Based on the text, social science knowledge, and your own social experience, give two arguments why a person needs to be introduced to art.
E. A. Maimin in his book for high school students “Art thinks in images” (Maimin E. A. Art thinks in images. M., 1977) writes: “The discoveries that we make with the help of art are not only living and impressive, but also good discoveries. Knowledge of reality that comes through art is knowledge warmed by human feeling and sympathy. This property of art makes it a social phenomenon of immeasurable moral significance.” Leo Tolstoy spoke about the “unifying principle” of art and attached paramount importance to this quality. Thanks to its figurative form, art in the best possible way introduces a person to humanity: makes him treat other people’s pain and joy with great attention and understanding.
But understanding works of art is far from easy. How to learn to understand art? How to improve this understanding in yourself? What qualities do you need to have for this?
Sincerity in relation to art is the first condition for understanding it, but the first condition is not everything. To understand art, you also need knowledge. Factual information on the history of art, on the history of the monument and biographical information about its creator helps the aesthetic perception of art, leaving it free. They do not force the reader, viewer or listener to a certain assessment or a certain attitude towards a work of art, but, as if “commenting” on it, they facilitate understanding.
Factual information is needed, first of all, so that the perception of a work of art takes place in a historical perspective and is permeated with historicism, since the aesthetic attitude towards a monument is always historical.
Always, in order to understand works of art, you need to know the conditions of creativity, the goals of creativity, the personality of the artist and the era. Art cannot be caught with bare hands. The viewer, listener, reader must be “armed” - armed with knowledge, information. That's why this great value have introductory articles, commentaries and generally works on art, literature, music.
Folk art teaches us to understand the conventions of art. Why is this so? Why, after all, is it folk art that serves as this source and the best teacher? Because folk art embodies the experience of thousands of years. Customs are created for a reason. They are also the result of centuries of selection for their expediency, and the art of the people is a result of selection for beauty. This does not mean that traditional forms are always the best and should always be followed. We must strive for something new, for artistic discoveries
(traditional forms were also discoveries in their time), but the new should be created taking into account the old, traditional, as a result, and not as a cancellation of the old and accumulated. Folk art not only teaches, but is also the basis of many modern works of art.
(D.S. Likhachev)
Often in Life we meet people who are far from art. They don't understand classical music, do not visit theaters and museums. Their life is one-sided and boring. However, such people can be helped. How does the process of becoming familiar with music work? The author of the text, S. Lvov, answers this question.
He believes that introduction to art happens everywhere: in the cinema, at a concert. The author convinces us that a person himself must make an effort to understand and comprehend art.
Lvov reveals the problem from his own experience. Attending a concert by Dmitri Shostakovich made him “immediately and forever cured of his immunity to music.” Since then, serious music has become a necessity, a necessity, a happiness for him.
The hero of the novel “Fathers and Sons” by Ivan Turgenev, Evgeny Bazarov, did not like music and did not understand art. It was denial reaching the point of absurdity. And only in front of
In death, he became more humane, romantic traits were revealed in him.
“Life is short, art is long lasting,” wrote Hippocrates. The main purpose of art is to allow a person to know himself. Every person should understand and love art and music. He will become a full-fledged person if he discovers the world of beauty for himself.
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TATYANA DOVGALEVA
Work experience “Introducing children to art”
1. Introduction
1.1. Relevance experience.
Fine art is one of the oldest trends art. Every child is born an artist. You just need to help him awaken his creative abilities, open his heart to kindness and beauty, help him realize his place and purpose in this beautiful world.
In recent years, dramatic changes have been taking place in the preschool education system; it is changing and improving. The idea of self-development of the individual, his readiness for independent activity, comes to the fore.
