Write an essay based on the text you read.

Formulate one of the problems posed by the author of the text.

Comment on the formulated problem. Include in the comment two illustration examples from the read text that you think are important for understanding the problem in the source text (avoid over-quoting). Explain the meaning of each example and indicate the semantic relationship between them.

The volume of the essay is at least 150 words.

A work written without relying on the text read (not on this text) is not evaluated. If the essay is a paraphrase or a complete rewrite of the source text without any comments, then such work is evaluated with 0 points.

Write an essay carefully, legible handwriting.

(1) Artistic creativity, from my point of view, is not just a way of self-expression. (2) Sometimes it can become a saving straw, clinging to which a person can go through many difficult trials and survive. (3) And here is one of the striking examples.

(4) An amazing woman, amateur artist Evfrosinya Antonovna Kersnovskaya spent many years in the Stalinist camp, after which she began to sketch her whole life from the very beginning: her childhood in Bessarabia, how she was arrested in Romania, how she was exiled to Siberia. (5) For many years she depicted life, details and commented on her drawings.

(6) Here is what she writes to her mother:

(7) “I drew them for you, thinking about you ... (8) I started drawing there, in Norilsk, immediately after I left the camp. (9) There was still neither a mattress nor a sheet, there was not even a corner. (10) But I already dreamed of drawing something beautiful, reminiscent of the past - the past that

was inextricably linked with you, my dear! (11) And the only thing I could think of was to draw ... "

(12) And now, in pictures, Euphrosyne creates the story of her life, all her misadventures, in order to free herself from those difficult memories that surrounded her after leaving the twelve-year hell. (13) She drew with what she had to: with colored pencils, a pen, sometimes she tinted with watercolors.

(14) And these uncomplicated, but so detailed, true drawings amaze with their persuasiveness and inner freedom. (15) As many as twelve general notebooks were composed and drawn by her in the 60s of the last century. (16) In 1991 they came out as a separate book called "Rock Painting". (17) And to this day, looking at these drawings that were born so long ago, somewhere deep inside I feel how much art helped this amazing artist and just a noble woman to survive.

(18) Here is another story. (19) Artist Boris Sveshnikov also for a long time was in captivity. (20) His albums were drawn directly there, in captivity, but they were not about the camp, not about the life he lived then - they were fantastic. (21) He depicted some kind of fictional reality and extraordinary cities. (22) With a thin feather, the thinnest, almost transparent silver stroke, he created in his albums a parallel, incredibly mysterious, exciting life. (23) And subsequently these albums became evidence that his inner world, fantasy, creativity saved his life in this camp. (24) He survived thanks to creativity.

(25) Another extraordinary artist, Mikhail Sokolov, a contemporary of Sveshnikov, being imprisoned for his extravagant appearance, also tried to seek freedom and salvation in his work. (26) He drew with colored pencils, and sometimes with pencil stubs, small pictures three by three centimeters or five by five centimeters and hid under his pillow.

(27) And these small fantastic drawings by Sokolov, in my opinion, are in a sense grander than some huge paintings painted by another artist in a bright and comfortable studio.

(28) As you can see, you can depict reality, or you can depict fantasy. (29) In both cases, what you transfer from your head, from your soul, from your heart, from memory to paper, frees you, sets you free, even if there are prison bars around. (30) Therefore, the role of art is truly great. (31) And it doesn’t matter what and how you do it: creativity knows no boundaries, does not require special tools. (32) It, sincere and truthful, simply lives in a person, looks for a way out and is always ready to selflessly help him.

(according to L.A. Tishkov*)

*Leonid Alexandrovich Tishkov (born in 1953) is a Russian cartoonist, also works in the field of book graphics.

Explanation.

An example range of issues:

1. The problem of the significance of artistic creativity in the life of the artist himself. (What is the benefit of the saving power of artistic creativity? Can artistic creativity help a person survive, save a person?)

2. The problem of understanding such a phenomenon. as a work of art. (What is artistic creativity? Are there limits to creativity? Where is artistic creativity born?)

