The psychological condition for the development of children's artistic creativity. Psychological and pedagogical aspects of artistic art of children of preschool age. What we will do with the resulting material

04.03.2020

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Elena Ivanovna Nikolaev
Psychology of children's creativity

My parents - Ivan Efimovich and Lyudmila Petrovna Nikolaev - I dedicate this work

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Introduction

Creation, we create ourselves.

Jan Amos Komensei

The word "create" in Russian has two opposite values. The first is associated with the creation of what previously did not exist, and therefore it has a shade of admiration, admirement before this new phenomenon. The second, on the contrary, denotes the destruction of what was created by others and has an additional skeptical sound manifested in the phrase: "Well, you have done!"

In these two values, all the diversity of children's creativity is concluded. In the process of creation, the child is quite often "creating" destroying. Something inside the baby makes him disassemble the dear, just a purchased toy on the part, smeared the plasticine onto her lacquered elements to create a private unique car. In the process of turning a brilliant stamped "Mercedes" into the plasticine covered, the creation of a child's shower blooms, embraced by a flame of creativity, and in his eyes, instead of pity for the expensive thing, the proud celebration of the creator, who saw the embodied dream created by his hands. All this happens under often condemning views of others who cannot understand: Why spoil the beautiful, habitual to make unusual, ugly.

Adult and the child look at the world with different eyes. For the last value of things, it is still not determined by the number of money spent on its purchase, but its own embedded efforts to create its creation. To understand the world, the baby needs to disassemble it on the part, as the engineer makes the engineer, constructing a new device.

Creativity of the child and adult has fundamental differences. For an adult real result: Picture, building, book, aircraft or rocket - what is created by his hands and is the immediate goal of creativity. For a child, this is only a by-product of the main result - the creation of self. Drawing, moving to the music, rolling words that appeaset lightly, writing a song to her poems and fantascing before bedtime, the child knows himself and tests the world, adapting herself to his surrounding.

The second feature of children's creativity is its totality: it is characteristic of everyone without exception to children before the adolescence, when the entry into the adult community encourages most of the people to abandon the adaptation by creativity. The easiest way to be accepted into this community is to become such as everything. The society is extremely aggressively in relation to everything that threatens its sustainability and constancy. Children may differ in the ability to have their nature in certain types of creative activity, but the very creativity is an indispensable attribute of the formation of their personality.

From this point of view, the difference between children's and adult creativity is comparable to the difference between written literature and oral folk creativity. Written literature can only be created by those who studied in writing, and often the rules for writing texts, those who have a special sense of language and extensive experience in observing the events occurring in the world and between people. People's poetry is poured directly from the heart, it does not know the rules, but subordinate to some patterns inherent in the rhythm of this people and the method of his life. It relies on the memory of the people transmitting it, and therefore it is constantly changing according to the mood and tasks of a new storyteller.

Extremely rare in history there are incredibly gifted children, early beginners to create masterpieces that are becoming another diamond in the treasury of world culture. Analysis of these phenomena is the subject of the psychology of giftedness. The psychology of children's creativity studies not these unique phenomena, but the daily achievements of ordinary children who may not notice their parents and who do not represent interests for the general public, but are milestones in the formation of children's personalities, important stages of their socialization in this world.

The textbook discusses consistently the concept of creativity, psycho-physiological features of children's preschool age, providing its possibility, factors affecting its manifestation. Separately analyzed the types of children's creativity: artistic, musical, verbal, gaming. It is concluded that creativity in preschool childhood is a mechanism for adapting a child to the world in which he has to live. Special attention is paid to the joint creativity of an adult and a child, in which the compound of the advantages of each age is possible to obtain the greatest result - the formation of a holistic personality.

The author is grateful to all parents who were able to fix the moment of creative activity of the child on amateur pictures and provide them as illustrations to this book, all those who carefully keep drawings and poems of their children, which made it possible to make this book more evidentia and brighter.

Chapter 1
Creativity in the world of adults

We would well get to know the soul of an adult, if they could look into it freely, but in the activity and in the words of an adult we only have to guess his soul, and we often make a mistake, while the child in their games discovers all their mental life without pretending.

K. D. Ushinsky

1.1. Determination of creativity

Creativity means the creation of a new one, which can be understood as transformations in the consciousness and behavior of a person, and generated by it the products that he gives others. This is a broad understanding, and according to it not only created paintings, cars, theories, but all the facts of personality growth of a person can be considered as creative. There is an even wider definition, in accordance with which there are non-informative processes and non-personal dispositions in the center of creativity, but the existential problems of the human being in the world, its openness of new opportunities. Some researchers narrow the term "creativity", including only cognitive activities in it, which leads to a new or unusual vision of the problem or situation.

These definitions are associated with the assessment of the creative process by its result. T. AMABIL (T. AMABILE) adds that the product or reaction will be estimated as creative if they are new, useful, adequate and significant answers to the task set, and also if the task itself is heuristic, not algorithmized. If the previous descriptions of creativity are sufficient common, then in the last definition, the criteria for assessing what can be considered creativity is concluded, and what is not. Among these criteria, the result achieved by a creative personality is significant, the method of obtaining this result and the usefulness of this decision for humanity.

But with any definition, the whole world of culture is a product of human creativity. All objects of everyday life were once in the imagination of their creators, and now have become crystallized, or implemented, imagination. Someone once first introduced mentally, and then created those items that surround us. It is not only a modern technique: TV, computer, telephone, car, plane, motor ship, but also all cutlery: plates, spoons, forks, knives, all furniture, houses, clothes - everything is invented by people. Once they did not exist. Huge pyramids, majestic temples, slender buildings, roads and bridges, dams and airports, as well as simple stools first arose in whose consciousness as possible (Fig. 1.1).

Fig. 1.1. Gustav Kourbe "Atelier"

Creativity exists not only in the workshops of great artists or in partures of famous composers. It is everywhere where a person imagines, combines, changes and creates something new, no matter how small it seems in comparison with the monuments of the Great Past. Just like a huge elephant and tiny bug in the same way, the creatures of nature, a small match, a diesel engine and a blast furnace equally make up the result of the creative process of a person. And as many factors influenced the evolution of species living today on Earth, a huge number of people made their own contribution to the creation of objects that are now owned by humanity.

Even the creativity of lonely titans is based on what was created by predecessors. The pictures of Leonardo da Vinci appeared on the wave of revival, when a large number of artists turned their eyes to the classic art of the ancient Greeks and the Romans, who had already had a long journey in the study of the human body and its image. Single scientists, formulating new hypotheses, rely on the predecessors predecessors mined by their knowledge of knowledge, even if they refute, and do not confirm them. Nikolay Copernicus, offering a heliocentric picture of the world, repelled from Ptolemeev's vision of the universe. And, perhaps, do not be this earlier picture of the world, Copernicus would create not his own, and Ptolemeevskaya. A. Gaudi, imagined a unique cathedral, saw many cathedrals built by other architects, and organized the masses of people to embody their idea. Similarly, things surrounding humans are the result of long collective creativity, when everyone makes a fellow attitude, often so strikingly changing the subject that it would hardly be recognized by those who first began the process of creation.

And now everyone who only goes beyond the trivial, habitual, gives things a new meaning, a new appearance, a new function, turns into a creator, although it is possible very small (Fig. 1.2).

Fig. 1.2. The child uses a pot in a new quality - as an interesting toy with many actions

Following O. Gkin L. S. Vygotsky highlighted two types of activity in humans:

Reproductive, in which a person in one way or another repeats the techniques created or earlier;

Creative, in which a person creates something that has never seen.

Creative activity begins with a dream, because the new one must first imagine, designate, name. That is why creativity makes a man being facing the future, creating him and modifying its present.

1.2. Types of creativity and directions for its research

According to the type of product, which is obtained as a result of creative activity, the creativity of artistic, intellectual and technical is distinguished. What is common between the picture of Rembrandt, verses A. Akhmatova, Symphony of P. Tchaikovsky and the Cathedral of the Holy Family (Sagrada Família) architect A. Gaudi in Barcelona? What is common between all this and the aircraft built in KB Ilyushin or the theory of relativity A. Einstein? One can only be seen, another - just read, the third - just hear, and the fourth one - to see, hear and feel, in the fifth - to sit down and fly to another city, and the sixth one can not see or hear nor to swell and even not necessarily - understand. But all this is an embodied dream. All this was once only in the imagination of their creators and now available for perception by others.

Externally, so incompatible artistic, intellectual and technical creativity in practical implementation are extremely related. In any imagination, the artist needs a strict calculation in building parts in the picture, the ability to primer canvas, mix the paints, the architect should not only sketch the appearance of the future building, but also to know how to embody it on a concrete area in certain seismic conditions, how to bring heat and water how to achieve the best lighting. Their knowledge is drawn from theories created by scientists based on a limited number of abstractly selected conditions. But the same conditions also enjoy the inventors seeking to execute their technical innovations in aesthetic forms, so the exhibition of modern models of cars is not much different from the opening day in the art gallery.