Acquaintance children with art should begin as early as possible, namely, from preschool childhood. It is no coincidence that aesthetic education is considered as the development of the ability to understand, perceive, feel the beauty in the surrounding world and art. Only through art, according to B. M. Nemensky, a person is able not only to understand, but also "survive experience previous generations". Painting, sculpture, graphics, architecture enrich and decorate our lives. To art achieved its goal, pleased us, excited us, expanded our knowledge, we must be able to see it. In my opinion, every person faces daily art, but not everyone can understand it, see everything alive and beautiful around them. Perceiving the works art, the child becomes inquisitive, observant, and emotionally responsive. Art creates the joy of communicating with friends, develops the ability to empathize.
Relevance experience is, What modern society has a need for creative personality. The Federal State Government is also targeting this problem. educational standard preschool education. Many abilities and feelings that nature endows us with, unfortunately, remain underdeveloped and undisclosed, and therefore unrealized in a future life. Having a developed imagination mature years determines success of any kind professional activities person. Therefore, understanding the works art, development creativity– one of the main tasks of preschool education.
Great potential for revealing children's creativity lies in visual arts preschoolers. Drawing and fine arts classes can give a child those necessary knowledge which he needs for full development, so that he feels the beauty and harmony of nature, so that he better understands himself and other people, so that he expresses original ideas and fantasies, so that he becomes a happy person.
All children love to draw when they are good at it. Drawing with pencils and brushes requires a high level of mastery of drawing techniques, developed skills and knowledge, techniques work. Very often, the lack of this knowledge and skills quickly turns a child away from drawing, because as a result of his efforts, the drawing turns out to be incorrect, it does not correspond to the child’s desire to get an image that is close to his plan or the real object that he was trying to depict.
Observations on the effectiveness of application various techniques drawing in class, discussion with colleagues in educational institution led me to the conclusion about the need to use such techniques that will create a situation of success for students, form a stable motivation for drawing, interest in art. Educational program preschool organizations do not provide for in-depth study of non-traditional drawing. After all, it is very important what results the child will achieve, how his imagination will develop, and how he will learn work with color. Usage unconventional techniques will satisfy him curiosity. During the time working with preschoolers, noticed that children often copy the model offered to them. Non-traditional techniques are an impetus for the development of imagination, creativity, the manifestation of independence, initiative, and expression of individuality. Applying and combining different ways images in one drawing, preschoolers learn to think and independently decide which technique to use to make this or that image expressive. Drawing using non-traditional image techniques does not tire preschoolers, they remain highly active, performance throughout the entire time allotted for completing the task. We can say that non-traditional techniques allow, moving away from the subject image, to express feelings and emotions in the drawing, give the child freedom and instill confidence in their abilities. Having mastery of different techniques and ways of depicting objects or the surrounding world, the child gets the opportunity to choose, and therefore has the opportunity introduction to art.
1. 2. Theoretical justification of the in-depth topic work.
According to teachers and psychologists (such as N. A. Vetlugina, L. S. Vygotsky, A. V. Zaporozhets, T. S. Komarova) children preschool age have significant potential for understanding and emotional responsiveness to works art.
For successful working with children in introducing art I used author's program artistic education, training and development children 2-7 years old"Colored palms" I. A. Lykova, who contributes to the development of aesthetic perception of artistic images and works art; item (phenomena) the surrounding world as aesthetic objects; creating conditions for free experimentation with art materials and tools; familiarization with the universal "tongue" art- by means of artistic and figurative expressiveness; nurturing artistic taste and sense of harmony.
I studied and used in practice work following works:
S. A. Lebedeva (teacher) from work experience“The use of non-traditional techniques in the formation of visual activity of preschool children” - which believed that visual art through visible colorful images help the child to learn truth, goodness, beauty. From generation to generation it glorifies these wonderful qualities of the human soul;
I. I. Dyachenko (candidate pedagogical sciences) "Magic Palms", « Magic colors» - art motivates children to your own artistic activity(visual and verbal, where his creative concept, speech and visual efforts are realized.
- Experience« Introducing children to art»
teacher Nelli Vladimirovna Shaidurova - which is based on the interrelation of informational, emotional, effective-mental and transformative components aimed at the emotional-sensual and motivational-need sphere of the individual children, the need to expand intellectual and artistic experience in the form of knowledge, ideas about art and their practical implementation in artistic and creative activities.