3. The problem of the real and the fantastic in art. (What should artistic creativity be based on: reality or fantasy?)

1. Artistic creativity is not just a way of self-expression, it can bring great benefits: it spiritually frees a person, even if he is in prison. helps to get rid of bad memories. overcome difficulties, immerses a person in a different reality.

2. Artistic creativity is that. what a person transfers from his head, from his soul, from his heart to paper. Creativity knows no boundaries, does not require special tools. True creativity can be born both in the artist's bright workshop and on a tiny piece of paper.

3. For artistic creation, it does not matter whether a person depicts reality or fantasy. It remains creative. great power which is truly limitless.

USE composition:

Does creativity really help a person to go through many difficult trials and survive? It is this question that is at the center of attention of the Russian cartoonist Leonid Aleksandrovich Tishkov.

Revealing this problem, the author discusses how important role creativity can play in the life of each of us. To convince the reader of this, he gives striking examples of how the ability to turn to art in the most difficult moments of life influenced ... Surprisingly, even in the Stalinist camps, in prison, in secret from others, our heroes wrote "something beautiful, reminiscent of the past ... fictional reality and extraordinary cities." It is no coincidence that the author so accurately describes everything that connected the heroes with art and helped them survive:..... It is these small parts allowed us to understand: "it doesn't matter what and how you do it", because creativity does not require special tools and knows no boundaries.

The position of the author is not in doubt. LA Tishkov is convinced that the role of art is truly great. The artist comes to the conclusion that love for creativity "lives in a person", that art is "ready to selflessly help him".

It is difficult to disagree with the position of the author. I cannot call myself a creative person, but even when I am sad at home, it becomes easier for me at the piano. Art, of course, is able to cleanse the soul of a person and preserve him as a person.

I would like to substantiate my point of view by referring to Leo Tolstoy's epic novel War and Peace. Using the example of Nikolai Rostov, we are convinced that, no matter how hopeless the situation may be, there is a force that can help a person. So it happened with the hero of Tolstoy, who lost forty-three thousand. You read the thoughts of the hero and understand that the only way out of dishonor that Nikolai Rostov sees is "a bullet in the forehead." It is hard to imagine how the life of the young count would have turned out if it were not for the singing of Natasha, which he heard. And Dolokhov, and money, and a dispute, and malice - all this fades into the background, what remains is real - pure and high - art.

The work of Mikhail Bulgakov "The Master and Margarita" helps to understand how great the role of creativity is. The focus is on the author of the novel about Pontius Pilate. From the Master's conversation with Professor Stravinsky's neighbor in the clinic, we learn about the happiest period in the hero's life, which he himself called the "golden age". The patient recalls how he wrote a book chapter by chapter, read it to his beloved Margarita and believed that his whole life was in this novel. The hero admits that at the end of the book his life has lost its meaning. The story written by M. Bulgakov leaves no doubt that creativity can shape a person, be the meaning of his life.

L.N. Tolstoy, M.A. Bulgakov, L.A. Tishkin help the reader to realize that turning to creativity, art makes it possible to rethink everything that happens around, to survive in difficult moments.

