Introducing preschool children to Russian folk and decorative arts. Coursework: Decorative and applied arts in working with children of senior preschool age Introducing children to decorative and applied arts
Folk arts and crafts are multifunctional and have great educational potential.
E.A. Flerina was one of the first to speak on the importance of using DPI in preschool education. The works of such scientists as V.A. Silivon, L.B. Gorunovich, N.P. Sakkulina are devoted to this problem. and etc.
Junior preschool age: introduce works of decorative and applied art that are accessible to children; introduce folk toys (clay, wood), pay attention to the means of artistic expression: color, shape of the main parts, details, material, sound (whistle toy);
stimulate children's interest in folk toys as a type of folk arts and crafts, and the desire to play with them.
Middle preschool age: to form ideas about Belarusian decorative and applied art (to introduce the types, specific features: traditionalism, simplicity of forms, restraint of decorative solutions, the predominance of geometric patterns);
introduce the purpose of various products of decorative and applied art, the compositional features of their decoration (pattern repetition, alternation, rhythm, symmetry). Senior preschool age: expand knowledge about decorative and applied art, introduce the functions and specifics, folk and professional decorative and applied art, its types, and the specific features of the decorative and applied art of other peoples. Junior group. , Introducing children to DPI has two phases.
The first phase is perception, examination, admiration the second is action. For early age characteristic only first phase. At the second stage
the task becomes more difficult. by recognizing the toy, looking at it and necessarily playing with it.
Middle and senior group
In middle age, the content and nature of perception of a folk toy, its examination and analysis are deeper, more detailed, longer lasting, accompanied by admiration. This is due to the increased capabilities of children, their ability to notice the most characteristic features of a toy image. Review can be arranged two ways:
from the characteristic, the most interesting to the general, and, conversely, from the general to the particular.
The simplicity of the form, the expressiveness of the plastic design of the toy not only evokes joy and admiration in children, but also encourages them to independently sculpt and create. Children 5-6 years old get acquainted with another type of folk plastic art - Belarusian ceramics. These are a variety of bowls, Maslenitsa, gorlacs, zbans, etc. All of them have artistic features characteristic of the pottery art of Belarus. IN process of research and analysis it is necessary to help children identify them. At first the form is considered, identifying the relationship between form and functionality. Further consideration is related to decor analysis,
with which pottery forms are decorated. First, the main elements are defined. Most often they are various wavy, straight, narrow and wide lines. In conclusion, the main
color spectrum. Modern decorative plastic arts are presented and small sculptural forms.
In the process of examination, it is necessary to help students see and feel the volume, shape, plasticity, texture of the material, and other expressive means that the master used to convey the cheerful or sad character of the characters. The education and training program in kindergarten provides for familiarization of children with different types of folk crafts
The use of DPI works in the decorative activities of preschoolers (drawing, modeling, applique) contributes to the formation of artistic and practical skills and abilities in preschoolers, enriches them with knowledge about the properties and qualities of materials, expands aesthetic perception, imaginative vision, and develops children's creativity.
Introduction
1.1. Origins of decorative and applied arts
1.2. Types of decorative and applied arts
2.1 Age characteristics of children of senior preschool age
2.2 Types of decorative and applied arts in classes with children of senior preschool age
2.3. Features of decorative and applied arts in working with children of senior preschool age
Conclusion
Bibliography
Introduction
Decorative and applied arts, which are part of folk culture, are recognized as one of the most effective means of children’s development. In the conditions of the spiritual revival of society, the growth of its national self-awareness, interest in folk culture as the root system that feeds the modern education of the younger generations and contributes to its spiritual healing seems quite natural. Folk art is a unique world of spiritual values, where the spiritual energy of the people is embodied, preserving and developing the moral potential of the ethnic group.
Many scientists wrote about the role and importance of folk decorative art in raising children (A.V. Bakushinskaya, P.P. Blonsky, T.S. Shatsky, N.P. Sakulina, Yu.V. Maksimov, R.N. Smirnova and etc.) They noted that art awakens the first bright, imaginative ideas about the Motherland, its culture, contributes to the education of a sense of beauty, and develops the creative abilities of children. Yu.V. Maksimov made attempts to determine the characteristics of children’s perception of works of arts and crafts. The study by R.N. Smirnova shows the impact of familiarizing preschool children in the Khabarovsk Territory with the decorative art of the peoples of the Amur region.
Despite the natural ability for creative activity, only targeted training makes it possible to ensure a high level of development of inherent creative abilities (M.N. Skatkin). The formation of these abilities should begin in the early stages of personality formation.
From all of the above, it follows that the topic of this coursework is relevant in our time, and therefore we chose it.
Subject: Decorative and applied arts in working with children of senior preschool age
An object: The process of conducting arts and crafts classes with children of senior preschool age.
Item: Using elements of decorative and applied art in working with children of senior preschool age.
Target: To identify the features of using elements of decorative and applied art with children of senior preschool age.
Tasks: 1. Study theoretical sources and best teaching practices on the chosen topic.
2. Identify the age characteristics of children of senior preschool age.
3. Identify the features of using elements of decorative and applied art in working with children of senior preschool age.
1.1 Origins of decorative and applied arts
Decorative art originated during the clan system, when people decorated themselves with bracelets and rings. Later, items for decorating clothing and then housing appeared. The art of creating such things began to be called decorative (“decor” from the French - “decoration”).
Since ancient times, houses have been built from wood, utensils, dishes, and toys have been made. Artistic processing of wood among many peoples is the most developed and most ancient type of folk decorative art. Archaeological research has also revealed previously unknown wooden sculptures of animals and birds of Altai from the 5th century, as well as Novgorod utensils from the 9th - 15th centuries, decorated with carvings and paintings. Old Russian carpenters and joiners built mansions and towers, installed valleys and brackets for kvass and honey drinks, and made beautiful household utensils, for example, flat and wide troughs for dough - bowls. Coopers assembled barrels and jugs from oak planks and staves; turners made cups and bowls from soft wood. Dowry boxes were bent from bast, and elegant ringing spoons were cut from maple.
The palaces, chambers and towers of Ancient Rus' were lavishly decorated with additionally painted carvings. In the bright sun, the relief carvings of the platbands and porches, painted with cinnabar, verdigris and gold, shone. For the beauty and splendor of the palace in Kolomenskoye, contemporaries considered it one of the wonders of the world. In the XVII - XVIII centuries. The art of artistic wood carving developed in the design of iconostases, palace interiors, and furniture, where volumetric, high-relief, applied and sawn carvings predominated. Multi-colored carvings decorated cargo sailing ships, in particular the sides and superstructures of the Volga belyans and barks, as well as warships - galliots and corvettes, under the bowsprits of which there were sculptures of birds, animals and sea deities.
Despite the ideological decline of paganism, peasants continued to celebrate ritual spring holidays. People worked all winter to make magical figurines, and women traditionally did this. As a symbol of fertility, women could, on a “subtle level,” contribute to the yield of cereals and an increase in the number of livestock. By making clay pigs, horses, turkeys, goats, women seemed to synchronize with the processes occurring in the surrounding world, pushing nature in the right direction, that is, towards increasing fertility. The painted toy simultaneously continued the ancient tradition and, with its appearance, marked a departure from the worldview of its ancestors. Magic figurines acquired the function of decorative whistle toys; they were molded to the ritual spring festival, which in the 19th century turned into a lively “whistle fair” (first mentioned in literature in 1811) with its bright colors and shrill sounds of whistles.
1.2 Types of decorative and applied arts
The value of works of folk decorative art lies not only in the fact that they represent the objective world, material culture, but also in the fact that they are monuments of spiritual culture. It is the spiritual significance of folk art that is especially increasing in our time. They bring festivity and beauty into our lives. They are increasingly entering our everyday life not as utilitarian objects, but as works of art that meet our aesthetic ideals and preserve the historical connection of times. Folk art connects the past with the present, preserving national artistic traditions, this living spring of modern artistic culture.
Wood painting.
Khokhloma.
Khokhloma dishes are compared to gold, so they say “golden Khokhloma”. Khokhloma painting delights with bright colors and the shine of gold. The work and talent of folk craftsmen transform ordinary bowls, barrels, salt shakers and much more into “gold”.
Khokhloma paintings are dominated by plant motifs, but there are also images of birds. Zloty herbs, leaves, raspberries and strawberries, transformed by the artist’s imagination, are woven into Khokhloma patterns. The colors of Khokhloma are mainly black and red with gold, which gives the products a festive and solemn flavor. Green, yellow and brown colors are sometimes used to make the painting even more bright and elegant.
The figurative expressiveness of Khokhloma is achieved through the compositional unity of herbal patterns with the shape and size of wooden utensils.
Khokhloma is also used to decorate entire sets of dishes, as well as to decorate children’s chairs, tables, armchairs and other furniture. For the formation of the Khokhloma ornament, a bold brush stroke and the breadth of writing are of great importance.
Today Khokhloma is called golden not only for its beauty, but also for its price. It is expensive, since its production requires significant manual labor, and in the last century such utensils were cheap and accessible to everyone.[Pr.1.]
Gorodets.
Painted panels, caskets, plates with horsemen, young ladies, warriors, birds and flowers by Gorodets artists radiate goodness and joy. Scenes of tea drinking, troika riding, and festive festivities are traditional for this painting.
Compositions with tea parties look like a large cake decorated with lush flowers. What a beauty lies in the cups and vases, slightly outlined with “animations”, against the backdrop of an elegant tablecloth!
Festive scenes of Gorodets painting are always placed on the distaff bottoms - troika riding, weddings and others, in which solemnity, colorfulness, and decorativeness are conveyed. A lush ornament of baths, roses, and leaves frames plot pictures arranged in tiers.
The old masters painted fantastic flowers, the likes of which you cannot find in nature, but this is only at first glance. If you look closely, you can recognize flowers, daisies, berries, and in the middle of the fabulous bouquet - a lush rose. The center of the rose coincides with the center of the rosette of petals. In kupavka, the center of the flower is shifted to the left or right.
A beautiful Gorodets thin-legged horse with a strong neck is a poetic image-mystery. Proud horses are painted on cabinet doors, the backs of children's chairs, tables, and plates on the wall. The horses are surrounded by fabulous flowers, and sometimes strange birds and animals are depicted here. It seems that horses are galloping through magical gardens.
Fairy-tale horses flying like birds, magical flowers and scenes from ordinary life - everything from Gorodets artists looks joyful and festive!