In the history of preschool pedagogy, the problem of children's creativity has always been one of the most pressing. Psychologists and teachers believe creative development is possible children in all types of activities, and especially in play. Great potential for the development of children's creativity lies in the visual activities of a preschooler. However, the problem of developing creativity remains the least studied in theory and is not sufficiently represented in educational practice. children. This is due to the complexity of this phenomenon and the hidden mechanisms of creativity. As for children's creativity, understanding it is important for an adult not only in the sense of conscious control creative development child, but also for awareness mature creativity, since in its origins lies and, perhaps, more clearly manifests what is characteristic, but more hidden in the activities of an adult. As a rule, all definitions of creativity note that this is an activity that results in the creation of a new, original product that has public importance. This could be new knowledge, an object, a method of activity, a work art. Formation problem expressive image in drawings using non-traditional means art technician determined by interest in studying the characteristics of children fine arts and the dependence of its development on children’s mastery of accessible artistic depiction techniques. In the studies of E. A. Flerina (1940, N. P. Sakulina, T. S. Komarova (I960, R. G. Kazakova, T. G. Kazakova (1970) issues of the development of children's visual creativity in drawing were considered in connection with children's assimilation of certain patterns of drawing and the visual and expressive features of drawing in different techniques: pencils in a wooden frame and without (charcoal, sanguine, etc., gouache and watercolor paints, etc. T. S. Komarova’s research is devoted to the special study of learning problems children drawing technique and reveal not only the dependence of the expressiveness of children's drawings on drawing technique, but also the teaching system children preschool age realistic drawing.
However, before recent years education children drawing was considered only as children mastering realistic drawing by means of manual technicians, the diversity of which was manifested only in the variety of properties of materials while maintaining generalized drawing movements. At the same time, the variety of graphic techniques, including printing techniques, has not been studied or investigated for their use in children's drawing as a means of increasing the expressiveness of images and objects depicted by children, which served as the basis for calling these techniques "non-traditional" for preschool education and select them as an object of pedagogical research on the formation of an expressive image in children's drawings.
Statement of the problem requires its consideration in several aspects: variety of artistic techniques in the visual arts art and their role in creating artistic image, formation of an expressive image in children's drawing using non-traditional artistic techniques. The problem of the formation of an artistic image has been under the close attention of philosophers, art critics, psychologists, teachers. Its philosophical roots go back to the teachings of G. Hegel, which then gave impetus to many domestic and foreign studies by such philosophers as Yu. B. Borev, V. V. Skaterschikov, A. K. Dremov, V. A. Razumny and others. who gave a definition of the artistic image and consider it as special form reflection of reality, as a dialectical unity of content and form, as a dialectical process expressing the relationship of an aesthetic object and the subject who perceives it on the basis of practical transformative artistic activity. Analysis of studies devoted to this topic allows us to conclude that children's creativity has its own specifics, since its products often do not have objective significance for society as a whole. However, the development of creativity in children during preschool childhood is of great importance for the formation of a holistic, creatively developed personality in the future.
1.3. Target: to form intellectual and artistic experience, ideas about art and their practical implementation in artistic and creative activities.
1.4. Tasks. To achieve this common goal, I have formulated the following: tasks:
Studying modern approaches To introducing children to art;
Creating conditions conducive to the development and preservation of creative potential.
Usage modern technologies for implementation children of their fantasies.
Development of an aesthetic sense of form, color, rhythm, composition, creative activity, desire to draw.
Teach to see and understand the beauty of a multi-colored world.
1.5. Expected result: increase in children interest in mastering art through the use of unconventional drawing techniques. Ability to look creatively the world around us, find different shades, gaining experience aesthetic perception. The ability to apply and combine different methods of depiction in one drawing, to think and independently decide which technique to use to make this or that image expressive.