Attempts to understand how a person creates the fact that it did not exist before it, why are some kind of masters with their own hands, and others draw imaginary images in the head, occupied people, perhaps, from the moment this new one was first produced. Therefore, it has now accumulated a huge number of works, the authors of which are considering the process of creativity from different sides, being often on opposite theoretical positions. However, this has not led to the creation of a generalized picture of the creative process, but to disappointment due to its absence. There was even a comparison of scientists dealing with this problem, with the blinders trying to imagine the elephant, holding it for different parts: someone holds the tail, someone - by foot, and everyone is trying to restore the holistic image.

D. A. Leontyev allocates three main lines of research of creativity. First, it is studied at an angle of view of the ability, gifting, talent, including specific cognitive processes, such as intelligence, divergent thinking, solving problems. Secondly, creativity is assessed as a personality characteristic, and the question of its features is raised. Thirdly, it is considered as an activity in the context of life, social relations. Obviously, by setting different tasks, researchers come to unequal results.

1.3. Creativity as a process

Describing creativity, one part of the researchers is focused on the result resulting, the other is on the process of obtaining it.

Many scientists tried to understand the conditions for the birth of a new and sequence of events occurring. T. Ribo allocated three phases in the process of generating a new solution:

Accumulation of facts or experience;

Aging (or surrounding) of the future project or image;

Birth of a new one.

The aging process seems to be the least clear, as it happens mostly unconsciously. "When this hidden work is sufficiently fulfilled, the idea of \u200b\u200bthe decision is suddenly, as a result of intentional mental tension or with some mental remark, as if the veil, behind which the image of a suspended solution was hidden."

The scientists themselves often say about such a sequence. One of the most famous memories of the birth of the hypothesis was left by A. Poincaré - French mathematician, which opened the properties of automorphic functions. Starting work on the equations, the decision of which was not given to him, he interrupted it and went to the geological expedition. It was there when he was maximally distracted from the previous task and practically forgot about it, he was visited by the decision: "When we arrived in Kutan, we sat down in Omnibus to go somewhere else. And at the moment when I put my foot on the footboard, without any visible preparation of thought, the idea came to me that the transformations that I used in the definition of automorphic functions are identical to the transformations of non-child geometry. " Poincare was a researcher, and therefore tried to understand how a new solution was happening in him. He suggested the existence of a special entity - "subconscious I", which unconsciously mixes mental mind atoms - ideas. When an interesting, corresponding task and aesthetic requirements are formed, it enters consciousness. There are modern followers of such a presentation that suggest the presence of an unconscious mechanism that is responsible for the formation of random recombinations of ideas and selective playback.

Another equally well-known scientist of the XIX century - Herman Helmgoltz - suggested that the change of activities during the impossibility immediately solve the complex problem frees a person from fatigue, which provokes a solution. Now such a hypothesis is called the hypothesis of fatigue disappearance.

There is also a theory that an unconscious solution is ensured by the propagating long-term activation in the associative verbal network. This leads to the unification of remote pieces of knowledge. According to R. Woodworth (R. Woodworth), during a break in mental activity, incorrect associations that block the solution are weakened, which allows you to re-look at the problem. From this idea there was a hypothesis of selective forgetting, according to which the weakening of irrelevant information occurs in the working memory when the problem shifts from the problem, while long-term memory accumulates more essential information.

Louis Pasteur, relying on his experience, argued that the "chance of faithful to the prepared brain." Modern views developing this idea see the role of a break in the work that people who have long reflecting on the problem be distracted by it, take new information from the environment, which activates already available information, critical for solving, but not previously affordable for awareness .

Suddenness of visiting ideas is celebrated by many. Often it comes to an unusual time and in an unusual place: L. Beethoven and Ch. Darwin, according to their own testimony, the necessary thought came to the carriage, R. Descarte - in bed, Archimedes - in the bath. F. Schiller called the emerging state in the process of creativity "Surprise of the Soul". I. Brodsky in the Nobel lecture said: "The poet is a means of living the language ... Starting a poem, the poet, as a rule, does not know what it will end, and sometimes it turns out very surprised by what happened, because it often turns out better than they assumed."

From the triad of consecutive events, the external observer and the Creator himself can track only the collection of data and the birth of the idea. The internal process of generating new knowledge remains out of reach and for the observer, and in order, it is born in whom. This inaccessibility is fixed in the language for which talent is always "God's gift", since even many scientists, musicians and artists themselves did not doubt the ones of their own ideas. It is known that R. Descarte, when the thought of the analytical geometry came to his head, fell on his knees and began to thank God for his illuminated him. Composer J. Haydn, when he had a melody, symbolizing the birth of light in the "Creation of the World", exclaimed: "It's not from me, it is over!" .

By virtue of the features of the functioning of the psyche, a person is aware of the end result of the thought process, but not able to understand the path that led to it. This is a complex and long-term process: "When the point, requiring rationalization, changes, the introduction of something new, was found, was noticed, realized and as it were in the consciousness of the inventor, the peculiar process of tightening to this point and the various observation and various observations into it Knowledges that come to him: All these observations and facts seem to try on the central point and relate to the task that owns the inventor's thought, and there are many other unexpected comparisons in his head. "

Generalizing the numerous self-densities of creative people, M. Wallace increased the number of stages of creativity up to four. The sequence proposed by them is: preparation that includes the formulation of the task and initial attempts to solve it, incubation (maturation of the idea, distraction from the problem and switching to another subject), insight (sudden understanding of the solution) and verify the effectiveness of this solution. If the solution turns out to be incorrect, a new stage of incubation comes, or a person again begins to prepare, collecting the missing information. The need for this latter stage also emphasized A. N. Leontyev.

G. Altshuller tried, on the one hand, detail each of these stages, on the other hand, make them more versatile, suitable and to inventive creativity. His classification is not as much as the process of creativity, how much is an attempt to take the creative process itself. He allocated the following steps.

1. Analytical stage, on which the problem is selected, the detection of its main link, detecting a decisive contradiction that does not allow us to solve the problem in the usual way, fixing the immediate cause of contradiction.

2. Operational stage. It examines typical techniques for solutions in nature and in the technique, are searched for new methods of solutions by changes within the system under study, in external environment and in neighboring systems.

3. The synthetic stage includes the introduction of functionally determined changes to the system or to the methods of using the system, checking the applicability of the principle to solve other technical tasks and the assessment of the invention.

In this classification, the desire to take control is primarily an elusive stage - an unconscious solution to the problem - as the long and least predictable and rationalize the entire sequence of a creative solution. This classification is part of the theory of rational invention of TRIZ, which is successfully used in engineering practice.

However, this is the only theory by ignoring the unconscious side of creativity. Most other researchers focus on ripening stages, one of whose mechanisms is considered intuition (LAT. intueri. - intently, carefully watch) - the knowledge that a person has, not aware of how much it acquired this knowledge. Intuition allows you to see the problem situation as a whole, from different sides, taking into account all contradictions. At the same time, it is obvious that the use of the word "intuition" in this context is just a replacement of one incomprehensive mechanism (maturation of ideas, illumination) to others (intuition), is also inexplicable.

The maturation of the idea based on unconscious processes often occurs in a dream (his famous periodic table D. I. Mendeleev saw in bed -) or in another modified state of consciousness. For example, a huge number of wonderful works of art was born during the period of love, which, of course, changes the condition of the consciousness of the Creator.

Illumination V. Keler calls Insight (this is another option for the replacement of one term to others), K. Bühler - "Aha-experiences", but the change of terminology does not open the veil of the birth of a new one. A. V. Brushlinsky showed that the insight can be extended because the thought occurs instantly, but is formulated for some time. Such a birth of thought he called the unnoticed insight.

In his memoirs, the Creators mostly attach significance to sudden insight as the most emotional moment in their lives. The independent observer notes at the same time and greater logical work in the process of creativity (which is recorded in TRIZ). This external contradiction is easy to explain that the logical reflection eludes the self-surveillance (emotional events seem to us the longest ones), while internal work is not available to external observation. The psychological problem of the description of this phenomenon is related to the fact that many people get into the period of incubation, but not everyone is given to survive. Why the unconscious one can combine the scattered pieces of information into a single whole, while others it is not capable of such a courageous creative impulse (Fig. 1.3)?

Fig. 1.3. Why the unconscious one can combine the scattered pieces of information into a single whole, while others do not capable of such a courageous creative gust?

According to K. Dunkeer, in the process of insight, there is a constructing of thinking, which leads to a change in the solution search area. This constructing is due to the fact that something is seen as an obstacle in the task, and something as a means of solving it, some elements of the task may look like unchanged, others - like pliable, elements are seen as separate, then as connected.