Important changes have taken place in Gorodets painting these days: instead of tempera and glue paints, masters began to paint with oil paints. This was reflected in the character of the decor. The leading element in the painting is the floral ornament. Oil paints allow you to achieve a variety of complex color shades. For example, even in symmetrical paintings, you can make one flower lilac and the other crimson.
Gorodets masters paint both on a colored background and on unpainted wood. Most often they use the beautiful texture of pine. The palette of Gorodets painting is colorful and varied. Gold, green, yellow, blue, blue, brown, pink and red colors are combined with black and white. However, each master has his own favorite color palette.
The elegant “revival” done with white paint gives Gorodets painting a special expressiveness. Strokes, lines, dots, arcs decorate flowers and figures. T. Mavrina, who deeply understands folk art, very aptly and figuratively assessed the meaning of “revival” in Gorodets painting: “The most interesting thing in this painting is its completion, “revival.” Finish, put a dot, a lot of white dots, strokes, lines; not for black-and-white modeling, but simply for beauty-bass. Sometimes this animation is applied so much and so thickly that you want to touch it with your hands, like expensive pearl embroidery.” Some products are called “pearl”
Black color can also emphasize the shape of berries, flowers, and leaves. Flowers in which half of the circle is highlighted with black and half with white are very expressive. This simple technique creates the impression of movement and introduces dynamics into the painting.
An amazing sense of decorativeness has appeared in the work of Gorodets masters, conveying the festivity of traditional painting.
Nowadays, craft artists are developing a new range of products: various kitchen sets, cutting boards, decorative supplies, salt shakers, bread bins, storage chests, caskets, caskets, spoons, toys - and still decorate them with Gorodets painting.
When creating a product, the master selects its shape, thinks over the design, finds a plot and immediately paints it with a brush: flowers and trees, the faces of gentlemen and young ladies, horses and birds appear. Lines and colors explode with a bright fireworks display of Gorodets painting ornaments.[Pr.2]
Paintings of the Northern Dvina and Mezen.
Folk paintings born on the banks of the Northern Dvina and Mezen rivers are a bright and original art. These schools of folk craftsmanship emerged in the 19th century. The Permogorsk, Rakul, and Boretsk paintings stand out. The painting of the Arkhangelsk region is Mezen.
The decor of each item is individual, the arrangement of the ornament is dependent on the shape of the item. The basis of Permogorsk, Rakul and Boretsk painting is made up of plant motifs, and Mezen painting, in addition to plant elements, is characterized by geometric patterns, amazing birds and thin-legged red horses. In all these paintings, the main means of expression are line, outline and silhouette, and color complements the images.
The leading theme of Severodvinsk painting is the poeticized life of the people and native nature. Based on a plant pattern Permogorsk painting - a flexible shoot on which three-lobed, slightly curved leaves with sharp tips and tulip-shaped flowers are strung. The Sirin bird or a large fish was often depicted in the center. The most popular subjects: troika riding, weddings, get-togethers. The color scheme mainly consists of red patterns on a white background. Yellow and green as additional, accompanying colors. Of great importance is the thin black outline, expertly applied with a quill pen.
Boretskaya The painting is very elegant; in addition to the main colors, gold is added to it. The background is usually white. Its elements are a twig with berries, a trefoil, a tree, tulips, rosettes, birds, horses, geometric patterns.
Ornament Rakulskaya The painting is very large, represented mainly by decorative leaves, bushes and birds. In most works, the main role is played by golden ocher and red colors, accompanied by deep green, white and brown-red. Not only the outline is drawn in black, but also many details - antennae, curls, veins. The background can be golden yellow. The paints create patterns reminiscent of enamel inserts.
Mezenskaya The painting is particularly graphic and has a restrained color scheme. Here they use only red-brown paint obtained from local clay. It amazes with the minimalism of its means and the expressiveness of its images. Favorite motifs: thin-legged horses and deer with unusually thin legs, a proudly raised head and a steeply arched neck (horses can have curly tails, and deer can have lush, branched antlers), swans, scenes of hunting, fishing, sleigh rides. Various lines, spiral curls, ovals, circles, crosses, and stars are also used.
Folk painting of the Severodvinsk centers and Mezen shows the great professional skills of the masters in composition, drawing, and painting. These bright, elegant paintings were created thanks to the deep traditions of the school of folk art.[Pr.3]
Ceramics.
Gzhel ceramics.
In the old days, craftsmen from Gzhel wanted to create dishes that could compete with expensive porcelain and would be unique and memorable. They created their own special style of painting. Their flowers, birds, and animals cannot be confused with others. Gzhel masters were inspired by the coolness of blue evenings, the blueness of the sky and their native snow-white expanses.
The birthplace of porcelain with blue painting is the Ramensky district of the Moscow region. Gzhel is the name of one of the villages, which became a collective name for several villages in the area where pottery was practiced. In previous centuries, Gzhel porcelain and majolica were multi-colored, but gradually it was in semi-faience that blue became a classic color. A new visual language of the triumph of blue on white is being created. The secret of Gzhel’s art is its pronounced combination of blue patterns and white background, original painting techniques and organic forms of products. The images of Gzhel evoke an exciting feeling of contact with nature.
Each master has his own handwriting: the stroke is sometimes narrower, sometimes wider, the thin line bends smoothly or elastically, the leaves are sometimes larger, sometimes smaller. That is why even in the mass-produced products of Gzhel you will not find boring monotony of painting.
In addition to dishes, Gzhel craftsmen make small sculptures - scenes from life and compositions imbued with humor: here you can see how one housewife milks a cow, another inflates a samovar with her boot, a third spins yarn and sings songs. Masters can sculpt cockerels, horses and even sculptural vessels. And the fabulous fish-whale, on whose back an entire city is located, may turn out to be an oil can or a box.
Traditions and novelty, beauty and usefulness are combined in the modern works of Gzhel masters.[Exp.4]
Skopino ceramics.
The city of Skopin, Ryazan region, has long been famous for its pottery. Here they made simple dishes from light clay without glazing, the so-called “sinyushki”. It is believed that the name of the fishery is associated with the osprey bird, which is found in the local swamps.
The traditions of ancient pottery are reflected in the works of Skopino masters. Here they made jugs, kumgans, kvass pots, jugs decorated with strange animals and birds, eagles with outstretched wings, whistle horses, horsemen, and bear musicians. The products were covered with green or brown glaze.
The works are distinguished by the combination of sculptural images with the shape of vessels. It is not only the knowledge of the traditions of the ancient Slavs that amazes, but also the artistic imagination that helps to create living images and plasticity.
The people's perception of the world as the unity of nature and man, living form and objective form was reflected in Skopino vessels. The logic of the design is combined with figurativeness. Various sculptural images in place of the handles are fused with the shape of the jug.
In Skopino ceramics, volume and silhouette are equally active, therefore the forms are monumental and expressive regardless of the size of the vessel.[Exp.5]
Russian clay toy.
Dymkovo toy.
In the former settlement of Dymkovo, not far from Vyatka, the Dymkovo toy was born. They made toys from red clay, then fired them, whitened them with chalk primer in milk and painted them. Bright circles, cells, large and small peas were “scattered” across the white background. Colors: orange, red, green, blue, pink, yellow, lilac, etc. Sometimes pieces of gold leaf were stuck on top of the pattern, which made the toy even more elegant.
Ladies and gentlemen flaunt their outfits, roosters and turkeys resemble fairy-tale bouquets with their lush tails, nurses boast about their rich family.
We are pleased with the splendor of forms, riot of color and cheerful imagination.[Pr.6]
Kargopol toy.
Residents of the Russian North called round pearls kargapolchik. This is how the name of the city of Kargopol appeared. Masters of folk clay toys live here.
It is made in the same way as Dymkovo. But the images and painting are different. Its colors are not very bright, like the nature of the North. The themes of the works are varied: lady, hunter, accordion player, dancing couple and others.
The craftsmen chose the colors they liked to paint the toy: red, orange, golden, yellow, brown, swamp crimson, etc.
Birds with girlish faces, bears playing harmonicas, heroic horses, fabulous Polkans. Merry Polkan - a hero with the signs of the sun on his chest - a symbol of the Kargopol toy. He is half-horse and half-man, so he is endowed with enormous strength. This is probably what our ancestors imagined the hero to be, close to the deity of the ancient Slavs Plikhan or Polekhan.
Kargopol ornament is not just geometric patterns, but a whole world of images. The cross in the circle is the sun. All elements have ancient symbolic meaning. Similar ornaments can be seen on ancient embroideries and paintings.[Exp.7]
Filimonovskaya toy.
Appeared in the village of Filimonovo, Tula region. Local clay is very plastic; figures are sculpted from it by stretching out the shape, which is why they are so slender.
The most amazing thing happens when the dark bluish clay is placed in the oven. After firing it becomes snow-white. Take it and color it. The outfit of the Filimonov toy is associated with ancient amulets.
The patterns of the Filimonov toy delight with the ringing variegation of bright stripes. Red, green, and vice versa, green, red. The background is yellow. The stripes are repeated, building an expressive rhythm - “tigerness”.
Stripes, crosses, circles, stars, suns, wavy lines, dots, Christmas trees are combined with smoothly colored parts.
The striped tricolor dazzles the eyes, and the toy fascinates with its special ornamental pattern. Female figures are elegantly painted, not only with stripes, but also with rosettes, triangles, and flowers.
“Lyubota” is a familiar image - a lady and a soldier, they are molded as a couple, on the same “land”. The bride and groom have mercy, admire each other and dance.
All Filimonov animals are whistlers. Among the characters there are more domestic animals, horses, dogs, rams, chickens and roosters. The characteristic features of these animals are: a small head on a long neck, a flexible body, stand-like legs and a whistle-like tail.
Sincerity and spontaneity, a feeling of being alive is in every thing, no matter how big or small it is. Everything is permeated with beauty.[Exp.8]
Russian wooden toy.
In Russian wooden toys, a special circle of traditional images, themes and plots has developed. A folk toy is like a fairy tale - everything is so, but not so. This is a whole area of folk art that has absorbed the most valuable traditions of the art of wood carving and painting. This is both fun and at the same time an everyday sculpture created according to the laws of plastic art.
The folk craftsman is fluent in the rich language of decorative art and uses it in Russian wooden toys. It is distinguished by expressive shapes and silhouettes, varied rhythms, bright contrasts, harmonious proportions.