Text L.A. Tishkov

(1) Artistic creativity, from my point of view, is not just a way of self-expression. (2) Sometimes it can become a saving straw, clinging to which a person can go through many difficult trials and survive. (3) And here is one of the striking examples.
(4) An amazing woman, amateur artist Evfrosinya Antonovna Kersnovskaya spent many years in the Stalinist camp, after which she began to sketch her whole life from the very beginning: her childhood in Bessarabia, how she was arrested in Romania, how she was exiled to Siberia. (5) For many years she depicted life, details and commented on her drawings.
(6) Here is what she writes to her mother:
(7) “I drew them for you, thinking about you ... (8) I started drawing there, in Norilsk, immediately after I left the camp. (9) There was still neither a mattress nor a sheet, there was not even a corner. (10) But I already dreamed of drawing something beautiful, reminiscent of the past - the past that was inextricably linked with you, my dear! (11) And the only thing I could think of was to draw ... "
(12) And now, in pictures, Euphrosyne creates the story of her life, all her misadventures, in order to free herself from those difficult memories that surrounded her after leaving the twelve-year hell. (13) She drew with what she had to: with colored pencils, a pen, sometimes she tinted with watercolors.
(14) And these uncomplicated, but such detailed, truthful drawings amaze with their persuasiveness and inner freedom. (15) As many as twelve general notebooks were composed and drawn by her in the 60s of the last century. (16) In 1991 they came out as a separate book called "Rock Painting". (17) And to this day, looking at these drawings that were born so long ago, somewhere deep inside I feel how much art helped this amazing artist and just a noble woman to survive.
(18) Here is another story. (19) The artist Boris Sveshnikov was also imprisoned for a long time. (20) His albums were drawn directly there, in captivity, but they were not about the camp, not about the life he lived then - they were fantastic. (21) He depicted some kind of fictional reality and extraordinary cities. (22) With a thin feather, the thinnest, almost transparent silver stroke, he created in his albums a parallel, incredibly mysterious, exciting life. (23) And subsequently these albums became evidence that his inner world, fantasy, creativity saved his life in this camp. (24) He survived thanks to creativity.
(25) Another extraordinary artist, Mikhail Sokolov, a contemporary of Sveshnikov, being imprisoned for his extravagant appearance, also tried to seek freedom and salvation in his work. (26) He drew with colored pencils, and sometimes with pencil stubs, small pictures three by three centimeters or five by five centimeters and hid under his pillow.
(27) And these small fantastic drawings by Sokolov, in my opinion, are in a sense grander than some huge paintings painted by another artist in a bright and comfortable studio.
(28) As you can see, you can depict reality, or you can depict fantasy. (29) In both cases, what you transfer from your head, from your soul, from your heart, from memory to paper, frees you, sets you free, even if there are prison bars around. (30) Therefore, the role of art is truly great. (31) And it doesn’t matter what and how you do it: creativity knows no boundaries, does not require special tools. (32) It, sincere and truthful, simply lives in a person, looks for a way out and is always ready to selflessly help him.

(according to L.A. Tishkov*)

The formation of a creative personality is one of the important tasks of pedagogical theory and practice at the present stage. Its solution should begin already in preschool childhood. Most effective remedy for this - the visual activity of children in a preschool institution.

In the process of drawing, modeling, application, the child experiences a variety of feelings: rejoices beautiful image, which he created himself, is upset if something does not work out. But the most important thing: by creating an image, the child acquires various knowledge; his ideas about the environment are clarified and deepened; in the process of work, he begins to comprehend the qualities of objects, memorize them characteristics and details, to master fine skills and abilities, learns to use them consciously. Even Aristotle noted: drawing contributes to diversified development child. Prominent teachers of the past - Ya. A. Komensky, I. G. Pestalozzi, F. Froebel - and many domestic researchers wrote about this. Their works testify: drawing and other types of artistic activity create the basis for full-fledged meaningful communication between children and with adults; perform therapeutic function, distracting children from sad, sad events, relieve nervous tension, fears, cause a joyful, high spirits, provide a positive emotional state. Therefore, it is so important to widely include a variety of artistic and creative activities in the pedagogical process. Here, every child can express himself most fully without any pressure from an adult.

The management of visual activity requires the educator to know what creativity is in general, and especially children's, knowledge of its specifics, the ability to subtly, tactfully, supporting the initiative and independence of the child, contribute to the acquisition of the necessary skills and abilities and the development of creative potential. The well-known researcher A. Lilov expressed his understanding of creativity as follows: "... creativity has its own general, qualitatively new features and characteristics that define it, some of which have already been quite convincingly disclosed by theory. These general regular moments are as follows:
Creativity is a social phenomenon
- its deep social essence lies in the fact that it creates socially necessary and socially useful values, satisfies social needs, and especially in the fact that it is the highest concentration of the transforming role of a conscious social subject (class, people, society) in its interaction with the objective reality."

