness depends primarily on the development of the child's figurative vision, the stock of impressions and the level of development of visual abilities.

Children almost always put their attitude into the work, conveying it through pictorial or other means. This allows you to call the child's drawing original, expressive.

In some cases, a child's drawing may be in the nature of a sign. This happens when the child uses a simplified image, mostly borrowed from somewhere.

In general, the creative process of an adult and a child has the same stages, differing only in the duration of the course. The difference in time intervals lies mainly in the child’s lack of life experience, as well as a number of psychological properties of the baby - the inability to think about an idea, consciously use compositional means, be critical of one’s creativity, and inability to use art materials correctly. Despite this, children's works are very emotional and dynamic.

Until now, the problem of the development of creativity remains the least studied in theory and insufficiently provided in the practice of raising children.

The following indicators of the presence of creativity in the artistic activity of children can be taken as a basis:

relationships, interests, abilities of children, manifested in artistic creativity;

ways of creative actions;

the quality of children's products.

The first group includes:

sincerity, truthfulness, immediacy of experiences;

developed creative imagination, on the basis of which past experience is transformed; the ability to enter into the depicted circumstances, into conditional situations;

enthusiasm, preoccupation with activities;

ear for music);

modification of special artistic abilities (figurative vision, poetic and motives of activities that give children pleasure with their results;

the emergence of needs, interests in creativity.

The second group reveals the quality of the ways of creative actions. It includes:

additions, changes, variations, transformation of already familiar material, creation of a new combination of learned, old elements; application of the known in new situations;

independent search for the best solution to the task;

finding new methods of solution (when the old ones are no longer enough), independence and initiative in their application, finding their own original methods for solving creative tasks;

speed of reactions, resourcefulness in actions.

The third group - indicators of the quality of children's art products:

finding adequate (corresponding) figurative and expressive means to embody the image;

individual "handwriting" of children's products, the originality of the manner of performance and the nature of the expression of one's attitude;

compliance of children's products with elementary artistic requirements.

The latter indicator can be specified by highlighting such qualities of a children's drawing (crafts) as expressiveness, literacy and originality of the image in unity and taking into account the specifics of the interaction of these qualities.

The development of creativity as a personality trait of a preschooler should become one of the main tasks in the system of raising a child.

One of the main conditions for the development of a creative personality of a preschooler is a broad approach to problem solving (creativity: lifestyle). Of course, that the game and artistic activity are great opportunities for this. Preschool age is sensitive for the development of the imagination, and therefore an adult should not rush to give the child answers to the questions posed. We mean the daily life of children. The teacher needs to make the natural process of life and activity of children creative, to put children in situations of cognitive, artistic, moral creativity. Special work in the classroom, in games, etc., aimed at developing creativity, should organically enter the life of the child.

In recent years, in a number of preschool institutions, classes in fine arts have been conducted by specialists. In this regard, it is especially important that such a specialist knows the children of the group and each child individually well. He needs to maintain constant contact with the teacher, know the general work plan of the teacher or participate in its preparation, analysis of the results of work. In agreement with the educator, the specialist includes in the general content of work with children everything that is necessary for subsequent visual activity (everyday observation of the phenomena that will be depicted, etc.) It is very useful to attend children's classes in other activities, maintain relationships with parents, advising them to watch something on Sundays or during the hours of communication with children, go to the museum with the children, etc.

Since creativity is always an expression of individuality, it is necessary to take into account the individual characteristics of the child in the purposeful formation of creative abilities. 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 the day when creative work is to be done.

Another condition is a careful attitude to the process and result of children's activities.

Another condition for the development of children's creativity is learning as a process of transfer and active appropriation by the child of visual activity as a whole, organized by adults. The system of teaching children the fine arts provides for the acquisition and development of creative activity skills. This system includes a program of requirements for visual skills and a methodology based on the education of observation in preschoolers, the ability to see a variety of colors, shapes, and movement in the surrounding life. N.P. Sakulina considered activity, independence and initiative as essential components of creativity, she noted that internal activity is important for creativity, that is, the activity of sensory and mental actions. Education of children should be focused on the development of creative abilities. Such a statement of the question was initially due to the specifics of the activity, its artistic and creative nature. Mastering the relevant knowledge, skills and abilities in teaching artistic activity should be a means, not the ultimate goal. Knowledge, skills should be mastered in connection with the creation of an image, with the need to express oneself, one's attitude or character of the depicted character. For this knowledge, skills must be flexible, variable, skills - generalized, that is, applicable in different conditions. In the context of developmental learning, it is important to formulate creative tasks that do not have an unambiguous solution.

Stages of complication of creative tasks:

1. Tasks that require children to have a common orientation in creative activity.

2. Tasks that involve purposeful actions to find the right solution, to realize that the acquired skills can be combined, modified (the atmosphere of co-creation with an adult). They differ in ways.

3. Tasks designed for the independence of creative action in thinking about the idea, planning their actions, choosing expressive means.

It is very important that the creative tasks presented to adults are accepted by the child. Motivation of the task, and not just motivation, but the proposal of effective motives and leading children, if not to independently setting, then to accepting the task set by an adult, is an important condition for the child's creative activity.

An essential condition is the material support of the visual activity of a preschooler. Of course, the variety of basic and additional materials, free access to them stimulate the creative activity of children.

All these conditions must be created in preschool institutions and, if possible, in the family.

Thus, children's creativity is unique. It differs from the creativity of an adult, although it has a number of similar features. In case of manifestations of creativity in children, it is necessary to develop it, treat the results of creativity with care, and create special conditions for its stimulation. It is necessary to diagnose the creative abilities of children in order to determine the line of further movement, the level of development. Only if the above conditions are observed, we can achieve a manifestation of creative activity from children, without ruining it in the bud.

The creative potential of the child. Experience in constructing a theoretical-experimental model (II). Children's creativity, its features, structure Universal characteristics of children's creativity of Kudryavtsy

1.3 Characteristics of children's creativity

1.4 Methodological approaches to the development of children's decorative art

Characteristics of children's creativity

Collection of ideal social studies essays

Anti-Soviet rebellion in Hungary (1956)