Chiseled, carved and painted animals, birds, people are very charming. The craftsman singles out only the most important, characteristic and typical things in a toy. Most often, with one precise detail, the artist manages to express the character’s character and bring the image to life.
The main thing in a folk toy is the ability to combine an expressive form with the color or texture of the material. In a toy made of unpainted wood, the master tries to show its natural beauty and closeness to nature. Toy makers subtly felt and variedly used the rich plastic possibilities, noble color, and expressive texture of wood. The wooden toy is beautiful and decorative.[Exp.9]
Toy of the Russian North
In Pomorie they liked to make a “punka” doll - a piece of wood, rounded or faceted, in which a head with a flat front part, a torso and a wide skirt were generally outlined with an ax. The arms are either pressed tightly to the body or they are not there. The facial features are extremely sketchy. Sometimes the carver also designates the roundness of the chest or the braid. He cares about the proportionality of the parts and the expressiveness of the whole, so even small figures look solid, monumental and solemn.
The doll can be decorated with rows of burnt circles, carved oblique crosses, squares and diamonds.
The composition of the pillar-shaped northern punks is very simple - frontal position in space, static and closed form, expressive silhouette. Stylistically, these toys are close to northern wooden idols and Novgorod medieval sculpture.
Among the northern carpentry toys, a variety of bunks stand out. A generalized monumental shape, a steeply curved neck, and legs connected in pairs are their distinctive features. In addition, they also made riders, various teams and troikas, and wheelchair horses. The main principle of the plastic design of these toys is the angular manner of cutting off the volume.
From Slavic mythology with its agricultural cult of the horse and the sun, these images passed into folk art, so motifs of a horse and a rosette (solar sign), sometimes highlighted in red, are common.
Nizhny Novgorod "toporshchina"
It is very diverse in form and content. Among them there are bunks, gurneys, and chalkboards. The festive outing reflects an essential feature of the life of the Nizhny Novgorod merchants, their cheerful spirit, of course, within the framework of the sculptural popular print, which is the Gorodets toy.
The Nizhny Novgorod horse has retained some fairy-tale-mythological elements even today, for example, a radiant star is depicted on its neck, symbolizing the pagan solar deity. The color in the Nizhny Novgorod toy is fused with the form.
Familiar characters - a bird, a horse, female figures - can be found in Volga and Moscow region toys, but they are very different from the images of northern toys. They are more colorful, festive, toy-like and decorative. A completely different perception of life, new artistic goals determined the appearance and content of wooden toys in the central and southern regions of Russia.
Polkhov-Maidan tararushki.
Tararushki are colorful wooden toys: rattles, piggy banks, mushrooms, bird whistles, rides on a stick, etc. The name itself is reminiscent of noise, jokes, and brisk trading at the market.
These toys are characterized by strict, simple, rounded shapes of objects and bright, sonorous colors that combine effectively with a light wood background. The painting is placed so as to emphasize the curved surface of the object. The painting is based on a pen and ink drawing. The black contour line is combined with a spot of color, either applied in a dense stroke or in a translucent blur.
A variety of products are distinguished by the simplicity of the design and the brightness of the colors. Artists love to paint floral ornamental motifs and landscapes. When painting a bouquet, as in a fairy tale, golden apples, berries, and flowers can grow on one branch. The style of painting, contrasting in color, lush and bright, well expresses the idea of the abundance of flowers, fruits and the colorfulness of the world.
The art of the gibberish artists is distinguished by its fabulously realistic structure of images and special decorativeness.[Exp.10]
Sergiev Posad toy.
The most fun fair in Rus' in the last century took place in Sergiev Posad. Toys were placed in a prominent place in the shopping arcades: rattles, whistles, Bogorodsk bears, horses, various nesting dolls, etc.
Museum collections of folk toys contain “herds” and “menageries” made in Posad and Bogorodskoye. All toys are distinguished by a certain degree of conventionality and realism.
In a combination of red, blue, yellow and green, the master achieved colorfulness, elegance, and decorativeness. The most traditional images were of ladies, hussars, soldiers, nannies with babies, shepherdesses and peasants. Masters often cut out monks and nuns, since they lived next door to the Sergiev Posad Monastery. Unique, individual features are conveyed in facial expressions and poses.
Folk masters, improvising in the process of work, never exactly repeated the images, varying the details.[Exp.11]
Bogorodskaya toy.
In the village of Bogorodskoye, Moscow Region, for a long time everyone, even women and children, carved toys from wood. They slaughter toy bears and men, deer and eagles, horses and goats, cockerels and hens. The wood obeys every touch of the knife and cutter, which leave rhythmic marks, emphasizing the shape. The beauty of an unpainted toy largely depends on the expressiveness of the silhouette.
They make realistic figures. The famous “Blacksmiths” have become a symbol of Russian folk wooden toys. On the sides of the anvil there are carved figures of a blacksmith and a bear mounted on planks. What attracts you is not only the entertaining plot, but also the warm humor, the typical character and the movement of the toy - the hammers merrily knock on the anvil when you move the slats.
Mobility brings a moment of surprise to a wooden toy, making it even more entertaining. There are toys with hidden buttons. Parts or parts of some toys are attached to springs for greater mobility, for example, leaves on a tree. They begin to tremble if you touch the toy.
In the appearance of the Bogorodsk horse, one is attracted by the proudly raised head, the steep arch of the neck, and the dynamic line of the silhouette, thus creating a beautiful and powerful image.
The bear in the Bogorodsk toy is a large and good-natured animal. At the same time, the master emphasizes in his character the traits inherent in man.
The most attractive thing about a folk wooden toy is its vivid imagery, combining reality with poetic exaggeration and fabulous fiction.[Pr.12]
Matryoshka dolls (Sergiev Posad, Semenov, Polkhov-Maidan)
S.A. Malyutin was the first to paint a Russian nesting doll. The affectionate name “matryoshka” arose from the Russian name Matryona.
The artistic image of the nesting doll is very conventional. The image of a woman as a mother of a large family is close and understandable. Fertility, abundance, infinity of life, apparently, this is the deep meaning of the toy. The shape, image of the face and outfit are conventional. The matryoshka expresses an extremely generalized image of a Russian beauty: round face, bright blush, black eyebrows, small mouth.
In Sergiev Posad and Semenov they made nesting dolls for boys and fathers of the family.
In addition to the summer outfit, the nesting dolls were also dressed in winter clothes. There were nesting dolls depicting the bride and groom, fairy tale heroes, and literary heroes.
The manufacturing process for all nesting dolls is the same. First, the shape is turned on a lathe. Then they prepare it for painting. Craftswomen paint nesting dolls without a preliminary drawing from a sample. The colors are all the same, but the nesting dolls turn out different, slightly different, and this is their artistic value.
The Sergievskaya nesting doll has a modest outfit and is painted with pure bright colors. The black graphic outline emphasizes the details of clothing and the facial features of the sweet, good-natured nesting doll.
The nesting dolls from Semenov have bright bouquets on their aprons. Their image is combined with the shape and size of the toy: the larger the matryoshka, the larger the flowers in the bouquet. The main color in the painting is red, the black outline marks the edge of the apron and the sleeves of the jacket. On the head is a traditional scarf, decorated along the border. In painting they use the “petal” technique, which is done with a “poke”.
Polkhov-Maidan nesting dolls can be immediately recognized by their unusual head shape, elongated silhouette, characteristic flower and the crimson color traditional for this painting. Bright and rich colors sound in full force. Everything is united by a black outline. The matryoshka is decorated in such a way that flowers, berries and leaves cover the front of the figurine with a continuous carpet. The face is sometimes depicted in one black color, surrounded by funny curls.[Pr.13]
Chapter 2. Decorative and applied arts in working with children of senior preschool age
2.1 Age characteristics of children of senior preschool age
The personal development of a person bears the imprint of his age and individual characteristics, which must be taken into account in the process of education. Age is associated with the nature of a person’s activity, the characteristics of his thinking, the range of his needs, interests, as well as social manifestations. At the same time, each age has its own opportunities and limitations in development. For example, the development of thinking abilities and memory occurs most intensively in childhood and adolescence. If the opportunities of this period in the development of thinking and memory are not properly used, then in later years it will be difficult, and sometimes even impossible, to catch up. At the same time, attempts to get too ahead of oneself in influencing the physical, mental and moral development of a child, without taking into account his age-related capabilities, cannot have any effect.
Many teachers paid attention to the need for in-depth study and proper consideration of the age and individual characteristics of children to take into account in the process of education. These questions, in particular, were posed by L.A. Komensky, D.Zh. Locke, J.J. Rousseau, and later K.D. Ushinsky, L.N. Tolstoy and others. Moreover, some of them developed a pedagogical theory based on the idea of nature-conformity of education, that is, taking into account the natural characteristics of age-related development, although this idea was interpreted by them differently. Comenius, for example, in the concept of conformity to nature, put into play the idea of taking into account in the process of education those patterns of child development that are inherent in human nature, namely: the innate human desire for knowledge, for work, the ability for multilateral development, etc. J. J. Rousseau and then L. N. Tolstoy interpreted this issue differently. They proceeded from the fact that a child by nature is a perfect being and that education should not violate this natural perfection, but follow it, identifying and developing the best qualities of children. However, they all agreed on one thing: it is necessary to carefully study the child, know his characteristics and base his approach on them in the process of upbringing.
Scientific research has proven that there is a direct relationship between the physical, mental and moral development of a person. Physical education is closely related to the improvement of the senses, vision, and hearing, which in turn has a profound impact on mental development and the formation of a person’s character.
Mental education forms a system of ideas about the world around us, intellectual abilities and skills, and develops interest and abilities.
In moral education, a child develops moral standards, his own experience of behavior, and attitude towards people. The child’s moral feelings are intensively formed.
The most important component of the development of a preschooler is aesthetic education. The stage of sensory knowledge of the surrounding world, characteristic of a preschooler, contributes to the formation of aesthetic ideas about the world, nature and people. Aesthetic education contributes to the development of children’s creative abilities, shapes aesthetic taste and needs.
Moral education has a significant impact on the formation of will and character
Imagining something that a person did not perceive in the past, creating images of objects and phenomena that he had not encountered before, the emergence of a visual image of something that has yet to be created constitutes a special form of psychological activity - imagination.