Having understood different options for solving the problem, a person does not consider consistently all possible solutions, as the computing machine does, since many multi-step tasks could not be solved at all due to the large number of time required. Given this, Simon introduced the concept of heuristics, that is, such a method for finding options, which is more likely leads to a solution. In this case, the search paths are not accidental, but based on human experience. And the uniqueness of this experience, the ability to see the parts escaping from the philistine view allow you to find the most likely steps leading to the result. In this case, the sequence of steps offered by the theory of Altshuller is rationalizing the heuristics mechanism.

When describing the mechanism of artistic creativity, they are more relying on the concept of "catharsis" (that is, purification, Greek), proposed by Z. Freud. Many theorists believe that it is reacting that is the basis of aesthetic response. To become an object of creativity, something should hurt the artist, emotionally excited either the beauty of the external form, or the incomprehensibility of the content. Then his own vision is a piece of world The artist captures on canvas, and the inventor will reproduce in the formula. According to L. S. Vygotsky, Catharsis of the artist is the disposal of content with the help of art when the artist solves its own inner problem in the process of creation, using the form of creativity.

Thus, all researchers converge on the fact that creativity is a process that, as a firework, is illuminated by a sudden solution. But both the holiday is preceded by weekdays, so and this moment is always preceded by a long-term intense internal work.

Creativity is a mysterious process, the basis of which psychologists seek to understand for many years.

Psychoanalysis, starting with Sigmund Freud, tried to explain the craving for creative self-expression through the concept of behaviorists considered it anything other as a fixed way of behavior. And existential psychologists considered the creative process as an attempt to exit the usual framework of our existence.

In general, the psychology of creativity is currently trying to answer the question of how to find or find talent, from which factors it depends.

Most schools converge in one. They are not exhausted only by the ability to draw beautifully or play musical instruments well. They imply the opportunity to use past experience to create a completely new knowledge, the ability to move to the area of \u200b\u200bthe unexplored, to the new levels of realization of reality.

Thus, the psychology of creativity sees the main task of creating conditions so that a person can perform such transitions in his consciousness. And, of course, the development of these abilities begins in childhood.

Training in kindergartens and schools

Unfortunately, traditional education in the children's GBOU is being built to instill standard samples of behavior. The psychology of creativity is practically not studied here at all, although the mandatory program includes similar classes. The main task of schools is the teaching of the child in accordance with generally accepted concepts, and not at all in the disclosure of his creative potential.

Currently, there are alternative directions in pedagogy, which are aimed at developing hidden talents and children's capabilities.

School Mary Montessori

This is a very famous and favorite destination in pedagogy, arguing that every child is only need to help him find himself.

In the classroom in Montessori groups, a special environment is created, where children need to go beyond the scope of their usual action and solutions. As a result, they learn to think non-standard, find the independence of judgments and can reveal their abilities. Of course, this method has disadvantages. It is important that it takes into account not only the need to develop certain skills, but also the psychology of the child's creativity.

If kindergartens or schools with different learning and education methods do not meet parents' requests, they can independently deal with children, revealing their individuality and talent.

Independent lessons for the development of children

Studying creativity, psychology traditionally focuses on the ability to completely think and develop imagination. At the moment there are many games and exercises aimed at developing an unusual approach to solving problems. Even for the youngest children produce toys that develop fantasy.

The psychology of artistic creativity is exploring the possibility and forms, and also answers the question of how to remove the inner interference to the drawing process. A lot of schools have been created that allow not easy to learn drawing, but also change internally, become a more free person. So, if you want your child to know how to draw and create really unique works, you can offer him to start learning within one of such directions.

So, the psychology of creativity studies to go beyond the usual framework and allocated roles. This path is not simple, it can make a person both happy and unhappy. But if parents see unusual abilities in their child, they can help him uncover them. However, it is necessary to warn that choosing a life path to the very person, regardless of the opinion of even the closest people.

Consultation for parents

"Psychology of children's creativity"

Recently, international exhibitions of children's visual creativity are most popular worldwide, society is of particular interest and care for the development of the visual abilities of children. However, if in preschool age (a sensational period for the development of artistic abilities) a lot of children draws, then very few of those who continue to draw when the sensitive period ends. Compared to preschool childhood, to the 15-year-old age of children who addresses drawing, remains three times less.

With age, the circle of people capable of artistic creativity is significantly reduced, which is a continuation of the children's game. In elementary school, many children worsen musical abilities.

In order to understand the reasons for the attenuation of creative abilities at the time of the child's graduation, it is necessary to analyze the basic laws of the development of artistic abilities in ontogenesis.

Children's creativity psychologists include: choreography, visual, musical creativity, game, composition of fairy tales and poems, fantasy.

One of the types of children's creativity, which is of great importance for the development of artistic abilities in ontogenesis, is the visual creativity: drawing, modeling, applique. The basis for these more complex species of children's creativity is the movements for music and drawing. Thanks to the first, the overall movements of the baby are developing, thanks to the second, the transfer of these, while not quite coordinated movements on the sheet of paper, the wall, on the floor, depending on what is for the child is more convenient for self-expression.

Many parents are incomprehensible why the child does not want to draw on a sheet of paper, not a stingy wall, floor, table. Battle begins with developing artistic abilities for accuracy. Or the child is sitting at the desk and deals with less "dangerous" classes: laying and applique, then how to draw for a child it is important as well as to say.

In fact, the modeling and applique must be introduced not as certain types of classes, but as an addition to drawing. On the same sheet of paper, you can arrange images made using brushes and paints, plasticine, pieces of matter, cardboard, natural materials. Then the child will be understood by the meaning of the modeling and appliques as additional visual means to create the same picture, which he creates in collaboration with adults. But it is necessary to start it gradually, carefully when the child wants to use these additional visual means.

Drawing to the music according to the degree of positive impact on the emotions of the kid exceeds all other types of children's activities. The emotional impact of music is such that causes a child with a lot of associations. Movement of hand becomes smooth, and at the same time, confident. The child is not afraid to make it wrong, since his consciousness is subordinate to a higher law than the funny rules set by neat adults. Color and music, rhythm and graphics are fascinated by the baby in their magic world. The child becomes focused, his attention is concentrated on visual-hearing coordinations, and the movement of the hand is subordinate to the work of the "fascinated" music of the brain.

Thus, the natural need for each kid in motion and artistic self-expression finds its permission in the involuntary transition of shaped presentations arising from the perception of the musical work, in the movement of the body (dance) and hands (drawing) of the child. In the plastic drawing of the dance and the picturesque work of the baby reflects that great pleasure (muscular joy), which the child gets from movement.

The developing imagination of the child in the period of younger childhood contributes to the fact that the child can take any role in the game, express (movement, drawing, word) its attitude to other characters, can plan the plot of fairy tales, invent various fairy tale options.

Disrespects manifested by adults, to children's "doodles" (origins of graphics), color "spots" and "pink elephants" (the origins of painting), "meaningless" bouncing (the development of psychomotoriki), the wordness (the origins of literary creativity), finally, the game for the game (the origins of acting skills) creates a mass of barriers to the young artist on the way to self-realization, and very few children can overcome them independently.

Here is a small example of children's vision of the children's creativity: Ira girl at the age of about 3 years drawn typical of this age "Kalya-Mal" (in the form of circles) and demanded that Mom would hang her masterpiece on the wall. Mom sprayed: "What is drawn here?" Ira, outraging, said: "Well, you do not see, it is a steam locomotive!" Mom, having an art education, was able to see the semblance of a steam locomotive in these circles "Kalya-Mal". The work had to hang on the wall among all the pictures of Ira. It took 5 minutes, as a neighbor of a communal apartment entered the room, the boy Vladik, 3.5 years old. Standing in the door with wide open eyes, he spoke reluctantly: "Irka, what a locomotive you painted!"

A special place in the row of creative abilities of children is occupied by fantasy. Some psychologists identify it with imagination.

Fantasy is an artistic fiction based on the ability of a child, an adult to freely combine images arising in the unconscious. Whereas the imagination is a thought, cognitive process.

When the mental look of the artistic gifted child comes into conflict with the traditional form of training in the garden, at school, it begins to fantasize hard.

The higher the dissatisfaction of the schoolchildren by the system of his learning, the stronger the right hemisphere seeks to take control of the left, the further the child leaves rationalism towards the free, unmanaged sometimes even their creativity.

Thus, the cause of the attenuation of creative abilities by the end of school learning and, on the contrary, a very high need for reality is seen in neurophysiological mechanisms that adapt the child's psyche to the conditions and forms of training.

The traditional form of training is based on the development of the functions of the left hemisphere of the brain (logic, rationalism, emotional inhibition) to the detriment of the development of the functions of the right hemisphere (fantasy, creativity, emotional excitability).

Children, easily adapting to the school program, quickly lose the ability to music, visual, artistic creativity. On the contrary, the children who are included in the category of "Troechniki" are often very passionate about the one, the most important activities for their future, protecting against the left-hand "pressure" of leaving, the world of dreams and fantasies.