Another researcher, V. G. Zlotnikov, points out: artistic creativity characterizes the continuous unity of cognition and imagination, practical activity and mental processes, it is a specific spiritual and practical activity, which results in a special material product - a work of art.

What is child art preschool age? Domestic teachers and psychologists consider creativity as the creation by a person of objectively and subjectively new things. It is the subjective novelty that is the result of the creative activity of children of preschool and primary school age. By drawing, cutting and pasting, a preschool child creates a subjectively new thing for himself. The product of his creativity has no universal novelty and value. But its subjective value is significant.

The visual activity of children, as a prototype of adult activity, contains the socio-historical experience of generations. It is known that this experience has been implemented and materialized in the tools and products of activity, as well as in the methods of activity developed by socio-historical practice. A child cannot learn this experience without the help of an adult. It is the adult who is the bearer of this experience and its transmitter. By assimilating this experience, the child develops. At the same time, the visual activity itself, as a typically childish one, including drawing, modeling, and appliqué, contributes to the versatile development of the child.

How do well-known domestic scientists define children's creativity? How is its significance determined for the formation of a child's personality?

Teacher V.N. Shatskaya believes that under the conditions of general aesthetic education, children's artistic creativity is more likely to be seen as a method for the most perfect mastery of a certain type of art and the formation of an aesthetically developed personality than as the creation of objective artistic values.

Researcher of children's creativity E.A. Flerina evaluates it as a conscious reflection of the child surrounding reality in drawing, modeling, construction, reflection, which is built on the work of the imagination, displaying one's observations, as well as impressions received through the word, picture and other forms of art. The child does not passively copy the environment, but reworks it in connection with the accumulated experience, attitude towards the depicted.

A. A. Volkova states: “The upbringing of creativity is a versatile and complex effect on a child. The mind (knowledge, thinking, imagination), character (courage, perseverance), feeling (love for beauty, passion for image, thought) take part in the creative activity of adults. We must educate the same aspects of the personality in the child in order to more successfully develop creativity in him. To enrich the mind of the child with various ideas, some knowledge means to give abundant food for creativity. To teach to look closely, to be observant means to make ideas clear, more complete. This will help children to more vividly reproduce what they see in their work. "

I. Ya. Lerner defines the features of a child’s creative activity as follows:
independent transfer of previously acquired knowledge to a new situation;
vision of a new function of an object (object);
vision of the problem in a standard situation;
vision of the structure of the object;
ability to alternative solutions;
combining previously known methods of activity with new ones.

I. Ya. Lerner argues: creativity can be taught, but this teaching is special, it is not the same as knowledge and skills are usually taught.

In the correctness of this idea, we were convinced in our own practice. However, we note: independent transfer of previously acquired knowledge to a new situation (the first feature according to Lerner) in children can manifest itself if they learn to perceive objects, objects of reality, learn to distinguish their forms, including in this process the movement of both hands along the contour of the object. (In other words, as we circle an object, examining it, we draw - with pencils, a brush, felt-tip pens.) Only then will children be able to use this method on their own, only then will they gradually acquire the freedom to depict any objects, even those that do not have a clearly fixed shape, for example, clouds, puddles, floating ice floes, unmelted snow.

The second feature according to Lerner - the vision of a new function of an object (object) - manifests itself when the child begins to use substitute objects, for example, turns cut narrow and wide strips into parts of objects or objects; plays with spoons, imagining that he is playing in an orchestra. This ability to isolate in the process of perception the form, the parts that we form in children, leads them to a vision of the structure of the object, mastering the ways of its transmission in drawing, modeling, and appliqué. That's why we recommend creative pursuits include in the work plan the topic "To teach how to create images of animals, the shape and structure of which are learned."

Introducing children to works of art (fine arts, literature, music), we thereby introduce them to the world of standards of beauty, i.e. we implement the goals and objectives mentioned above - to understand the expressiveness of means and figurative solutions, the diversity of color and compositional construction. Knowing, for example, the secrets Dymkovo painting, the child undoubtedly uses them, creating images of fabulous animals, birds; comprehends the qualities of the depicted, remembered characteristic features.