Imagination is the creation of something new in the form of images and ideas. The process of imagination is observed in any human activity. Imagination is a very valuable psychological property of a person. One of the varieties of imagination is fantasy, and it is the quality of the greatest. Imagination is unique to humans. Imagination arose and developed in the process of labor. Before doing any thing, a person imagines how he will do it, what the thing will look like. This idea of subsequent actions and what will be achieved as a result of subsequent actions is one of the characteristic features of work that distinguishes human activity from animal behavior.
The imagination is formed in children on the basis of the development of their perception. By enriching the child’s experience of perception and special observations, the teacher thereby enriches and develops his perception. Research has shown that children delayed in their speech development are extremely retarded in the development of their imagination.
The development of imagination in children creates the prerequisites for aesthetic education, and well-organized aesthetic education, in turn, develops imagination. The development of children's imagination is influenced by reading fiction, viewing paintings, listening to music, perceiving nature, etc. Thanks to exposure to art, children's imaginations become more complete and vivid.
Senior preschool age is the age of active drawing. Drawings can be very different in content; they take on a plot character. The perception of color, shape, size, structure of objects is improved; Children's ideas are systematized. Children distinguish by lightness and name not only the primary colors and their shades, but also intermediate color shades; shape of rectangles, ovals, triangles.
However, children may have difficulty analyzing the spatial location of objects if they encounter a mismatch between their shape and their spatial location.
In various situations, perception presents certain difficulties for preschoolers, especially if they must simultaneously take into account several different and at the same time opposing signs.
Imaginative thinking continues to develop. Children are able not only to solve a problem visually, but also to make transformations of an object, indicate in what sequence the objects will interact, etc. However, such decisions will turn out to be correct only if children use adequate thinking tools.
Complex representations that reflect children’s ideas about the system of attributes that objects may have, as well as representations that reflect the stages of transformation of various objects and phenomena.
The development of imagination at this age allows children to compose quite original and consistently unfolding stories. The imagination will actively develop subject to special work to activate it.
Stability, distribution, and switchability of attention continue to develop. There is a transition from involuntary to voluntary attention.
High productivity in the development of activities.
Perception is characterized by the analysis of complex shapes of objects; the development of thinking is accompanied by the development of mental tools (schematized ideas, complex ideas, ideas about the cyclical nature of changes); the ability to generalize, causal thinking, imagination, voluntary attention, speech, and the image of “I” develops.
Images from surrounding life and literary works conveyed by children in visual activities become more complex. The drawings become more detailed and their color range is enriched.
Children continue to develop perceptions, but they cannot always take into account several different signs at the same time. Imaginative thinking develops. Generalization and reasoning skills continue to develop, but they are still largely limited to visual signs of the situation.
The imagination continues to develop, but in the preparatory group the development is reduced compared to the older group. This can be explained by various influences, including the media, leading to stereotypical images of children.
Attention continues to develop, it becomes voluntary. In some activities, voluntary concentration time reaches 30 minutes.
The main achievements of senior preschool age are associated with mastering the world of things as objects of human culture. By the end of preschool age, the child has a high level of cognitive and personal development, which allows him to successfully study at school in the future.
2.2 Types of decorative and applied arts in classes with children of senior preschool age
“We are confident that folk toys, when carefully studied, are an inexhaustible source of wise and creative pedagogy.”
E. Flerina
Matryoshka dolls
A folk toy awakens a child’s thoughts and imagination. The wooden chiseled figurine of the girl Matryona in a sundress and with a scarf on her head involuntarily attracts attention with its bright coloring and causes a smile. The figurine separates and presents another figurine, or rather several.
Considering the characteristics of the nesting doll, it is necessary to purposefully use it in kindergarten. The work is carried out with children of senior and preparatory school groups. . The main tasks can be formulated as follows:
1. Teach preschoolers to distinguish between types of nesting dolls (by place of production and main characteristics: color, shape, pattern).
2. Find out the influence of the Russian folk toy - the nesting doll on the aesthetic development of a preschooler.
3. Teach children to depict a toy (in modeling, appliqué, drawing, in play).
To implement these tasks, the following methods and techniques are used:
1). Children's examination and description of nesting dolls.
2). A teacher's story about a matryoshka doll and its masters.
3). Children compose stories with the character - matryoshka.
4). Didactic and round dance games with the participation of matryoshka dolls.
The work takes place in several stages:
a) studying children’s ideas about the nesting doll.
b) introducing children to the matryoshka doll as an object of folk art.
c) the ability to distinguish nesting dolls by shape, color, pattern, and place of production.
d) compiling fairy tales and stories about the nesting doll.
e) children’s use of nesting dolls in independently organized children’s activities.
Dymkovo toy
Dymkovo toys are simple but original, naive but expressive. They enable the master to show both the imagination of the sculptor and the creativity of the decorative artist, to reflect in his work the aesthetic vision and feeling of the surrounding world.
Main goals.
1. Mastering Dymkovo painting and beginning to sculpt toys (senior group);
2. Modeling and painting of Dymkovo toys (preparatory group).
Here we are already teaching children to make patterns from familiar elements, decorate drawings, silhouettes of toys with ornaments, i.e. compose a composition; select the desired color, work with several brushes to complete various elements; evaluate what you have made with your own hands, notice the beauty and originality of the product. Work in the senior group includes: familiarization with the Dymkovo craft, painting silhouettes of toys with the help of tables and independently, preparation for sculpting and the beginning of mastering sculpted forms.
When painting silhouettes, older preschoolers initially used only individual light elements in their drawings, simplified the ornament, and used color inexpressively. Therefore, in class you need to use tables more often, work on the composition of pictures, and on the selection of colors. When introducing children to painting, you need to pay attention to the fact that the combination of different patterns, for example, on the apron and on the lady’s skirt, gives the toy an elegance. Children independently create patterns from individual elements towards the end of the senior group.
When preparing children to make toys from clay, we take simple tasks (making beads, tiles) based on the book by N.G. Panteleeva “Decorative Art for Children.” Drawing on a three-dimensional form is much more difficult than on a sheet of paper. In the older group, children sculpt cockerels, hens, and ducks, since the three-dimensional shape and methods of sculpting these toys are the simplest.
In the preparatory group, the following tasks are set: to introduce children more deeply to folk crafts, to the various themes of products, to teach them various specific techniques for sculpting Dymkovo toys, to depict sculptural groups, to use ornaments that are complex in composition and color in painting, and to develop creative imagination. Children cope well with modeling, convey the characteristic features of folk toys, and actively participate in the analysis of works.
From the work done, the following conclusions can be drawn:
1. The use of Dymkovo folk toys in a preschool institution makes it possible to solve the problems of artistic development and education of children; constant thoughtful acquaintance with the craft, systematic, targeted training in modeling and painting toys allows you to achieve good visual skills in children, develops their creative initiative, confidence, activity, independence; fosters interest in folk art.
2. The effectiveness of pedagogical influence depends on the level of preparedness of the teacher (erudition, practical abilities and skills), on the creation of special conditions in the preschool institution.
2.3 Features of decorative and applied arts in working with children of senior preschool age
The most striking features of folk applied art include the unusually accurate, thoughtful and truthful characteristics of a specific image, conveyed with great expressiveness; the form in which the folk artist puts his plan is always extremely laconic. Everything secondary is discarded, giving way to the main thing, which is revealed especially clearly. This artistic interpretation of the image in folk art makes it especially understandable and accessible to perception.
Another characteristic feature of works of folk applied art is their colorfulness and decorativeness. Bold, often contrasting color combinations distinguish the works of the folk artist and make them unusually attractive.
Researcher of Russian applied art M.N. Kamenskaya notes that in the decorative and applied art of folk craftsmen, two types of images are clearly distinguished - plot and ornamental. Among the subject images, one should first of all note the images of animals and birds. Often these images had symbolic meaning. The lion, leopard and eagle symbolized strength, power, the falcon personified courage and bravery, the images of a young girl personified spring, etc. In addition to symbolic images, fairy-tale images have also become widespread: the Sirin bird, the centaur - half-man and half-beast, the unicorn - a horse with a horn in its forehead, the winged beast - a vulture, etc. Created by folk imagination, they are found in all types of folk art for many centuries. Based on images of living nature, these images, at the same time, retained the features of folk convention.
Ornament achieves great development in folk applied art. An ornament is a deliberately created pattern, the elements of which are rhythmically repeated. The main property of the ornament is rhythm. Rhythm is a certain ordering of single-character elements. The rhythm of the ornament can be simple or complex. Rhythm is considered as an element of composition, a kind of organizing principle.
The ornament consists mainly of diverse plant forms, which often include images of animals and birds. Floral ornaments are decoratively conventional. Freely filling the surface of objects and products, the ornament usually leaves almost no background. Along with floral patterns, geometric patterns are also found. The simplest geometric shapes in the form of concentric circles, rhombuses, rosettes, stars, intertwined with each other in a variety of options, are distributed in all types of DPI. It should be emphasized that individual elements of geometric patterns have deep historical roots. They came to folk art from the Slavs - pagans. Deifying natural phenomena, the Slavs reflected their pagan ideas in art. For example, they depicted the sun in the form of a circle, rosette or rhombus. Subsequently, having lost their original pagan meaning, these traditional forms entered the geometric ornament and became widespread in it. This type of ornament also included geometric female figures and figures of horsemen. In the past, they apparently personified the goddess of the earth and the horsemen guarding her. Having lost their cultural significance, these images entered the folk ornament as familiar elements.
Color is essential in the ornament. Folk craftsmen were well aware of the impact of color on the human psyche. They took into account that certain phenomena, specific moods and experiences are often associated with one color or another in the human mind. Craftsmen prefer red when it comes to color schemes. It is with it that ideas about joy, fun, celebration and happiness are associated. It evokes in our minds associations with the sun, the source of all life on Earth.
Decorativeness, expressiveness of color and plasticity, patterned patterns, variety of textures of materials - these are the characteristic features of works of folk applied art that are in tune with the aesthetic sense, perception and understanding of children. Both in works of folk art and in children's works, everything is joyful and colorful. Both there and here life is perceived and depicted in elevated, major notes.
The images of fantastic birds, animals and plants depicted on DPI objects are perceived by children, first of all, as fabulous, and at the same time, they recognize in them the birds and plants they know in life, because even the visual embodiment of things, siren birds, mermaids “ Beregini”, the unicorn “fierce beast”, the vulture, the master built from combinations of figures of humans, birds, animals and fish that were close and understandable to him.