1.6. Implementation stages work experience:
My work I started by surveying parents (conducted a survey on topics “Does your child like to draw?”, "Do you need a child? introduce to art» , « Art at home» conversations on this topic). The analysis showed that parents are interested introduce children With early age To art. I carried out a diagnosis aimed at examining children creative abilities. A group has been selected children at the request of parents and their own interests children. This is how the group began to grow and develop. "Dreamers" in the amount of 12 people.
I gradually learned individual characteristics every child; in close cooperation with parents, a developmental environment was created (I paid great attention to aesthetics, as well as convenience and comfort children., so the center has equipped necessary material to develop creative abilities in children(watercolor and gouache paints, colored and simple pencils, felt-tip pens, wax crayons, ballpoint and gel pens, brushes of different numbers, stencils, seals, pokes, impressions, etc.
In the gaming and educational centers there are a variety of games for the development of thinking, attention, fine motor skills, (puzzles, lacing, mosaics, small and large construction sets, etc.) Children play, draw, and create with pleasure; they are not afraid of diversity and the prospect of independent choice. Literature on the techniques used was selected; the arts and crafts corner was gradually supplemented with various non-traditional materials; didactic aids and developmental aids were also selected games:
1. "Trace the outline" (cotton swabs)
2. "Draw a vegetable" (potatoes, carrots)
3. "Draw a fruit" (potato)
4. "Draw a caterpillar" (introduction to color science, traffic jams)
5. "Self-Portrait" (toothbrush, cotton swabs)
6. "Fold in half" (subject monotype – partly stencil)
7. "Draw a flower" (finger)
8. "Draw according to the template" (triangle - herringbone, circle - sun, scissors - girl).
9. "Trace and Color" (cotton swabs).
Thinking through each lesson, I selected the material in which the image of the object could be particularly expressive, interesting, beautiful, and would give children aesthetic pleasure. During classes, I provide children with a choice of materials and tools to create their own works.
I placed consultations, folders and recommendations in the corner for parents.
I developed a working program additional education mug "Dreamers" for 3 years introducing children to art through non-traditional drawing based on artistic and aesthetic programs "Colored palms" I. A. Lykova, "Magic colors" I. I. Dyachenko. Classes were held once a week in the afternoon.
Russian language
17 of 24
(1) Introduction to art can take place in a spacious, specially built building, or within four walls, or under open air. (2) Is the next film being shown to the audience, are there classes in a drama club, an amateur choir or a sports club? fine arts- in all this the fire of creativity must and can live for a long time. (3) And the one who once puts his own efforts into one of these matters will be rewarded over time.
(4) Of course, art reveals itself more quickly and willingly to those who themselves give it strength, thought, time, and attention. (5) Sooner or later, everyone may feel that he is in an unequal position among his acquaintances and friends. (6) They, for example, are interested in music or painting, but for him they are books with seven seals. (7) The reaction to such a discovery is possible in different ways.
(8) When I became a student at the Institute of History, Philosophy and Literature, many things immediately connected me with my new comrades. (9) We seriously studied literature, history, and languages. (10) Many of us tried to write ourselves. (11) As if sensing how short our student life would be, we hurried to do as much as possible. (12) Not only did they listen to lectures in their courses, but also attended lectures given to senior students. (1Z) We made it to seminars for young prose writers and critics. (14) We tried not to miss theater premieres and literary evenings. (15) I don’t know how we managed to do everything, but we did. (16) I was accepted into their midst by students who were a year older than ours. (17) It was a most interesting company.
(18) I tried to keep up with her, and I succeeded. (19)3a with one exception. (20) My new comrades were passionately interested in music. (21) One of us had a great rarity for those times: a radio with a device for turning records - there were no long-playing records yet - which made it possible to listen to an entire symphony, concert or opera without interruptions. (22) And a collection of chamber, opera and symphonic music.
(23) When this indispensable part of our evening began, my comrades listened and enjoyed, but I was bored, languid, tormented: I did not understand music, and it did not bring me joy. (24) Of course, it was possible to pretend, pretend, give a proper expression to your face, and say after everyone: “Wonderful!”