What characterizes creativity? B. M. Teplov writes in this regard: "The main condition that must be ensured in children's creativity is sincerity. Without it, all other virtues lose their meaning."

This condition, of course, is satisfied by the creativity "which arises in the child independently, proceeding from an internal need, without any deliberate pedagogical stimulation." But systematic pedagogical work, according to the scientist, cannot be based solely on independently emerging creativity, which is not observed in many children, although these same children, with their organized involvement in artistic activity, sometimes show outstanding creative abilities.

Thus, a pedagogical problem arises - the search for such incentives for creativity that would give rise in the child to a genuine, effective desire to "compose." Such an incentive was found by Leo Tolstoy. Starting to teach peasant children, the great Russian writer already understood how significant the task of "developing children's creativity" was; as one of the possible solutions, he offered children joint compositions (see the article "Who should learn to write from whom?"). So, what is the essence of involving children in artistic creativity, according to Leo Tolstoy? Show not only the product, but also the very process of creativity, writing, drawing, etc. in order to see with your own eyes how "it is done." Then, as E. I. Ignatiev, a domestic researcher in the psychology of children's creativity, writes, the child "from a simple enumeration of individual details in a drawing passes to an accurate transfer of the features of the depicted object. At the same time, the role of the word in visual activity, the word is increasingly acquiring the meaning of a regulator that directs the image process, controls the methods and methods of image.

In the process of drawing, modeling, the child experiences a variety of feelings; as we have already noted, he rejoices at a beautiful image, gets upset if something does not work out, tries to achieve a satisfying result or, on the contrary, gets lost, gives up, refuses to study (in this case, a sensitive, attentive attitude of the teacher is needed, his help). Working on the image, he acquires knowledge, clarifies and deepens his ideas about the environment. The child not only masters new visual skills and abilities that expand his creative possibilities but also learns to use them consciously. A very significant factor in terms of mental development. After all, each child, creating an image of an object, conveys the plot, includes his feelings, understanding of how it should look. This is the essence of child fine arts, which manifests itself not only when the child independently comes up with the theme of his drawing, modeling, application, but also when he creates an image on the instructions of the teacher, determining the composition, color scheme and other expressive means, making interesting additions, etc.
Analysis of the provisions on children's creativity of famous domestic scientists - G. V. Latunskaya, V. S. Kuzin, P. P. Pidkasistoy, I. Ya. Lerner, N. P. Sakulina, B. M. Teplov, E. A. Flerina - and our many years of research allow us to formulate its working definition. Under the artistic creativity of preschool children, we mean the creation of a subjectively new (significant for the child, first of all) product (drawing, modeling, story, dance, song, game); creation (invention) to the known previously unused details that characterize the created image in a new way (in a drawing, story, etc.), different options images, situations, movements, one's beginning, end, new actions, characters' characteristics, etc.; the use of previously learned ways of depicting or means of expression in a new situation (for depicting objects of a familiar shape - on the basis of mastering facial expressions, gestures, voice variations, etc.); showing initiative in everything.

By creativity, we will understand the very process of creating images of a fairy tale, a story, dramatization games in drawing, etc., the search for ways, ways to solve a problem, visual, playful, musical, in the process of activity.

From our understanding of artistic creativity, it is obvious that in order to develop creativity, children need certain knowledge, skills and abilities, methods of activity that they themselves, without the help of adults, cannot master. Otherwise: we are talking about purposeful learning, the development of rich artistic experience.

For the baby (younger groups) creativity in creating an image can manifest itself in a change in the size of objects. Let me explain this idea: there is a lesson, the children are sculpting apples, and if someone, having completed the task, decides to independently mold an apple smaller, or larger, or a different color (yellow, green), for him it is already creative solution. The manifestation of creativity younger preschoolers- these are some additions to modeling, drawing, say, a stick - a petiole.