An encounter with a colorful bird depicted on a spinning wheel, with a swift clay horse scattering its mane in the wind, with patterned patterns on fabric, with sparkling field ceramics can be fertile material for children that develops their imagination.
When selecting motifs from folk paintings and ornaments to reproduce them in children's works, the accessibility of the image technique and the degree of expressiveness of the images in the patterns are taken into account.
Children of senior preschool age are introduced to different types of folk art, learn to distinguish them by the content of the material, means of expression, and characteristic features.
During the year, the teacher selects several types of folk ornaments to show children geometric ornaments, taking into account the availability of creative arts items in the preschool institution, as well as visual material: reproductions, postcards, slides, slides and videos. Begins by looking at objects that children were introduced to in the previous group. This has a positive effect on the emotional perception of children. In addition, the perception of familiar objects takes place at a new level, highlighting the general, children notice what they did not pay attention to before.
Geometric patterns highlight familiar elements and their decorations. Attention is paid to the patterns of color and the alternation of elements, rhythm, and the construction of a symmetrical pattern. It is important to show the geometric elements that are included in the image of plant elements - berries, flowers, leaves. By connecting circles, ovals, lines, the master creates unusual flowers, leaves, berries, without copying the surrounding nature.
During classes, children are introduced first to one type of DPI, and then to 2-3 types in comparison. It is important to show the general image of folk toys and their characteristic differences, to teach children to recognize familiar types by one or two characteristics.
During classes, children examine DPI objects and their images, reproductions, and postcards. The teacher introduces children to folk crafts, gives some information about it - its name, its location, and determines together with the children the content and purpose of the items. For the purpose of emotional education, the examination of objects is accompanied by artistic words - nursery rhymes, jokes, figurative words used by folk craftsmen, the sound of folk music, songs, for example: “The cows are not simple - clay, painted” (Filimonovskaya toy), “The ladies are beautiful, but trouble - arrogant” (Kargopol toy), etc.
Different organization of classes, the use of visual material, artistic expression, and music will make these classes lively and interesting. This is an excursion into a fairy tale and an encounter with different types of art.
In the classroom, learning to examine objects of art continues, depending on the tasks of drawing and modeling. When introducing children to one of the types of folk art, some techniques are identified that are available to children 5-6 years old: generalized methods of modeling, quickly performing individual elements and cursive writing, filling the space of the sheet in a certain sequence, performing first the same elements, then the rest, then decorations, etc. d. Rhythmic filling of the form with one color allows the child to more clearly perform the elements, while developing the skills and pace of drawing without pauses.
Thus, introducing children to DPI allows them to show the characteristics and traditions of each type, the variability of patterns, some techniques of masters and encourages the desire and skills in creating a composition and developing creative abilities.
Conclusion
So, let's summarize some of the above.
Preschool age is the beginning of comprehensive development and personality formation. During this period, the activity of analyzers, the development of ideas, imagination, memory, thinking, and speech together lead to the formation of the sensory stage of cognition of the world. Logical thinking is intensively formed, elements of abstract reasoning appear. A preschooler strives to imagine the world as he sees it. He can even regard fantasy as reality.
DPI is a source of creative activity. The artistic merits of the works, the careful precision of the forms and content of ornamental compositions force us to constantly search and find bright and accessible images in the creative arts for applying them in the practice of aesthetic and moral formation of the personality of a preschooler.
Introducing children to DPI allows them to show the characteristics and traditions of each type, the variability of patterns, some techniques of masters and encourages the desire and skills in creating a composition and developing creative abilities.
By performing work based on folk ornaments, children learn to understand the principles of artistic generalization, learn the techniques of creative improvised decorative images, learn to see combinations of colors in ornaments, compare shapes, sizes, and the position of elements on the plane of an object.
Aesthetic and labor education through the means of decorative and applied arts is closely related to education and training, and the effectiveness of this unity largely depends on the organizational and methodological level of the educational process.
Decorative and applied art is one of the types of fine arts, is an integral part of the art of the people and carries spiritual and aesthetic values accumulated by the work and talent of many generations.
Decorative and applied art is one of the factors in the harmonious development of personality. Through communication with folk art, the child’s soul is enriched and a love for his land is instilled. Folk art preserves and passes on to new generations national traditions and forms of aesthetic attitude towards the world developed by the people. The art of folk craftsmen helps to reveal to children the world of beauty and develop their artistic taste.
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LESSON SUMMARY FOR THE LESSON-PRESENTATION “FOLK DECORATIVE AND APPLIED ARTS”
TEACHER
USTIMENKO ANNA
ALEXANDROVNY
Goal: to introduce children to interesting professions, folk
crafts, various drawing techniques, learning to process
various materials, acquire new skills needed in
further work activity, introduce the symbols of Russian
decorative art and its meaning, create your own
decorative items;
develop aesthetic perception, sensory, artistic taste,
enrich children's speech with new words, develop fine motor skills
hands, graphic skills, forming the spiritual world of preschoolers,
creativity;
cultivate spirituality, instill interest in the history of the people, their
culture, origins.
Objectives: to teach to distinguish between types of decorative and applied arts;
develop children's creative potential;
introduce them to the cultural heritage of their ancestors.
Integration of educational areas:
cognitive development;
social and communicative;
physical development;
artistic and aesthetic;
speech development.
Materials: presentation “Decorative and Applied Arts”, visual
material (Bogorodsk toys, Gzhel dishes, filimo-
Novsky toys, Gorodets tablets, nesting dolls), illustrations
tions, boards for painting, paints, brushes, pencils.
PROGRESS OF THE CLASS
Educator:
Folk arts and crafts were a part of people's lives.
Man has long tried to decorate his home and did it with the help of the material that was at hand - wood, clay, bone, etc.
This is something that people created with their own hands, stored, took care of, and taught their children to make the same products. The painting pattern reveals the beauty and originality of the Russian soul.
Folk art is wooden nesting dolls, clay figurines, wooden spoons, dishes... What a person saw around him, he tried to repeat: the beauty of the surrounding world, fairy-tale images of animals familiar to children, made of wood or clay.
Ornaments used by folk craftsmen for painting toys and dishes include flowers, berries, leaves that a person sees in the forest, in the field..
Once upon a time, the potter Philemon discovered deposits of excellent clay and began to sculpt pots from it. The place where he settled was called Filimonovo. The men made dishes, and the women made ringing whistles, for which the inhabitants of the surrounding villages called them “whistle makers,” because the toys were made with whistles.
The women were helped in their work by girls who were taught the craft from the age of 7-8. They worked in the winter in their free time from rural work. The toys were sold at fairs and bazaars. So the women worked tirelessly, doing housework during the day, and as soon as dusk fell, they began their favorite business.
In the spring, before the start of field work, as soon as clear, dry weather set in, all finished products were fired. A brick oven was built in which dishes were placed in dense rows, and the voids between the pots were filled with whistles. The roasting was an unusually colorful spectacle. These mighty fires burned until late at night, illuminating the red-hot pots and toys. For all the village residents, this day was a solemn event - the result of all the winter work. Smartly dressed residents gathered around the stoves. Everyone expected a miracle - the appearance of clay products transformed by fire. After firing, local clay acquired a white color, and it can be painted without prior whitewashing. After firing, the toys were grouped according to subjects for painting. Filimonov's subjects are ladies, peasant women, soldiers, dancing couples, horse riders; animals - cows, rams, horses, bears; of birds - hens and roosters.
To paint Dymkovo toys, craftsmen always used strict geometric patterns. Dymkovo painting is a combination of circles, zigzags, strict straight or wavy lines; round spots, cells and just dots are used. Classic figures for Dymkovo toys are figures of horsemen, roosters and horses. Female figurines have flaring bell-shaped skirts and high headdresses - kokoshniks. The coloring of human figures had a certain sequence. First, hair, eyebrows and eyes were drawn in with black paint. Three orange or red spots placed on the toy's face using a splinter signified the mouth and cheeks. Then the hat was painted and, last but not least, the bright skirt. The patterns of Dymkovo painting are unusually bright. Blue, red, orange, yellow, crimson, emerald and green shades are the main colors used in this technique.
Making Polkhov-Maidan toys.
First, the toys are carved from linden or aspen. Then they are coated with liquid potato starch, that is, sanded and primed with starch paste. Then the outline of the design is drawn with black ink on a dry surface. Next, the outline of the future pattern is painted with colors: pink, red, green, yellow, blue. After this, the toys are coated with colorless varnish. Using combinations of contrasting colors (red - green, yellow - blue), artists achieve a special brightness of the painting.
The main subjects of the patterns are images of birds and animals, as well as flowers: rose, poppy, chamomile, tulip, rose hip; rural landscapes with a river, houses, a church and a mill on the bank, as well as the obligatory red dawn in the sky. The range of toys is varied: children's toys: nesting dolls, bird whistles, horses, toy dishes, piggy bank mushrooms, balalaikas, apple boxes. Another group of products is traditional Russian tableware: salt shakers, bowls, sugar bowls, vessels for storing bulk products, samovars, boxes. Easter eggs are made and painted in large quantities.
Gzhel is an ancient Russian village on the banks of the Gzhelka River, near Moscow. The village got its name from a word originating from the vocabulary of ancient potters - “zhgel”, or “to burn”, “to burn”. In the area, near the village, there are rich deposits of clay, so potters have long lived here, who could determine the thickness of the walls of a product by touch with their fingers. Making dishes was not an easy task, and craftsmen did it, the children helped pour glaze over the finished products, and the girls painted them and then fired them. Craftsmen paint each product only by hand. Gzhel has its own style - blue and blue patterns and flowers, decorations on a white background. The painting is done with cobalt, which during the technological process acquires the blue color characteristic of Gzhel.
In the village of Bogorodskoye, now located in the Sergiev Posad district of the Moscow region, the Bogorodsk toy appeared. It is made from soft wood - linden, aspen, alder, since soft wood is easier to work with. Harvested linden logs are dried using a special technology for at least 4 years, so harvesting linden is a continuous process. Dried logs are sawed and sent for logging. The master marks the resulting blanks according to the drawing and then cuts out the toy with a special knife. The finished toy parts are sent to the assembly shop, and at the final stage they are painted. Toys that are not painted are coated with colorless varnish. The symbol of the “Bogorodsk style” is a toy on a moving bar. For example, skillfully carved wooden figures of a man and a bear are struck in turn with hammers on an anvil; all you have to do is move the bar on which the funny figures are fixed.