Many parents are wondering how to organize the teaching of the child to prepare him well to school, and then to the highest educational institution so that the child had the necessary amount of knowledge and at the same time did not lose creative abilities.

What way the child can learn, that is, becoming a student, remaining the artist, dancer, actor, musician, poet? How to remove this contradiction: or a student, or the Creator?

At the stage of preschool childhood, the main activity ensuring the most adequate conditions for the development of the controlling function

child's intelligence is a game. In figurative games, in the Games according to the rules, this important ability of the human brain is formed in the directorial game.

Moving, drawing, dancing, writing and playing, as well as constantly feeling respect and interest of adults to the results of their activities, the baby does not automatically restart from the kindergarten part of the school, but will enter a new social situation, having a generated mental database and confidence in the teacher. He will listen to the teacher and express his opinion, as it will be psychologically ready for cooperation. And if at school in the interruptions between classes in the child will be able to move and paint to the music, then to the next lesson, his hand and brain will be really rested.

Based on the work of the children's psychologist Ella Prokofyeye_

1.6 Psychology of children's creativity.

Despite the tremendous importance of preschool childhood for the entire subsequent development of artistic abilities, the psychological patterns of children's creativity are still insufficient.

Recently, international exhibitions of children's visual creativity are most popular worldwide, society is of particular interest and care for the development of the visual abilities of children. However, if in preschool age a lot of children draws, then very few of those who continue to draw, mature. Compared to preschool childhood, to the 15-year-old age of children who addresses drawing, remains three times less.

With age, the circle of people capable of artistic creativity is significantly reduced, which is a continuation of the children's game. In elementary school, many children worsen musical abilities.

The opposite is happening with literary creativity: every third teenager writes poems, leads a diary. However, most adult people need in literary creativity, as well as in the musical, visual, is lost.

In order to understand the reasons for the attenuation of creative abilities at the end of the child's child, it is necessary to analyze the basic laws of the development of artistic abilities.

Children's creativity psychologists include: choreography, visual, musical creativity, game, composition of fairy tales and poems, fantasy.

Previously, the child is beginning to manifest themselves the ability to move to music. In the first two years of life, the main thing is to pay attention to teachers and parents - this is the development of psychomotoric. However, in recent years there is too strong roll towards the development of thinking earlier than movements. Children move very little, especially for the music. But this is the basis for the development of all types of children's creativity. Thanks to the movements to the music, the child develops audio-motor, visual-spatial coordination, musical hearing, the child seizes with common movements, learns to manage their body. And it means that the work of the engine zone of the brain is activated - the foundations for the normal development of speech. The impact of the musical work, under the sounds of which the child moves, on the emotions of the dancing kid helps to establish a balance between the processes of excitation and braking, as well as emotional flexibility, switchability with negative emotions to positive. From early childhood, a child learns to manage his emotions due to the process of creativity, and not the controlling function of consciousness, which is sufficiently evolving only by 8-10 years, and finally - by 18-20 years old. However, choreography classes are often starting only in 4- 5 years when the sensitive period is missed. Classes turn into a formal performance of sufficiently complex movements, rarely different to that flexibility and plasticity, which is available to the baby.

The following type of children's creativity, which is of great importance for the development of artistic abilities in ontogenesis, is the visual creativity: drawing, modeling, applique. Unfortunately, the practice of kindergartens shows that the greatest place in the visual activity of children is given to the modeling and appliqués. Then as the basis for these more complex species of children's creativity is the movements for music and drawing. Thanks to the first, the overall movements of the baby are developing, thanks to the second, the transfer of these, while not quite coordinated movements on a sheet of paper, wall, on the floor, depending on what is for a child more convenient for self-expression. Many parents are incomprehensible why the child does not want Draw on a sheet of paper, not stingy walls, floor, table. Battle begins with developing artistic abilities for accuracy. Or the child is sitting at the desk and deals with less "dangerous" classes: laying and applique, then how to draw for a child it is important as well as to say.

A special place in the development of creative abilities of children is occupied by musical art. However, many parents and educators ignore the use of classical music (although recently a lot of excellent records of classical music, arranged specifically for kids) during classes are sold.

We ask the question, how to organize proper training so that the child would have the necessary amount of knowledge and at the same time did not lose creative abilities.

First of all, it is necessary to abandon the stereotypical opinion that childhood is only preparation for future adult life. The term "preschool childhood" creates in the minds of adults the image of the future schoolboy, and not today's kid. It is important to remove this psychological barrier on the way to understanding by the adults of today's, real child. The mining of children lives every day with the feeling that they are as they are today, they should not. And instead of revealing and developing, with the help of parents, teachers, their natural deposits, children turn into passive drives filtered and reworked by adult information about the world and evaluation judgments about themselves and the results of their activities.

Neuropsychologists have established that the factor of arbitrary regulation of mental activity is associated with the work of the frontal departments of the brain, morphogenesis and the functions of which continues to the twentieth age. An adult is able to set the goals of action, plan the sequence of optimal paths and ways to achieve them and monitor the implementation of the selected program of action, which requires constant comparison of the goal and intermediate results. It is this feature of an adult approach to the implementation of the task very often interferes with the development of children's creativity. Apparently, there is a natural idea of \u200b\u200bthe development of human abilities in Ontogenesis, according to which it is least those zones of the brain that teachers and parents are artificially trying to develop in the first place. Moreover, in terms of the development of arbitrary attention, adults sometimes impose even more stringent demands on their child than to themselves. The baby is experiencing incredible tension and tremendous difficulties, trying to concentrate his attention on the fact that at the moment it is not interesting to him, but it is important for a teaching and raising adult.

Free, involuntary, unregulated and directly emotional interaction of the baby with the world of its own sensations and ideas arising as unconscious impulses to the world surrounding the world sounds, flowers, odors, touch, reflection of these pulses in the drawing, dance, speech, fantasies - is the foundation on which is then built a system of conscious interaction with the world around the world and the world of its own experiences, cooperation with others and with himself. Only giving a child the opportunity with directly emotional interaction with the world of things and people involuntarily extract the perspective potential laid by nature, reflect this experience in various types of individual or together with adult creativity, you can throw a bridge to more arbitrary and regulated by the child and the families of education / Self-education and learning / self-education. Otherwise, this whole unlaced natural arsenal, with whom the child appears on the light, is supplanted deeply into the unconscious, it is filled with a mass of barriers and appears in dreams, fantasies, unconscious and uncontrollable outbreaks and attenuation of creative abilities.

What way the child can learn, that is, becoming a student, remaining the artist, dancer, actor, musician, poet? How to remove this contradiction: or a student, or the Creator?

At the pre-school childhood stage, the main activity that ensures the most adequate conditions for the development of the child's controlling function, is the game, including in relation to this work.

Perceptions, formation of mental operations. Thus, the formative stage of the experiment was aimed at developing the level of creative abilities of students in 3 classes based on circle work with natural material, by implementing the program presented above. This system of correctional and developing classes based on circle work with natural material will increase the level of ...

Retelling. In working with children, all these methods must be combined with each other. Consider how the above methods and techniques for the development of the creative abilities of younger students are implemented in practice from the experience of working qualified teachers. Chapter II. Extracurricular work on labor (from work experience) 2.1 Knitting as a branch of decorative and applied art knitting on the knitting needles - one ...

Trinity Trinity games and songs. Reproduction of the painting of Rublev "Trinity". Split wreath. Birch. Conclusion Working on the theme "Folk holidays, as a means of the adoption of younger schoolchildren to popular culture," I studied the program E.D. Cristmas, TS Shmagina, G.P. Sergeeva, D.B. Kabalevsky and other literature. Made the following conclusions: education and education in ...

D. Didro

4.1. Children's creativity and art

The artistic work of children includes drawing, modeling, applique. Applique allows the child to create on paper even when the hand did not grow up to designate what sees the eye. But it can stick the elements prepared by the adult to create the desired image. Drawing and modeling amenable to the efforts of the child later and require constant skill improvement to comply with the development of the perception and taste of the child. The free combination of all these types of artistic creativity to the more fully helps the child express their feelings.

Can a children's drawing become a work of art? Each drawing of a child is a manifestation of his work, but different children are inexplicitly gifted by the ability to him. Most likely, only individual drawings, however, as well as some of the paintings drawn by adults belong to works of art. That is why children's drawing can be divided into visual activities as the result of the drawing process (it is inherent in all children) and special art as the fruit of the child's artistic activity (characteristic of individual gifted children). This art is part of the world heritage.

If we consider art as a biased attitude to the world, then the child's attitude towards it is always like that. In the artistic work, not only the spiritual world of the author is reflected, but also the globility of the culture in which he lives. Getting Started to the drawing, the baby can already highlight the main thing, enter the color, grab the plot and rhythm to achieve expressiveness. Artistically gifted child does at its level the same as a large artist, but can not make bad, although professionally skillful. In children's drawings you can find all inherent in great art: and the desire for the knowledge of the world, and the naive realism, persuasiveness of expressive agents, the completeness and integrity of the image.