As skills are mastered (already in older groups), the creative solution becomes more complicated. Fantastic images appear in drawings, modeling, applications, fairy-tale heroes, palaces, magical nature, outer space with flying ships and even astronauts working in orbit. And in this situation positive attitude teacher to the initiative and creativity of the child is an important incentive for the development of his creativity. The teacher notes and encourages the creative discoveries of children, opens an exhibition of children's creativity in the group, in the hall, lobby, draws up the institution with the work of pupils.

In the creative activity of the child, three main stages should be distinguished, each of which, in turn, can be detailed and requires specific methods and techniques of guidance from the teacher.

The first is the emergence, development, awareness and design of the idea. The theme of the upcoming image can be determined by the child himself or proposed by the teacher (its specific decision is determined only by the child himself). The younger the child, the more situational and unstable is his intention. Our research shows that initially three-year-old children can realize their plans only in 30-40 percent of cases. The rest basically change the idea and, as a rule, name what they want to draw, then create something completely different. Sometimes the idea changes several times. Only by the end of the year, and even then, provided that classes are conducted systematically (in 70-80 percent of cases), the idea and implementation of the children begin to coincide. What is the reason? On the one hand, in the situational nature of the child's thinking: at first he wanted to draw one object, suddenly another one comes into his field of vision, which seems to him more interesting. On the other hand, when naming the object of the image, the child, having still very little experience in activity, does not always correlate what was conceived with his pictorial capabilities. Therefore, taking a pencil or brush in hand and realizing his inability, he refuses to original intention. The older the children, the richer their experience in visual activity, the more stable their concept becomes.

The second stage is the process of creating an image. The topic of the task not only does not deprive the child of the opportunity to show creativity, but also directs his imagination, of course, if the teacher does not regulate the decision. Significantly greater opportunities arise when a child creates an image according to his own plan, when the teacher only sets the direction for choosing a theme, the content of the image. Activities at this stage require the child to be able to master the ways of depiction, expressive means specific to drawing, modeling, and appliqué.

The third stage - the analysis of the results - is closely related to the two previous ones - this is their logical continuation and completion. Viewing and analysis of what was created by children is carried out at their maximum activity, which allows them to more fully comprehend the result of their own activities. At the end of the lesson, everything created by the children is displayed on a special stand, i.e. each child is given the opportunity to see the work of the whole group, to mark, justifying their choice, those that they liked the most. The tactful, guiding questions of the teacher will allow children to see the creative finds of their comrades, the original and expressive solution of the topic.
A detailed analysis of children's drawings, modeling or appliqué is optional for each lesson. This is determined by the feature and purpose generated images. But here's what is important: the discussion of the work, their analysis, the teacher conducts each time in a new way. So, if the children made Christmas decorations, then at the end of the lesson all the toys are hung on a furry beauty. If you created a collective composition, then at the end of the work, the teacher pays attention to general form pictures and invites you to think about whether it is possible to supplement the panorama, make it richer, and therefore more interesting. If the children decorated the doll's dress, then all the best works are "exhibited in the store" so that the doll or several dolls can "choose" what they like.

Experts distinguish three groups of means, the purpose of which is to increase the level of aesthetic education: art in all forms, the surrounding life, including nature, artistic and creative activity. Thanks to these interconnected means, the child is actively involved in the experience of the creative activity of adults. However, effective leadership is possible if the teacher knows and takes into account the mental processes that underlie children's creativity, and, most importantly, systematically develops them.

What mental processes are we talking about? Of all the means of aesthetic education, all types of artistic activity, we single out general groups that form the basis of creativity.

1. Perception of objects and phenomena of reality and their properties, which has individual differences. It is known that in their drawings, modeling, applications, children reflect the impressions received from the world around them. This means that they have a variety of impressions about this world. Ideas about objects and phenomena are formed on the basis of their perception. That's why essential condition creativity - to develop children's perception (visual, tactile, kinesthetic), to form a diverse sensory experience.

How should education be carried out so that children develop necessary knowledge and performances? Psychologists note: syncretism, fusion and lack of distinctness of images of perception are characteristic of children of primary preschool age. To depict an object or phenomenon, the child must represent all its basic properties and convey them in such a way that the image is recognizable. For a small artist, this is very important.