Guys, guess who we are talking about:
Wooden girlfriends
They love to hide in each other,
They wear bright clothes
They are called….? (matryoshka dolls)
Matryoshka dolls are made from deciduous trees. The most beneficial material is linden. Trees intended for making nesting dolls are cut down in early spring, usually in April, when the wood is sap. Cut down trees are cleaned, always leaving rings of bark in several places. Otherwise, the wood will crack when drying. The logs are stacked so that there is a gap between them for air. The harvested wood is kept in the open air for at least two years. The logs, ready for processing, are sawn into blanks for the future matryoshka doll. In the hands of a master, the blank goes through up to 15 operations before becoming a finished matryoshka doll. Usually the smallest non-opening figure is turned out first, then all the other figures. The finished dolls are primed with starch glue, dried, and now the matryoshka is ready for painting.
Educator:
Guys, what toys do you remember?
Which ones did you like?
/data/files/i1475991138.pptx (Folk arts and crafts)
Marina Trufanova
Arts and crafts program for children of middle and senior preschool age.
Arts and crafts program for children of middle and senior preschool age. Developer programs- Trufanova Marina Georgievna, teacher of the municipal budgetary preschool educational institution of a general developmental kindergarten with priority implementation of physical development activities No. 6 in the city of Zadonsk, Lshipetsk region.
Program
By
For children of middle and senior preschool age
Educator
Trufanova Marina Georgievna
Adopted at the meeting
pedagogical council
protocol No. 1
Zadonsk, 2012
Decorative and applied arts program
Explanatory note
"The highest view art,
the most talented, the most brilliant
is folk art,
that is, what is captured by the people,
preserved what the people carried through the centuries.”
M. I. Kalinin
The problem of developing children's creativity is currently one of the most pressing in both theoretical and practical terms. After all, we are talking about the most important condition for the formation of the individual identity of a person already in the first stages of its formation. On the role and significance of folk decorative arts in raising children Many scientists wrote (A.V. Bakushinskaya, P.P. Blonsky, T.S. Shatsky, N.P. Sakulina, Yu.V. Maksimov, R.N. Smirnova and others). They noted that art awakens the first bright, imaginative ideas about the Motherland, its culture, promotes the cultivation of a sense of beauty, develops creative abilities children.
The child absorbs the culture of his people through lullabies, nurseries, nursery rhymes, fun games, riddles, proverbs, sayings, fairy tales, works. Only in this case the folk art- this unclouded source of beauty will leave a deep imprint in the child’s soul and arouse lasting interest. The beauty of their native nature, the peculiarities of the way of life of the Russian people, their all-round talent, hard work, and optimism appear vividly and directly in the works of folk artists. It is impossible to imagine the culture of Russia without folk art, which reveals the original sources of the spiritual life of the Russian people, clearly demonstrates their moral, aesthetic values, artistic tastes and is part of their history.
Getting to know art folk masters helps children look at familiar things and phenomena in a new way, see the beauty of the world around them. The teacher is predetermined by a high mission - to bring all moral values into the world of childhood, to help the child discover this world in all its richness and diversity. arts and crafts. This means that any educational activity, a meeting with a toy, a creative activity, a conversation are subordinated to a single goals: comprehensively develop the child’s personality, because all children should live in a world of beauty, games, fairy tales, music, fantasy and creativity.
Acquaintance children with the basics of arts and crafts carried out in all programs education and training in preschool institutions, but the methodological recommendations that are available in programs not enough or very few. Having analyzed the basic general education preschool education program"From birth to school"/ ed. N. E. Veraksy, T. S. Komarova, M. A. Vasilyeva, I considered it advisable to use a more in-depth acquaintance with folk art in my work.
Implementation programs occurs in the process of extended, in-depth acquaintance children with products of folk arts and crafts, acquaintance with the symbols of Russian decorative arts and independent creation decorative items.
Construction principles programs:
Connection with life;
The principle of visibility;
The principle of systematicity;
The principle of realism;
The principle of consistency;
The principle of an individual approach in artistic development children;
The principle of material availability;
Construction principle software material from simple to complex.
Target programs: formation and development of the foundations of a child’s artistic culture through folk arts and crafts.
Tasks programs:
Communicate children to folk arts and crafts in the conditions of one’s own practical creative activity;
Cultivate a sustainable interest in folk art as a standard of beauty;
Develop aesthetic (emotional-evaluative, imaginative perception, aesthetic feelings;
Develop artistic and creative abilities in children, the habit of bringing elements of beauty into life;
To form an idea of the laws of folk arts and crafts(color, content, alternation, symmetry, asymmetry in the pattern, applicability of the pattern to the form, visual techniques, etc.);
Based on mastering the artistic experience of folk craftsmen, develop individual creativity children in ornamental activities: special artistic abilities – "feeling" colors, rhythm, composition, independence, creative initiative;
Cultivate interest in art of the native land.
Areas of work:
1. Getting to know each other children
2. Getting to know traditional local crafts and toys
3. Independent creation by children decorative products with creative application of acquired knowledge.
The material is selected taking into account age, individual characteristics children and the theme of GCD. It gradually becomes more complex. Having introduced children with trade Having aroused the desire to create your own product, a purposeful process of its production occurs. To develop creative abilities, it is recommended to use non-traditional drawing techniques, experimenting with various art materials, didactic games, silhouette modeling, physical education, and exercises for drawing elements of paintings.
Methods and techniques:
Method of examination, clarity (examination of authentic products, illustrations, albums, postcards, tables and other visual aids);
Verbal (conversation, use of literary words, instructions, explanations);
Practical (children perform independently decorative items, the use of various tools and materials for the image);
Heuristic (development of resourcefulness and activity);
Partially search;
Problem-motivational (stimulates activity children by including a problem situation in the course of the lesson);
Method "apprentices" (interaction between teacher and child in a single creative process); co-creation;
Motivational (encouragement);
Hand gesture (the child shows the elements of the pattern by touching it with his finger, finds the same or identical shape by color, element).
Stages of work:
The entire educational process is divided into two stage:
Stage I – Preparatory.
Tasks:
Introduce children with samples of folk arts and crafts.
Develop the ability to see, understand, and appreciate the beauty of handicrafts.
Perceive the content of the pattern, the features of its visual and expressive funds, functional connection of the decorated object with the traditions of folk art.
Form a sense of rhythm, symmetry, harmony.
Stage II – Practical.
Tasks:
Independently transfer your impressions and ideas about folk art into different types of artistic activities: modeling and drawing.
Use different ones when sculpting ways: constructive, sculptural, plastic, combined, circular molding, picking up clay in a stack.
Independently build a composition of patterns on different products, taking into account their shape, fill most of them with the pattern.
Create compositions of patterns independently, use color combinations based on knowledge of the characteristic features of paintings.
Use new tools (including self-created ones, a variety of image materials, traditional and non-traditional techniques for performing work.
Working with parents assumes: individual consultations, conversations, recommendations, information stands, workshops, exhibitions of children's creativity and surveys on issues of artistic development children.
Diagnostic criteria for assessing children's work on decorative and applied arts
Has an idea of folk crafts; names them, recognizes the material from which the product is made;
Has an understanding of symbols in drawings, amulets in painting;
Able to independently analyze the product;
Highlights characteristic means of expression(pattern elements, color, color combination);
Selects elements of a pattern and composes a composition from them;
Independently determines the sequence of painting;
Uses decorative elements at work;
Uses several unconventional techniques;
Emotionality, content, brightness, colorfulness, decorativeness;
Originality.
Ability to draw by design;
The ability to subordinate visual materials, facilities, methods of depicting one’s own design, set by the visual arts task: selection of visual material, ability to mix paints on a palette to obtain different colors and shades;
Lack of graphic stamps;
Level of imagination, fantasy;
Using different sculpting methods in your work.
Expected Result:
Middle group:
Children have an idea of some of the features decorative and applied arts - arts create beautiful things and decorate your home and clothes with them;
Children have their first ideas about decorative and design art - art beautiful design of a room, group, exhibitions, greeting cards, attributes for games.
Children have the idea that images and patterns, their elements are taken by man from nature and the surrounding world; decorative the images are distinguished by their brightness, elegance, and pattern, which creates a joyful mood and decorates everyday life;
Children have an idea about some types of Russian folk arts and crafts: matryoshka doll, Dymkovo toy.
They know how to create decorative compositions based on Dymkovo patterns, patterns in the style of Dymkovo painting;
They are able to identify elements of Dymkovo painting, see and name the colors used in painting.
Senior group:
Recognize and name familiar types of folk arts and crafts(matryoshka, haze, gorodets, Khokhloma, Gzhel);
They make up patterns, including familiar elements of folk painting, and create decorative compositions based on folk products;
Able to compare objects of familiar types arts, find their similarities and differences;
Apply skills and abilities acquired in class independently and creatively;
They know how to sculpt birds, animals, and people like folk toys, conveying their characteristic features.
Preparatory group:
They distinguish and name the types of folk arts and crafts(Dymkovo painting, Khokhloma, Gzhel, Zhostovo, Pavlovo Posad painting, Romanov toy);
Able to independently analyze the product and design;
Characteristic means of expression: elements of the pattern, color, combination of colors, composition of color spots, symmetrical and asymmetrical pattern of the composition, etc.
The product is painted in accordance with folk painting;
They use a variety of non-traditional drawing techniques in the process of creating products.
They know how to use a brush freely, outline the sequence of making a product, perform products independently, and are able to control their actions with a verbal explanation.
Means of implementing the Program to familiarize children with decorative and applied arts
GCD for drawing and sculpting (in accordance with FGT)
Artistic word
Entertainment
Target walks
Didactic games
Working with parents
Examination of authentic folk products art, illustrations, albums, postcards, tables;
Exhibitions of children's works arts and crafts
Writing fairy tales, stories, stories about your work;
Use of health-saving technologies;
Forward planning
Middle group
September:
1. Conversation on the topic: "Introducing the Russian Matryoshka"
2. Didactic game "Collect a matryoshka doll"
3. Artistic word "Russian doll".
topic: “The influence of folk crafts on aesthetic education preschool children».