Drawing is developing as the child grows. Children have unequal accuracy, so there is a significant difference in their drawings and in the technique, and in maturity, and in artisticity. It is often determined not so much the abilities of the child as old as adults teach it. Creative gifts manifests itself by the end of the preschool age when children are divided into two groups. Gifted children start drawing on a general impression, seeking to reflect the visible circumstances of the drawing, approaching the image. Others more and more use stamps taken in society for the image of certain objects, on the contrary, more and more surrendering from reality. The leading cause of such a change in the figure of the second group of children is the development of speech.

When a child, drawing, unloads all the treasures of his memory, then this is done through, "told". The main feature of this method is the abstract, to which the verbal image is forced by nature. The dominance of speech leads to the oppression of the picture. Gifted children manage to slip away from this oppression.

Regardless of how the picture of the child with the art of adults relates, it is directly related to the construction of a children's speculative painting of the world, that is, he summarizes the understanding of the world's device achieved by the childish mind. At the same time, drawing is a kind of emotional unloading: accumulated from the memory tank is emitted, and above all that this tank overwhelms and is particularly disturbed by an inner feeling.

4.2. Universality of children's drawing

Wherever the child lived, whatever culture either belongs to, he will pass through the same stages of drawing development. Such universality of children's drawing is considered even as a confirmation of the psychobiological unity of mankind. In the drawings until certain time there are no signs of nationality. Even black children do not paint the faces almost until adolescence. These stages correspond to the development of the child's intelligence. The pre-school period begins with children's realism (see chapter 2) and ends with an adult look at the surrounding. At the same time, a modern child, resisting universality, is trying to express through the drawing a unique vision of his place in the world.

Starting to draw, the child gradually creates a small set of graphic rules, as if forming its own dictionary of fine funds. He came up with all his elements himself (never thinking about it and not denoting them as a dictionary). But they are indistinguishable from exactly the same elements that children paint themselves, their own, on the other end of the globe, but related to the same age. Such elements refers the semblance of a circle that it uses to draw the nose, ears, mouth, eyes, head and sun.

R. Kellog allocated 20 different types of doodles, which are developing in simple forms. Then the child combines them, constituting the "combinations" and "aggregates". Like words in speech, one and the same scheme is suitable for dogs, for the cat, and for chicken (Fig. 4.1). Children try different figures, but stopped on a small amount especially loved.

These schemes are considered as a result of the visual thinking of a child, its independent opening of the principle of similarity of objects and their elements. In this case, these elements constitute a dictionary with a child forms and are a sensorota equivalent of concepts (see chapter 2). We have already said that the child's intellect at this stage is called sensoros, since the absorption of the incentives of the outside world and mastering the space and will be the base on which the child's knowledge will continue. In primitive doodles, he formulates its generalizations, the work of thought on the classification of objects, searching for the order around it. R. Arnheim compares a drawing child with adults, developing a new language. Having a small margin of learning words, he is trying to express significant thoughts in the simplest sentence. Therefore, the drawing can be considered visible thinking.

Fig. 4.1. Picture of a child, where items are used for the cat, which can be successfully applied for any other living object (Emil, 4 years)

In most cases, the child does not draw something that he sees, but what knows, and even only what can convey words. This fact was notified at the end of the XIX century, the Italian researcher of Children's creativity Korrado Ricci. Trying to create on paper, the child depicts the basic idea of \u200b\u200bthe subject. That is why he draws a person or a cat equally regardless of whether they are next to him or he draws them in memory. Consequently, the child does not draw a subject, but its idea of \u200b\u200bthe subject, based on children's realism, that is, without taking into account internal links between objects. The outside world for the baby becomes only a pretext for drawing, in which he again and again creates its own model of the world. Thus, drawing, the child knows the world.

But the idea of \u200b\u200bthe subject is not the subject itself. Words do not describe the object, but only indicate it. Under the word "cat" hides an infinite number of real animals, very unlike each other. To draw them, you need to train a shaped memory. To designate them - enough words and those graphic elements that the child has already mastered. That is why all changes in the drawings occur slowly and gradually, reflecting the process of thinking kid. Offering a child a new technique before he approached the next step of intellectual development, an adult can disrupt this process of individual knowledge of reality.

Another universal sign of the children's drawing is the fact that in it figures do not obscure each other. This: impose one object to another means spoil one of them, disrupt its integrity and continuity. Since the figures can only be located nearby, then the sequence of their appearance on the sheet predetermines the space that will be given to each of them. That is why the sequence of the image of objects in the figure itself has patterns and is similar to the syntax in the verbal language: the proposal must be the main and secondary members. And each of them occupies an appropriate place. Similarly, in the figure: the object shown first, takes the part of the paper sheet, which, in turn, determines the place of other objects and implies the dependence of their significance on the volume of space given to them.

The versatility manifests itself in the fact that in its development the technique of children's drawing is moving in the footsteps of the ancestors. The same sequence and in the drawing of the child traced, and in the evolution of rock painting: the generalized contour appears first, then it is modified in schematic, which is further detailed.

In a child, the first images of the form fulfill a lot of goals and are very gradually detailed (as we already know, in accordance with the development of his thinking). The image from absolute freedom goes to the convention adopted in society. This means that in the figure, the unique childhood of the child will be replaced by gradually stamps for the image of typical objects corresponding to the requirements of society. Any training from this point of view is, on the one hand, the expansion of the child's vision range, on the other hand, is the restriction of this vision of the knowledge that are adopted in this community.

The image detail occurs in parallel how the child learns to think in images and see the details of these images. In order to lay out the details, he should know their difference, which means that the function. This is a gradual process of understanding the world. But this understanding does not have absolute independence, and occurs within the framework of culture. That is why for the majority of children living in the modern world, the attachment to culture means recognition of words that are called objects of objects. These words also have a cultural burden. The number of words that the object is empowered in this culture is to some extent approaching the child to the real object, and also emphasizes those or other specific parties.

The contour drawing of a child is a mirror of its logical thinking in the repayment period. In the contour drawing of a man first appears a chance, then an uneven circle, including the head, and the torso, is dismembered on these parts of the body, and finally the head is filled with the details: gradually the eye eyelashes appear, eyebrows, nos - nostrils, and around the face is improving Hair image, often with decorative details, such as a bow or oblique. The surrounding reality is detailed in the drawings, thereby indicating the deepening of the child's perception.

Another aspect of universality is associated with the same type of pattern correlation with its name. Initially, the kid learns objects in the drawing in the drawing process, so the name appears at the end of the figure. Then he draws and immediately calls his work. Finally, the name is ahead of the drawing. Such a sequence, including reflecting and speech development. However, the drawing in the child is not developing according to the laws of the language, but according to the laws of art.

This is due to the fact that visual thinking and memory is fundamentally different from verbal-logical thinking, which is formed in parallel with the development of speech. Draw a child begins, barely starting to speak, so words are inextricably linked with the images of objects. The right hemisphere is responsible for becoming the painting of the world with its addiction to detail, integrity, emotionality. The lack of knowledge leading to child realism allows you to record only obvious relationships.

These are just some aspects of cognition that are found in the drawings. At the same time, the drawing itself contributes to the development of visual and engine coordination, figurative, perception, formation of the picture of the child's world.

4.3. Stage Development of Children's Figure

The first children's drawings are called differently: both "Maragia", and "Kalyaki", "doodle". V. Stern relates them with children's bastard, emphasizing the fact that hesitated, and Kalyaki is the beginning of a new stage of the development of the world.

Before you start drawing, the child must learn to perceive someone else's drawing as an image of objects, only then, and his own activity will later be able to realize as creating such pictures. Gradually, there is a relationship in similarity between randomly drawn doodles and familiar subject, and drawing is included in the motor game displaying life situations.

Later, the word begins to make a symbolic value in the drawing; It fixes the connection of the pattern and the subject, which will allow to form the idea. Then kaleaks will be attached to this or that value. Finally, the child will begin to draw intentionally, preceding the process with his own intention or instructions of adults. The readiness to reproduce your own doodles is included in the emerging iconic function of consciousness: the child begins to give the doodle name, and graphic buildings acquire meaning.

Since the development of children's drawing is in several directions at the same time, the classification of the stages of its development turns out to be extremely controversial in different works, depending on what is considered as a development: the relationship of the name of the pattern and the drawing process, the complication of the graphic image or the plot of the pattern, the structuring of the space. We will allocate the stages of development within which we consider the stage or steps, although it is necessary to take into account that in various studies, the same levels of development may also be called stages and stages, and steps. It does not matter what to be called the stage, and what is the stage, it is important that these steps of development are noted by all the authors without exception. Moreover, the steps do not appear one by one. At one level of the development of the picture, each of the stages are represented in one form or another.