(25) But it was not our custom to pretend, to portray feelings that we did not experience. (26) I huddled in a corner and suffered, feeling excluded from what meant so much to my comrades.
(27) I remember well how the turning point occurred. (28) In the winter of 1940, an author’s evening was announced for the then young D.D. Shostakovich - the first performance of his piano quintet. (29) Friends took a ticket for me too. (Z0) They presented it solemnly. (31) I realized: what is coming is an event!
(32) I will not claim that that evening I was immediately and forever cured of my immunity to music. (33) But a decisive and important turn took place. (34) How grateful I am to my friends from those long ago years that they didn’t give up and didn’t exclude me from listening to music - and there was no need to exclude me; with my youthfully vulnerable pride at that time, an ironic remark would have been enough to make me feel like I was among them , understanding and knowledgeable, superfluous. (35) This did not happen.
(36) Many years have passed. (37) For a long time now, serious music has been a necessity, a necessity, a happiness for me. (38) But it was possible - forever and irreparably - to miss her. (39) And destitute yourself.
(40) This did not happen. (41) Firstly, I did not take the pose of a person who, not understanding something, says out loud or mentally: “Well, don’t!” (42) And because I didn’t want to pretend, pretending that I understood when I was still very far from it. (43) And most of all - thanks to my friends. (44) It was not enough for them to enjoy themselves. (45) They wanted to include me in their understanding, in their joy.
(46) And they succeeded!
(According to S. Lvov)
Show full text
In the text proposed for analysis, Sergei Lvovich Lvov raises the problem of the influence of friends on a person’s life.
To attract readers' attention to the problem, the author tells the story of how his friends aroused his interest in music. S. L. Lvov did not understand music and was bored while his comrades listened and enjoyed. Then his friends gave him a ticket to the concert of D. D. Shostakovich. As a result of this event, the author's attitude towards music changed. The author is grateful to his comrades and notes that if it weren’t for his friends who “didn’t give up and exclude him from listening to music,” he could have “forever and irreparably missed out on music.”
The author's position regarding the problem raised is expressed clearly and unambiguously. Sergei Lvovich Lvov leads the reader to the conclusion that friends have an impact for a person's life. They can help in difficult times, and are also able to interest you in something new that was previously incomprehensible or boring.
To prove my point of view, I will cite the following literary example. Mikhail Sholokhov in his work “The Fate of Man” showed that friends always try to help each other. When Andrei Sokolov hit a cow, he was
Criteria
- 1 of 1 K1 Formulation of source text problems
- 3 of 3 K2
Art... Perhaps this is the most important indicator of the level of development of society. What does every person need to understand the author’s intention? How much attention should be paid to detailed independent study of art? It is this problem that S. Lvov is thinking about.
The issue of the need for self-development in art is very relevant, since in our time many young people ignore the great cultural heritage.
This problem is social and philosophical. This conclusion can be drawn due to the fact that art exists only in society, and it is through creativity that people try to understand the world. The problem raised is examined through the example of the lives of students at the Institute of History, Philosophy and Literature, who were engaged in self-development. The author draws attention to the fact that most of Young people gained knowledge about art at their own request, voluntarily attending theaters and literary evenings. S. Lvov notes with disappointment that sometimes a person may feel awkward when talking about a certain type of creativity due to ignorance.
My position is confirmed by experience fiction. Many writers have raised this topic in their works. For example, in R. Bradbury’s book “Faringate 451” art is completely erased from the life of society, but some heroes, thanks to books, have the opportunity to get acquainted with great works on their own.
This is also mentioned in M. Vladi’s work “Vladimir, or Interrupted Flight.” Vysotsky and his wife spent their entire lives visiting exhibitions, museums, concerts, and getting acquainted with art from all over the world.
Thus, in order to study and understand the work of musicians, writers, artists, it is necessary to apply maximum effort and attention. Self-education in art is necessary, because it is through knowledge of culture that a person enriches his inner world.
Updated: 2017-02-22
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