October:
1. GCD Topic: « Decorative drawing. Apron decoration"
2. Conversation on the topic: “The history of the matryoshka doll”
3. Didactic game "Dress up the matryoshka"
4. Artistic word "Eight wooden dolls"
On topic: "People's art and children's creativity"
November:
1. GCD Drawing Topic: « Decorative drawing. Sweater decoration"
2. Conversation on the topic: “Matryoshka is a beauty”
3. Artistic word “There is another toy for you”
4. Didactic game "Russian doll"»
5. Project “We, nesting dolls, love colorful clothes very much.”
December:
1. GCD Modeling Theme: "Big Duck with Ducklings"
2. Conversation on the topic: “Examining the decoration of a matryoshka doll”
3. Didactic game “Which matryoshka doll is the sundress from?”
4. Artistic word "Matryoshka - girlfriend"
January:
1. GCD Topic: « Decorative drawing. Handkerchief decoration"
2. Conversation on the topic: "Dymkovo toy"
3. Artistic word “Vyatka shuddered from the whistle”, “What is Dymkovo famous for?”
4. Didactic game "Assemble from parts"
topic: “The influence of folk crafts "Haze" for aesthetic education preschool children»
February:
1. GCD Topic: « Decorative drawing. Decorate your toys"
2. Conversation on the topic: “Where does the Dymkovo toy come from?”
3. Artistic word "Jolly White Clay", “Here is a smart turkey”
4. Didactic game "Make a pattern"
5. Entertainment "On a visit to the colors"
March:
1. GCD Topic: « Decorative drawing. Let's decorate the doll's dress"
2. Conversation on the topic: “Primary colors of Dymkovo toys”
3. Didactic game "Dress up the lady"
4. Artistic word “The nannies are going for a ride”, "Beyond the icy water"
5. Consultation for parents topic: “Artistic and aesthetic education of a child in the family”.
April:
1. GCD" Modeling Topic: "Lamb"
2. Conversation on the topic: "Dymkovo Lady"
3. Artistic word "Merry bright rainbow"
4. Didactic game "Choose by color"
5. Project "Dymkovo beauty"
1. Conversation on the topic: “What is the mood of the Dymkovo toy”
2. Didactic game "Guess and Tell"
3. Artistic word “We brought clay...”, "Many fabulous places"
4. Consultation for parents on topic: « Decorative and applied arts - for children»
Forward planning
Senior group
September:
1. Conversation on the topic: "Dymkovo Fairyland".
2. Didactic game "Collect a picture"
3. Artistic word “With ribbons, bows, arm in arm with dandies”.
4. Entertainment "Visiting the Masters"
October:
1. GCD Topic: “Beautiful birds. Decorative drawing based on Dymkovo painting."
2. GCD Topic: "Funny toys". Drawing of the Bogorodskaya toy.
3. GCD Topic: «» Goat." Modeling based on the Dymkovo toy.
4. GCD Topic: "Dymkovskaya Sloboda". Drawing based on Dymkovo painting.
5. GCD Topic: “Acquaintance with Gorodets painting”. Drawing.
6. GCD Topic: "Gorodets painting". Drawing.
7. Conversation on the topic: "Dymkovo wealth"
8. Didactic game "Make a pattern"
9. Artistic word “To the sorceresses of the Vyatka native land”.
10. Consultation for parents "Children's toy".
November:
1. GCD Topic: "Olesek". Decorative drawing based on Dymkovo painting.
2. GCD Topic: "Bookmark". Drawing based on Gorodets painting.
3. GCD Topic: "Painting of an oleshka". Drawing based on folk decorative patterns.
4. Conversation on the topic: "Dymkovsky Oleshek".
5. Didactic game “Make a picture from memory”
6. Artistic word "Horned Goats", "On a summer day, a fine day".
7. Project "Miracle Masters of Rus'"
December:
1. GCD Topic: “Gorodets painting of a wooden board”. Decorative drawing
2. Conversation on the topic: "Merry Town"
3. Didactic game "Gorodets patterns"
4. Artistic word “There is an ancient city on the Volga...”, “You will go down the Volga...”
January:
1. GCD Topic: "Gorodets painting". Decorative drawing
2. GCD Topic: “Based on Gorodets painting”. Drawing
3. Conversation on the topic: “Khokhloma painting, like witchcraft”
4. Didactic game “Make a Khokhloma pattern”
5. Consultation for parents “What toys should I buy for children?”
6. Artistic word "Carved spoons and ladles", "Terem, terem, teremok"
7. Entertainment. Leisure evening – "Masters of Great Rus'"
February:
1. GCD Topic: "Golden Khokhloma". Drawing.
2. GCD Topic: “Based on Khokhloma painting”. Decorative drawing.
3. Conversation on the topic: "Khokhloma beauty".
4. Artistic word "Khokhloma painting", “Khokhloma brush, thank you very much!”
5. Didactic game "Collect a picture"
March:
1. GCD Topic: "Getting to know the art of Gzhel painting» Drawing
2. GCD Topic: “Draw whatever pattern you want” Drawing
3. Conversation on the topic: "Blue - blue miracle"
4. Didactic game "Name it correctly"
5. Artistic word “Legend-fairy tale. “Where does the color blue come from in Gzhel?”
6. Project "Fairytale Gzhel"
7. Target walk in the mini-museum of the kindergarten
April:
1. GCD Topic: "Rooster" Modeling based on Dymkovo (or other folk) toys
2. GCD Topic: "Rooster Painting". Drawing
3. GCD Topic: "Gzhel patterns". Drawing
4. Conversation on the topic: "Gzhel patterns"
5. Didactic game "Guess and Tell"
6. Artistic word "Porcelain teapots", "In the quiet suburbs of Moscow"
7. Entertainment "Journey into the world of folk toys"
1. GCD Topic: “Painting silhouettes of Gzhel dishes” Drawing
2. Conversation on the topic: “Examining Gzhel dishes”
3. Didactic game "Gzhel patterns"
4. Artistic word “There is such a place in the Moscow region”, “What could be more beautiful than Gzhel?”
Forward planning
Preparatory group for school
September:
1. GCD Topic: « Decorative drawing on a square"
2. Conversation on the topic: “Acquaintance with the signs of folk ornaments”
3. Didactic game "Folk Crafts"
4. Artistic word "The Tale of the Hero Ivan"
5. Entertainment "Miracle - Upper Room"
6. Target walk to the pottery workshop
October:
1. GCD Topic: "Curl". Decorative
2. Conversation on the topic: "Bouquets from Zhostovo"
3. Didactic game “Collect the picture from memory”
4. Artistic word “A fairy tale is a legend. "Flower - Fire and Flower - Snowflake"
5. Consultation for parents "Folk culture in children's creativity"
6. Project « Arts and crafts»
November:
1. GCD Topic: « Decorative drawing based on Gorodets painting"
2. GCD Topic: "Dymkovo ladies". Modeling
3. Conversation on the topic: "Red Sundress"
4. Didactic game "Pick a suit"
5. Artistic word “Proverbs about Russian folk costume”
December:
1. GCD Topic: "Bird". Modeling a Dymkovo toy
2. GCD Topic: « Decorative drawing based on folk painting"
3. Conversation on the topic: "Bogorodskaya carved toy"
4. Didactic game "Guess and Tell"
5. Artistic word "Knock, knock...", “She was famous, as she was famous...”
6. Entertainment "Fun Fair"
January:
1. GCD Topic: "Bouquet of flowers". Decorative drawing
2. GCD Topic: "Horses are grazing". Drawing decorative plot composition
3. GCD Topic: "Turkey" Modeling of a Dymkovo toy
4. Conversation on the topic: "Gifts of the White-trunked Beauty"
5. Didactic game "Assemble from parts"
6. Artistic word "Tuesok"
February:
1. GCD Topic: « Decorative drawing based on Khokhloma painting"
2. Conversation on the topic: "Golden Khokhloma"
3. Artistic word "The Legend of Golden Khokhloma"
4. Didactic game “Make a Khokhloma pattern”
5. Consultation for parents "Acquaintance children with Khokhloma painting"
6. Project "Folk Crafts of Russia"
March:
1. GCD Topic: « Decorative plate» Modeling
2. Conversation on the topic: "The Miracle of Filimonov Whistles"
3. Didactic game "Guess and Tell"
4. Artistic word "My toys", "Filimonovskaya village"
5. Project "Golden hands of the masters"
April:
1. GCD Topic: "Composition with flowers and birds". Decorative drawing based on folk painting
2. GCD Topic: "Curl". Decorative drawing based on Khokhloma painting
3. Conversation on the topic: “Acquaintance with the Lipetsk toy”
4. Didactic game "Guess by the description"
5. Artistic word "Vologda lace patterns", "Lace in Dragonfly Wings"
1. Conversation on the topic: "Patterned board"
2. Didactic game “Paint the handkerchief”
3. Artistic word “Red roses on a black background...”, “We worked on the pattern”
4. Consultation for parents "People's decorative and applied arts in patriotic education preschoolers»
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CLUB PROGRAM
in decorative and applied arts
"Masters - Wizards"
(for children of senior preschool age)
1. Explanatory note
2. Educational and thematic plan
4. Long-term work plan (6-7 years)
5. Methodological support
6. Bibliography
7. Pedagogical examination in arts and crafts
Application to the program:
· Didactic games
· Phys. minutes
· Lesson notes and attachments to presentations.
· Legends, myths and fairy tales for introducing arts and crafts.
· Arts and crafts coloring pages.
· CD with presentations.
· Demonstration material, albums.
Explanatory note
"The highest form of art,
the most talented, the most brilliant
is folk art,
that is, what is captured by the people,
preserved what the people carried through the centuries.”
The program provides for introducing preschoolers to Russian folk crafts and includes an introduction to the symbolism of Russian decorative art and its meaning. Work on decorative and applied arts is designed for 1 year. This program is aimed at developing children's creative abilities and aesthetic education of children.
Folk arts and crafts - one of the means of aesthetic education - helps to form artistic taste, teaches us to see and understand the beauty in the life around us and in art.
Folk art, national in content, can actively influence the spiritual development of a child, the formation of moral and patriotic feelings. Works of folk art reflect love for the native land, the ability to see and understand the world around us. In the content of most folk works, much comes from nature - from the earth, forest, grass, water and sun, from all living things that people love and appreciate.
Folk art contributes to the artistic education of children, since it is based on all the specific laws of decorative art - symmetry and rhythm. It is accessible to children’s perception, since it contains content that is understandable to children, which specifically, in simple, laconic forms, reveals to the child the beauty and charm of the world around him.