The first stage is the stage of the Karakul, or a kineette pattern, when the child captures his own movement on paper. Baby, taking a pencil in his hand, does not seek to draw something, he just tries his hand and admires any result obtained (Fig. 4.2). Accidentally emerging forms become material for the game, and the child's pleasure receives from simple activity on paper, paint spots, from how they replace each other. It uses the most familiar movements: chirk and circular movements.

Doodles are graphic traces made by finger, pencil, felt-tip pen, or any other subject that can leave a trail on the surface of the sheet, paper, tables, walls, wallpaper, etc. It may be points, stains, lines. A normal developing child begins to draw them aged around one year (Fig. 4.3). Gradually, in this process, there are coordination of sensations in the visual and motor sphere, which leads to more sophisticated lines, strengthening the pressure onto the sheet and the fact that vision has time to follow the movement of the hand. The child is aware that he can leave visible traces in this world.

Fig. 4.2. Child enthusiastic paint application

Fig. 4.3. Kalyaki baby (glory, 2 years 11 months)

R. Arnheim argues that drawing is a movement, that is, the drawing process is a type of human motor behavior, it developed from the most ancient types of behavior - gesture, descriptions of the form of the subject by its contour.

At the Karakul, the child passes several steps, each of which appears something new in its picture.

Another step to which the child goes (usually under the age of the year) is that it detects a certain relationship: except that the doodle left them can exist in themselves, they can also mean something else. He notes that adults are trying to bind what is on paper, with real objects. Then he himself begins to interpret what was drawn. However, too inaccurate image allows you to designate the same in the most different way, and therefore it can make a whole story in which the same form performs different functions.

Now individual images become elements of a graphic language, with which a child creates images of people, animals and items around him. Baby, like a wizard, can cause a creature to life. He painted them - and they are. He did not paint them - and they are not.

In the Egyptian myth, God, with the face of Ibis, writes the name of Pharaoh. And until he writes the name, Pharaoh does not exist. The child has a mythological thinking that is not sensitive to the facts (that is, the facts cannot change the presentation of the child, it changes only under the influence of another presentation), not sensitive to the number (the baby has not yet mastered the quantity and easily perceives one as much). It is strongly as long as the right hemisphere of the brain carries out a leading role in cognitive processes. As soon as the left hemisphere in connection with the development of speech will take this feature on itself, the child will be able to the logic of adults. In the meantime, he, like God, creates and destroys the small universes on his sheets of paper.

The next step in the development of the sheet space will be the feeling of the edge. It arises between the first and second year of life. If in the first drawings, the child easily entered the edges of the drawing, without noticing this, reflected in the recovery movement itself, now it already sees the drawing boundary, and the hand is clearly stopped in front of the edge, or the lines bend in the angle region (Fig. 4.4).

Fig. 4.4. Feeling the edge in the picture of the child (Arseny, 4 years)

Gradually, the child highlights the necessary and sufficient signs characterizing various objects. This is the most complex task - to draw a dog so that no one confuses her with a man. The child should know how many limbs in the other, what are their typical postures, etc. Thus, drawing in itself activates the process of knowledge, the ability to see and understand, relate and reflect.

By three years, the kid is increasingly and more accurately depicts a circle. First, they look like a continuous tangle, then turn into separate circles, which it binds with specific objects. It is believed that the emergence of circles is associated with the ripening of the nervous system responsible for coordination. But there is a psychoanalytic explanation that in this way the child depicts the mother's breasts. However, even children grown in an orphanage focused artificially draw the circumference, which refutes this interpretation.

The circle is the easiest drawing and the most common figure in nature. There is an idea that the child reflects the development of parts of his body in their drawings. For example, the first appearance of the circle correlates with the closure of the main spring on the head, and the appearance of teeth in the drawings - with the beginning of the change of teeth in children. The evidence base is stronger only at the first of these ideas (although it needs stronger arguments).

A three-year-old child who has already accustomed to the pencil and paper, first draws a figure, then it interprets it, although a little later he can change the image again depending on the direction of the game or fairy tale. For example, having drawn randomly uneven oval, he says: "Oh, pussy turned out." Then works in this way by adding the necessary items to it. However, at any time, depending on the mood or an external situation, it can say that "it has not turned out." After that, he begins a new drawing or gladly discovers that the pussy turned into another character, and this may be a person, an animal, and an inanimate object. For a child, to attribute a new belonging to his drawing, it will not matter if the content of this object will be important, but its form.

Gradually, continuous fantasy is replaced by a different drawing strategy: before touching the paper sheet, the child has the initial intent in the head, which he holds for a while. For example, sitting down at the table, he announces that it will draw a cat (Fig. 4.5). Now the drawing will remain a cat's pattern to the end of the drawing game. However, such a cat does not sit in place, but actively participates in the game, then releasing claws, then jumping, it is grooming. Therefore, over time, the drawing for the external observer is less and less complied with the plan, while remaining for the child.

In the process of drawing, the child comments on its actions if he has grateful listeners. But remaining alone, he continues to speak for his heroes, although comments become shorter. Therefore, it is always, especially in a natural home environment for a child, a rumble is heard in which you can disassemble the replicas of participants.

The possibilities of the child will grow, and the game with heroes will continue for a long time. It will be complicated by statements of words available to a small artist for writing (Fig. 4.6).

Fig. 4.5. Cat and ball (Arseny, 3 years)

Fig. 4.6. Figure-game with signatures of the names of the main characters (Stanislav, 5 years old)

Children's drawing requires a huge number of sheets of paper, because the kids do not erase - this is a long process at this age, and the unnecessary child prevents the child's imagination. He reproduces again and reproduces on a sheet of paper, similar as two water drops, so that the external observer of the change of paper sheets seems to be a meaningless occupation. However, in the process of this activity, since now the visual activity of the child has gained a goal, it strengthens his hand, the pencil is increasingly moving along the sheet, and the artist more accurately represents his idea.

An important parameter affecting creativity is the emotional state of the Creator. Figures characterize the child itself more than the object employee. It is easy to notice in the drawing. A cat that lies in front of the child curled into the ball, and her paws are not visible. But the child knows that she has paws, so he honestly draws something that his eyes see (see Fig. 4.1 and 4.5). Drawing experience makes him merge the drawing and the original. If there is a competent adult, which will carefully pay attention to the child to the difference, the child will quickly learn to draw what he sees, especially if there is a shape, moreover, he will just learn to see.

We have already noted that a person sees only what is ready for. The child draws cat paw. But he notes that she is not like real. He peers into real and sees claws. Then he draws claws. For a while, it satisfies it more similarity. But he sees inaccuracies again, especially in cases where the child is in the children's team and can compare his drawings with others, or there is an adult, ready to help. Then he learns to draw not a paw stick and a bend paw (see Fig. 4.1 and 4.5). So gradually there is knowledge of the world with simultaneous learning to see forms, color, texture, light glare.

Thus, the development of the child's artwork moves in several directions. On the one hand, from spontaneous activity on paper, it moves to the binding of the pictures depicted with those or other images, on the other - it first predicts the future image, and then implements it on paper.

By five years, an individual symbolic system for the normally developing child, which allows it to use spatial and color codes to transmit information using a picture.

The next stage of the development of children's creativity will be drawing a person.

4.4. First images of man

Most adults will leave before a request to draw a person. But the smaller the child, the easier it agrees to such an enterprise. He does not know fear and does not feel difficulty. As in other drawings, he depicts not a person, but his idea.

The classification of stages in the image of a person is offered by the city of Roome back in 1913. He allocated the following stages.

1. The earliest attempts in which the image does not find out.

2. Stage of "Golovastikov", on which a person consists of heads and legs.

3. The transition phase in which the headasting acquires the body and additional parts of the body.

4. Full image of a person's face with a gradual addition of body parts.

5. The transition stage on which the profile appears, but these attempts lead to the creation of a mixed profile, in which a person has 2 eyes and 2 nasal, and the whole body is drawn frontal.

6. Proper profile orientation, start image of the movement.

The image of a person in the first drawings is extremely schematic. This is a circumference of a more or less correct form, which combines head and torso. At the right angle, stick-shaped hands are attached (in the direction close to horizontal) and vertically oriented legs. This image is called a chance (Fig. 4.7). It displays the main thing that sees in itself and other child: face, head as an object of life-support, carrying the emotional characteristic of the subject, and legs as a means of movement. The same type is repeatedly worked out by a child until it becomes further development.

Fig. 4.7. The first drawing of a person is a charture (Arseny, 3.5 years)

There is a contradictory explanation of such a picture. So, R. Arnheim claims that the headstuffs are also presented in the circle, and the body, and therefore, the limbs are attached correctly, and the name "champion" is incorrect. At the same time, D. Dileo, leading a lot of images and explanations he heard from children, argues that there are no bodies from these drawings, there is only a head.