The main point of the widespread use of folk decorative art in working with preschool children is to cultivate the prerequisites for a feeling of deep love for one’s Motherland, for one’s people, a sense of patriotism, self-awareness, and awareness of one’s national identity. This is just the beginning of the development of such complex feelings. A complex, deep, conscious feeling of love for the Motherland and people is formed much later, but only if the fontanel of the first feelings clogged during preschool childhood.
Decorativeness, expressiveness of color and plasticity, patterned patterns, variety of textures of materials - these are the characteristic features of works of folk decorative and applied art.
Currently, folk art is widely used in the artistic education of children. Authentic examples of folk art and modern works of decorative art are used in classes and in the design of kindergartens.
The presence of artistic abilities in children 5-7 years old is the key to successful schooling, so these abilities should be developed as early as possible. Drawing, modeling and applique classes contribute to the development of the child’s creative imagination, observation, artistic thinking and memory. Correct guidance of the aesthetic development of children is possible only as a result of studying and knowing their age and individual characteristics. When developing an interest in visual arts, you should be attentive to each child, be able to help him give the necessary instructions, support the desire to do a good job and objectively evaluate his efforts. It is in the visual arts that each child can show his or her individuality.
Acquaintance with folk arts and crafts helps to solve the most difficult problems facing teachers in the field of aesthetic education of the younger generation, expansion and development of children's artistic ideas, spiritual needs, skills in evaluating works of art, the development of artistic taste, and an aesthetic attitude towards the environment.
Systematic mastery of all necessary means and methods of activity provides children with the joy of creativity.
The novelty of the topic lies in the fact that it shows the developing functions of the decorative and applied arts of the peoples of Russia as an integral ethnic, cultural, historical and socio-pedagogical phenomenon. That these functions in their integrated form are aimed at ensuring the personal growth of children. Based on this, the work is based on the artistic education of preschool children, combining reliance on cultural tradition and innovative orientation.
Folk arts and crafts in the aesthetic education of children.
Folk and decorative arts are an integral part of artistic culture. Works of applied art reflect the artistic traditions of the nation, the worldview, worldview and artistic experience of the people, and preserve historical memory.
Folk art develops according to its own laws, determined by its essence, and as an independent type of creativity interacts with another type of creativity - the art of professional artists.
It is especially important to note that folk art, as part of spiritual culture, can be a source of ideas and inspiration for professional artists. The paintings of wonderful old masters A. Venetsianov, V. Vasnetsov, M. Vrubel, K. Petrov-Vodkin, V. Popov embodied folk ideas about the world, the greatness of man and nature, the commonality of traditions in ancient Russian art and folk art.
Works of folk art have spiritual and material value, are distinguished by their beauty and usefulness. Masters of folk arts and crafts create their works from a variety of materials. Great importance in folk art is given to the ornament that decorates an object (thing) or is its structural element. The motifs of the ornament have ancient mythological roots.
Folk art has lived for centuries. Technical skills and found images are passed down from generation to generation, preserved in the memory of folk artists.
Decorative art is one of the types of plastic arts. Decorative art is divided into those directly related to architecture - monumental and decorative art (stained glass, mosaics, paintings on facades and interiors, decorative garden sculpture, etc.), decorative and applied art (household art products) and design art. Recently, decorative art has been classified as design. Works of decorative art are always related to the environment for which they are intended, and usually form an ensemble.
The decorative image expresses not the individual, but the general - “specific”, “generic” (leaf, flower, tree, bird, horse, etc.). A decorative image requires artistic and figurative thinking, a mythopoetic attitude to reality.
Therefore, in folk art it is customary to highlight image-types of products of traditional artistic crafts, which reflect the mythological and aesthetic ideas of the people. For example, the image of a bird, a horse, the tree of life, a woman, signs-symbols of the earth, water, the sun can be seen in various artistic materials: embroidery, weaving, painting on wood and metal, wood carving, ceramics, etc. At the same time the universality of image-types in the art of different peoples of the world shows their unity, associated with the commonality of approaches to the process of aesthetic cognition of natural and social phenomena.
Folk art is a holistic phenomenon, since its basis is the life and way of life of people, their ideas about the universe, work activity, rituals and holidays. Objects of folk art materialize the imaginative thinking of the people. Over the centuries, different types of folk art have developed and improved in unity: oral folk art, musical folklore, decorative and applied arts, architecture.
Folk art is, first of all, a huge world of spiritual experience of the people, its artistic ideas are an integral part of culture. Folk art is based on the creative activity of the people, reflecting their self-awareness and historical memory. Communication with folk art, with its moral and aesthetic ideals developed over centuries, plays a significant educational role. The appeal of folk art to people and the impact on their intellectual, emotional and sensory spheres opens up great opportunities for the use of traditional folk arts and crafts in the education system.
The theoretical foundations of folk art, its essence and significance as an artistic system as a whole were substantiated by leading domestic scientists and others. In their works, the main laws of the development of folk art were defined as “collective principle” and “nationality”.
He was one of the first researchers of folk art who recognized the high artistic and scientific value of “peasant” art. He defined artistic traditions as “folk style.” The scientist believed that tradition is capable of change, internally and externally it is mobile. According to Voronkov, decorativeness, constructiveness and ornamentation in peasant everyday creativity “affirm the indisputable right to be called art” and “are a characteristic summary feature by which one can always distinguish and highlight the product of artistic peasant labor.”
For a long time, the traditionalism of folk art was understood mainly as the antiquity of its images, forms and techniques, the stability of their preservation and continuity in development. The authors of modern studies in the field of art history consider traditions as a dialectical phenomenon associated not only with the past, but also with the present and future.
considers folk art as a creative, cultural, historical system that asserts itself through the continuity of traditions and functions as a special type of artistic creativity in the collective activity of the people. And each nation carries its own culture of poetic, figurative and craft traditions. With traditions in folk art, not only skill is transmitted, but also images, motifs beloved by the people, artistic principles and techniques. Traditions form the main layers of folk artistic culture - schools and at the same time determine the special vitality of folk art.
It is impossible to underestimate the power of tradition for the development of folk art. quite rightly substantiates the artistic richness of images, forms, means and techniques precisely on this. She believes that only what is particularly unique in national systems, in regional systems, in systems of folk art schools can determine the life of folk art as a cultural center; only living tradition provides the way for its development. The law of tradition turns out to be the main force in development.
It is very important that folk art, with its metaphors and symbolism, is living creativity and at the same time a historical living memory, a memory of the origins of culture. It brings the experience of knowing the world. The integrity of folk art as an artistic structure is the key to its understanding. Tradition in this case is a creative method.
The traditional appears in folk art in the form of a system for which the following aspects are important: the connection between man and nature, the expression of national, schools of folk art (national, regional, regional, school of individual crafts).
Gave the most complete definition of the concept of “school”. She believes that this concept necessarily includes cultural continuity, that is, folk art is an artistic system shaped by tradition.
The main person in the artistic craft is a folk master, a special creative personality, spiritually connected with the people, culture, nature of the region, a bearer of traditions and collective experience.
In every touch of the master’s hands on the thing he creates there lives a feeling of beauty, organic to the internal structure of popular perception. National temperament and national character are expressed in folk art. They largely determine the variety of forms of folk art. In folk art, artistic skill, technical dexterity, working methods, and motives are passed on from master to student. The artistic system is developed collectively.
To create an artistic image of a thing, the material, methods and nature of its processing are important. The use of natural materials is one of the traditions of folk art. Each school had a system of proven labor techniques, technology based primarily on the properties of the material being processed.
In every craft, tools and devices are also traditional, since their appearance and principle of operation directly depend on the properties of the material being processed.
Mastering the skill occurs on the basis of the main principles of folk art - repetition, variation and improvisation. If all the master’s students go through the stage of repetition and variation without fail, then only the most talented students are allowed to work at the level of improvisation, who can become real students of their craft.
Children are introduced to the basics of arts and crafts in all education and training programs in preschool institutions, but the methodological recommendations that are available in the programs are not enough or there are very few of them. Having analyzed the Rainbow education and training program, I considered it advisable to use a more in-depth acquaintance with folk art in my work.
Necessity This program exists because we live where it is not possible to see the direct technological process of making artistic tableware, household items and toys. And the children do not have the opportunity to come into contact with decorative and applied arts - to hold in their hands products from Gorodets painting, a Dymkovo toy, objects with Gzhel painting, etc. Therefore, I set myself the goal of giving children the joy of creativity, introducing them to the history of folk art, show examples of modeling and working with a brush, introduce figurative stylization of plant and geometric patterns.
Expected Result:
- Recognize and name familiar types of folk arts and crafts; They are able to compare objects of familiar types of art, find their similarities and differences; Apply skills and abilities acquired in class independently and creatively.
- Types of folk arts and crafts are distinguished and named; Able to independently analyze the product and design; Characteristic means of expressiveness are identified: elements of the pattern, color, combination of colors, composition of color spots, symmetrical and asymmetrical pattern of the composition, etc. The product is painted in accordance with folk painting; Apply acquired knowledge, skills and abilities in their work;
Methods for assessing program effectiveness:
Quantitative analysis:
- attendance; static data; recording activities in the work log; tracking the result (observation, diagnosis); practical materials.
Qualitative analysis:
- formation of new skills and abilities; analysis of the success of activities in achieving goals; analysis of diagnostic material; comparative analysis of the initial and current state of the problem.
Summing up form The implementation of this program is: participation of children in KVNs, entertainment, holidays, leisure activities dedicated to folk crafts, children's exhibitions in kindergarten and beyond.
The proposed program is variable, that is, if the need arises, adjustments to the contents and forms of classes, and the time for completing the material are allowed.
The program can be used in the work of studios, clubs, as a specialized one, for additional education of children in artistic and creative development, as well as within the framework of educational programs in the section “Artistic and Aesthetic Education” in order to familiarize children of senior preschool age with folk and decorative arts. applied arts.
The program was also tested in kindergarten. Children's great interest in folk culture, and in particular in Russian folk art, and the desire to create decorative items on their own prompted them to organize a “Masters - Wizards” arts and crafts group in kindergarten.
Educational and thematic plan
Arts and crafts mug “Master Wizards”
on the topic: “Formation and development of the foundations of a child’s artistic culture through folk arts and crafts”
No. p/P | Topic name | Total number of lessons |
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Theory | Practice |
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Arts and crafts, folk crafts of Kuban. | ||||
Excursion to the Kuban hut of the kindergarten. | ||||
Quiz “I love and know Kuban crafts” | ||||
"Dymkovo toy" | ||||
"Filimonov toys" |