According to R. Arnheim, the structure of vertically horizontal relations is laid in the design of the charture. Open at an angle of 90 degrees hand - the most clear visual image of the difference of directions of arms and legs. Similarly, the baby at this age directs the branches of the trees (Fig. 4.8). Transforming with age and child experience, a chanting gets a torso, ears, hair, hands, palms and spreading fingers. The body becomes rectangular and the same largest as the head. Already five-year-old children do not meet drawings, on which a person is depicted schematically, with hands and legs in the form of sticks.

Fig. 4.8. Tree with horizontal branches (Arseny, 3.5 years)

Another question that constantly pops up in a scientific discussion: draws a child of himself or someone else? Many insist that he invests in drawing the perception of his body, which is actively developing after the first year of life. The perception of oneself is the basis, due to which the sensations received from the surrounding world acquire meaning. As soon as the child begins to realize the parts of his body, their position in space, its ability to control movements, is formed a sense of individuality.

Many researchers argue that the child draws himself. However, perhaps more than the rights of D. Dileo, which, agreeing that the child spontaneously prefers to draw a person of his sex, often draws a child, and an adult. It is possible that that is why the drawings of children of different races are the same. The baby begins to draw much later when the hand is more skillful. If the child is healthy and does not have serious problems fascinated by the outside world, he forgets himself and depicts in the drawings rather the concept of mankind than himself. Similarly, we do not think about your heart, if it does not hurt, do not notice the hands and legs, if they are not tired. A child, not experiencing anxiety and fears, does not feel.

The fact that the child does not draw itself is confirmed by the fact that the form mastered in the figure is transferred to other objects, for example, animals, which at this time are significantly "permanent" (Fig. 4.9).

Fig. 4.9. Wolf (Masha, 3.5 years)

One characteristic feature in the image of people remains constant. Up to 10-11 years, the face in them is shown only to the frontal and only if necessary - in the profile (Fig. 4.10). Most often, the profile is oriented left. The emergence of the profile drawing is due to the new requirements of an adheating child to the drawing and an attempt to transfer traffic.

Fig. 4.10. Mom (Arseny, 4 years)

The human body is shown for a long time in two projections - the shoulders are shown frontally, and the legs, or rather the foot, are deployed to the left (see Fig. 4.9). The fact that a person is depicted aftas can be explained in several ways. This may be the result of inability to portray a person in a complex turn of the body body. But it may be a child's dialogue with a hero in the process of drawing (especially in the younger age). It is difficult to talk to a man who turned away from you. If the character is represented by Fear - it appears in the most advantageous light, since all the details of his face can be demonstrated. There are pictures where the position of the face and profile is combined. For example, two eyes appear in the face of the face into the profile, and in the face, the nose is shown in the side projection. In essence, this is an image of an objective geometry of the space in which the projections of different sides of the object are combined in one image. Such a non-compliance of the projections of different parts arises not only because of the desire to show the presence of the hero of all parts on the face of all its parts (in the case of eyes), but also when leaving the difficult situation associated, in particular, depicting the complex shape of the nose in the front projection.

It should be noted that such images are found on Egyptian figures performed on the walls of the pyramids, which also indicates the universality of the picture of the child and some similarity of the development stages in ontogenesis and phylogenesis.

But until eight-nine years, the head is depicted disproportionately (Fig. 4.11). It is possible that the intuitive sense of proportions of his body plays. The representation of the objects located on the head in the cerebral cortex is significantly more than other organs. Yes, and in the baby, the ratio of the head and torso is different than an adult, since an adult head is 1/8 of the whole body, and the child is 1/4.

Fig. 4.11. Red Army (Stanislav, 5 years old)

Due to child egocentrism, a small artist can attribute its feelings of body perception to others. But this phenomenon can also have more trivial explanations, for example, consisting in the fact that the head has the largest number of details that are mandatory to designate a person and the child is still difficult to arrange them in a small circle. Since the drawing usually begins with the head, it is also provided to it, while everything else is drawn along the residual principle (Fig. 4.12).

Man's movement The children begin to draw late, as, as already mentioned, to be disabled, you need to be understood. But the movement is known later. Up to 7-8 years, the child can still foresee the consequences of changes arising when driving, and therefore cannot depict what will be still.

Fig. 4.12. Hero (Stanislav, 7 years old)

Drawing emotions, such as happiness, sadness and anger, children prefer to fix them with mouth, not eyebrows. M. Sail (M. Sayil) tried to understand it. He analyzed Figures 4-, 6-, 8- and 10-year-old children. Children have better painted mouth than eyebrows, both in the tasks for copying and with free drawing. The preference of the mouth is explained not only by the difficulties of drawing inclined lines, but also insufficient attention to the details, inability to grab the expression aspect, strengthening attention to the details.

4.5. Space in Figure

The third stage in the development of the child's drawing can be considered the structuring of space. In the first drawings, the corresponding stage of the doodle, the objects are drawn in any sequence, without orientation in space. The structure of the image is limited only by the spatial framework of the sheet, which often determines the relationships of objects, their length and shape. But already in the early stages of creativity, a certain internal order is formed in the figure and visual consistency arises in the organization of objects, for example, in the whole person or in a figure of a headstuff. Although the figures, from the point of view of an adult, seem to be floating in space, out of gravity, the relationship of different parts of the figure is good agreement: for example, the facial features are placed close to each other, usually inside the circle or follow from top to bottom to the buttons (see Fig. 4.11).

To structure the space, the child should know about him, and most importantly - know the words denoting certain aspects of the structure of space, for example, to understand what "before" or "after". He needs to think about how to make the cat be under the table, and not on it. In the process of drawing, the mutual development of spatial thinking and possession of space on paper occurs. The child has already mastered the space in motion, but it was not reasonable to them. Drawing actively pushes to this, especially with an adult, ready to support the child.

At the age of three and four years, the kid begins to portray not just individual objects, but objects in interaction with the world. Under the legs should be the Earth, and above the head - the sky, since this is how the world is arranged in the head of the child. And then the child who is already collecting real forms of cubes, creates the most complex paintings in a mosaic, faces something that has not yet been realized by his brain. On a two-dimensional sheet you need to recreate three-dimensional space. This most complex and adult task for a small artist remains unresolved for a long time. To solve the task, you must first put the question. But in this case, the child cannot deliver the question, as it does not know how the word "space" nor, especially since it can be two-dimensional or three-dimensional. He only knows that the hand moves through the paper otherwise than in the room, but this fact knows his hand, and his consciousness that operates words is not recognized.

It is with this that the seeming difference in possession of space in mosaics (puzzles), in real space and on paper. In real space, it is structured not a child, he just lives in it and acts, gradually obeying his laws. In mosaics, it acts within the framework of the specified forms, because in the particles of the mosaic, an adult has already entered the volume. But on a sheet of paper, a child for the first time must create a space that he knows too little for this.

That is why the figures in the figure float in space, although the inner relationship inside the child's figures is already familiar, so within each figure there is a certain internal order and visual consistency in the organization (Fig. 4.13). For example, although the steam locomotive and soars in space, but all wagons are located in the correct sequence.

Fig. 4.13. Steam locomotive, soaring in space (Slavik, 4.5 years)

Different models developed by children are usually simple, but visually correspond to the problem and the level of difficulty solved the problem. The development of a person's drawing involves not a simple movement from primitive to greater accuracy, but an experiment with space and its constituent and creating mental models of this space.

If you carry out an experiment and ask the child to recreate a person's figure in different ways: to collect from the existing parts, draw under dictation, complete the picture started with an adult and draw yourself, it will become clear that the kid outside the drawing can be much more. So, not only the features of his thinking, such as children's realism, do not allow him to draw a person, and something more is the complexity of creating three-dimensional space on flat paper. Perhaps this is precisely this, and not the inability to see the object leads to erroneous placement of the object on paper, thickening in some places and viscosity in others, replacing some parts by others.

The drawing may also meet the plots that do not match reality: the rider on a horse with both legs on one side (so that it does not turn out to be single-leg) (Fig. 4.14), people in the boat, shine through its boards (so that they are not chopped). This type of drawing is called X-ray style. This style is also not explained in the framework of children's realism and rather corresponds to a child's attempt to present three-dimensional space on a two-dimensional sheet of paper. We remember that the child in the drawing acts as a creator. Therefore, he must create "correctly": in all of them the created must be all the necessary elements, otherwise he will make it painful. Only by 7-8 years, the X-ray drawing completely disappears. The child by this time loses its ambitions of the creator of the existing. He understands that the drawing is not life, but only her sign.

Already at the age of four or five years, the reception characteristic of the ancient Egyptian drawings can occur - a friezed (tape) composition. As part of Russian studies, A. V. Bakushinsky described the first. In it, the Earth is depicted in the form of a reference line, and the figures of people and animals are located on it (Fig. 4.15).

Fig. 4.14. Tachanka (Stanislav, 5 years old)

Fig. 4.15. Example of a frieze composition in a children's drawing

Space for the sky remains unfilled. Sometimes it is represented by a line or cloud. If in one frieze does not fit the plot, then the second and even the third tier arises (Fig. 4.16). The image on the frieze looks like the child sees what is happening in some sequence, from a low horizon, as moving along the sheet.

Fig. 4.16. Multi-tiered friction composition "Peace". On the first tier, it is presented to the incision of the apartment. And on the second - the world around the world with a volcano

The friezed composition is the first attack of the child to build a system of spatial coordinate, which organizes a picture of the world created by it on a sheet of paper. In it, the main structure-forming principle is the vertical - separation of the sheet to the top, middle, bottom. This is the earliest and in evolution, and in the ontogenesis of the spatial scheme, with which the child is trying to build a model of the inhabited world.

As the culture, the effect of culture is manifested in the fact that the vertical coordinate in the figure acquires the symbolic value of the values \u200b\u200bof the values. The sky correlates with the divine, light, the earth is low and dark, the horizontal is associated with time.

Mastering space occurs through the image drawing stage in the plan. More often such drawings combine two points of view - top view and side view. To show the length, the depth of space, the child creates a plan-map of the area or a place where everything is shown in the front plane. Due to the characteristics of the design, in such a picture for the sky and the horizon of the place does not remain (Fig. 4.17).

Fig. 4.17. Combining in the figure plan and side view and from above

Considering the universality of children's drawings, we talked about the fact that no object in it could obscure another. When organizing space, the child does not violate this principle, even if it contradicts visible (Fig. 4.18). For example, a person sitting at the table will be depicted so that the tablecloth does not obscure his legs. Hands will be such a length that needs to reach the cup.

The fact that preschoolers and young students are identified in the drawings of the image plane with a real subject plane, make images without fixing tops and bottoms, connect the objects depicted in the plan in the figure, with objects seen in the profile and directly indicate That the child did not have an idea of \u200b\u200bhis own point of view. Consequently, this is the reflection of child egocentrism.

Fig. 4.18. No overlay objects in the picture of the preschooler

Thus, about 5 years to the child comes awareness of complex spatial relations in the world of things. Considering with its own logic of thinking, knowledge and ideas about the real world, he solves these problems in the visual activities of specific methods. Depth as a third dimension and as a promising reduction in the size of remote items up to 9-11 years is not present in the figure. The lack of a decrease in dimensions (direct perspective) may be due to the fact that the child is not focused on the image of remote parts of the space. On the contrary, it is aimed at drawing a close space, a low horizon, a close view.

4.6. Color in the drawing of a child

The child is immersed in the world of light and colors. Initially, the color is fixed with the object and does not stand out as some quality. Meeting with pencils, and then the paints opens the infinite features of the game with color.

Very often adults believe that the child is worth offering bright, intense, dense colors. But in reality, they practically do not meet, and the child's eye evolved, adapting to reality, and not to bright toys. Exercise the eye is easier, better, on the soft shades of transparent paints, and not on intense and dense. For each color that we see, an additional color is created inside, so that there are always three main colors in the picture (Fig. 4.19).

Fig. 4.19. The ratio of basic and additional colors.

The main colors are underlined. Two main give mixed. Additional to the remaining basic. Of the three basic, you can get all the other colors (scheme)
In mastering the child, there are the same patterns as when learning a form. With the first meeting with the color, it does not correlate the color of the image with the color of the real object. Therefore, at the earlier age, the child chooses a loved color and draws them the whole picture. Then he learns that every item has its own color. It very quickly masters the value of flowers and uses them as a stamp: the sky is blue, the sun is yellow, not at all trying to correlate the color with reality. It only focuses on the word, which is indicated by the color of the pencil, although it is possible an erroneous connection of the word and real color. It is in mastering the color that the fact is especially obvious that he draws a kid not an objective reality, but his knowledge has. And while he has a small set of words to designate the color, the colors of the drawing will be primitive. But familiarity with shades and mastering the process of mixing paints can significantly advance the baby in the path of knowledge of the world and improve the quality of its drawing.

4.7. Diagnostic capabilities of children's drawing

We have already said that children use the pictorial language as a sign system, with which you can simulate the world on a sheet of paper, the other language is not yet mastered - written. With the help of the drawing, the child highlights significant objects and records the relationship between them, at the same time leading in order its own system of ideas about the world.

Since the drawing manner is largely determined by the peculiarities of the cognitive sphere of the child, the drawing can be considered as an indicator of intellectual development. Relying on this presentation, American psychologist F. Guiden has developed a simple test "Picture of Man". Its widely used in practice (due to the ease of use and absence of special accessories, except pencils and paper) soon showed that his psychodiagnostic opportunities are much wider than his creator thought. A thorough analysis of the image of a human figure makes it possible to make a fairly accurate conclusion about the level of mental development of the drawing child. The test score obtained in this diagnosis is quite comparable to the widely known intelligence coefficient, which requires a long study of the child on the battery of tests.

However, American psychologist Karen Machover drew attention to the next fact. It turned out that the same points can be obtained when analyzing the patterns, stretchlessly different from each other. Further studies have shown that the features of the drawing that are not taken into account when assessing intelligence can characterize the state of the emotional sphere of the child, its motivation, personality as a whole.

At the same time, the diagnostic capabilities of the child's emotional sphere should not be infinitely expanded. We have already talked about the fact that a child who is passionate about the knowledge of the world does not draw himself. From this point of view, the drawing is more validated (suitable) to diagnose the state of problem, not healthy children.

The drawing can be used not only for diagnosis, but also for psychotherapy. Often, interacting with the world, the child feels his helplessness. Adult reactions can not help, but even confuse. Drawing, it formulates to know. This is the path of detecting your own problem and the way to address it safely (because in the figure you can draw an object so dangerous as possible to survive, and not so dangerous as it seems in reality).

The ability to portray something, create - one of the forms of independence, which is increasingly developing with the age of the child. This is independence from the created. Since I am a Creator himself, I can create again and again that in the end allows you to recycle incomprehensible or painful material. This is an important point of therapy with art.

At the age of 10-11, children stop drawing. They have already mastered a more efficient iconic system - a letter that allows you to quickly acquire knowledge, without even taking special efforts. In addition, the fact that adolescents can do themselves are no longer satisfied. Attempts to special training often do not meet the needs of the child, and therefore lead to disappointment in the class painting. Assessments of adults and other children drawings of a teenager even more reinforce the reluctance to create. Artistic creativity continues to be engaged in very few - mostly those who soon felt the inner need to devote life to this, or those who have made parents for whom. The larger part of children are out of art creativity.

Dictionary to the 4th chapter

Chononog - The first image of a person in the form of a circumference is more or less correct shape, which combines head and torso. At the right angle, stick-shaped hands are attached (in the direction close to horizontal) and vertically oriented legs. It displays the main thing that he sees in itself and other child: face, head as an object of life-support, carrying an emotional characteristic of the object, and legs as a means of movement.

Scribble Present graphic traces that leave a finger, pencil, felt-tumbler or any other object on the surface of a sheet of paper, tables, walls, wallpaper, etc.

The feeling of the edge - One of the steps in the development of children's drawing at the stage of the Karakul, arising between the first and second year of life. If in the first drawings, the child easily entered the edges of the drawing, without noticing it, now he already sees the drawing border, and the hand is clearly stopped in front of the edge, or the lines bend in the corner area.

X-ray style - A special way of image objects presented in drawings of preschoolers. It is that in the image there are those details that cannot be visible to an observer with the position with which the object is represented by the viewer. For example, the rider gone on horseback, both legs are on one side of the horse. This style is a consequence of the realism of the child and the difficulty of the image of the three-dimensional space on a two-dimensional sheet of paper.

Frosing (tape) composition - The first attempt of the child to build a spatial coordinate system that organizes a picture of the world created by it on a sheet of paper. In it, the Earth is depicted in the form of a reference line, and the figures of people and animals are located on it. Space for the sky remains unfilled. Sometimes it is transmitted by a line or cloud. If in one frieze does not fit the plot, then the second and even the third tier arises. The image on the frieze looks like the child sees what is happening in some sequence, from a low horizon, as moving along the sheet. This is the earliest and in evolution, and in the ontogenesis of the spatial scheme, with which the child is trying to build a model of the inhabited world.

Stage Karakul, or kineette pattern, - The first stage of development of the picture of the child in which he captures his own movement on paper.

Man drawing stage - A higher level of development of the children's drawing compared to the Karakul stage. The image of a person in the first drawings is extremely schematic. This is a circumference of a more or less correct form, which combines head and torso. At the right angle, stick-shaped hands are attached (in the direction close to horizontal) and vertically oriented legs. This image is called a chance. Gradually, the drawing is complicated and detailed.

Stage structuring space - The highest level of development of the picture of the child. If in the first drawings the structure of the space determines only the sheet of paper on which the image is made, then as the child is cognized in the figure, a certain internal order is formed and visual consistency arises in the organization of objects.

Elena Ivanovna Nikolaev Psychology of children's creativity