The teacher forms knowledge and ideas about the environment purposefully. These are both special observations and examination of the subject during didactic games. The teacher directs the child's perception to certain properties and qualities of objects (phenomena). After all, not all preschoolers come to Kindergarten, having a rich experience of perception of the environment - figurative, aesthetically colored, emotionally positive. For the majority, it is limited to fragmentation, one-sidedness, and often simply poverty. To develop aesthetic perception in children, the teacher must himself have the ability of aesthetic vision. Even V. A. Sukhomlinsky emphasized: "You cannot be a teacher without mastering a subtle emotional and aesthetic vision of the world."

Children should not just look at an object, recognize and highlight its properties: shape, structure, color, etc. They should see its artistic merits that are to be depicted. Not everyone is able to independently determine the beauty of an object. The teacher shows them. Otherwise, the concept of "beautiful" will not acquire a specific meaning in the eyes of the pupil, it will remain formal. But in order for him to understand how beautiful this or that object, this or that phenomenon, the teacher himself, we repeat, must feel, see the beauty in life. He develops this quality in himself and children constantly.

How to do it? Day after day, watch with children the phenomena of nature - how the buds swell on trees, bushes, how they gradually bloom, covering the tree with leaves. And how diverse are the gray clouds driven by the wind, how quickly their shape, position, color change! Pay attention to the beauty of the movement of the clouds, the change in their shape. Watch how beautifully the sky and surrounding objects are illuminated by the rays of the setting sun.

Such observations can be made with different objects. The ability to contemplate beauty, to enjoy it is very important for the development of children's creativity. It is not for nothing that in Japan, where the culture of aesthetic perception is so high, teachers develop observation skills in children, the ability to listen, peer into the environment - to catch the difference in the noise of rain, to see and hear how heavy drops are loudly knocking on the glass, how joyfully the suddenly flown summer "mushroom" rings " rain.

Objects for observations are found daily. Their goal is to expand children's ideas about the world, its variability and beauty. The Russian language is so rich in epithets, comparisons, metaphors, poetic lines! N. P. Sakulina drew attention to this at one time.

L. S. Vygotsky, speaking about the role of training, emphasized that training leads development. At the same time, he paid attention: “Education can give more in development than what is contained in its immediate results. Applied to one point in the sphere of children's thought, it modifies and rebuilds many other points. It can have distant, but not only immediate consequences.

It is precisely such a long-term result that we can talk about when it comes to the formation of figurative representations in children in the process of teaching visual activity. The statement is not accidental. Proof of this is the work of E. A. Bugrimenko, A. L. Venger, K. N. Polivanova, E. Yu. Sutkova, the theme of which is the preparation of children for school, the diagnosis of mental development and its correction. The authors note: "An insufficient level of development of figurative representations is one of common causes learning difficulties not only at the age of six, but also much later (up to the senior classes). At the same time, the period of their most intensive formation falls on preschool and the beginning of primary school age. Therefore, if a child entering school has problems, then they should be "compensated" as soon as possible with visual and constructive activities - in free time stimulate drawing, sculpting, appliqué, designing.

When characterizing a child's thinking, psychologists usually distinguish stages: visual-effective, visual-figurative, logical. The visual-figurative is based on visual representations and their transformation as a means of solving a mental problem. It is known that the entry into a new stage of thinking does not mean the elimination of its previous stage. It is preserved in the child, helps in the development of thinking of a new stage, forms the basis for the formation of a variety of activities and abilities. Moreover, experts believe that this form of thinking is necessary not only for children's creativity, but also for the creativity of a person of any profession. That is why it is so important to develop creative thinking, as well as imagination, a positive emotional attitude, mastery of image methods, expressive means of drawing, modeling, appliqué.

Magazine " preschool education" № 2, 2005

The author of this text is Leonid Aleksandrovich Tishkov, a Russian cartoonist. The text proposed for analysis is the author's reflections on whether there are boundaries for real art.

The author is convinced that thanks to creativity one can find meaning and support in life. He believes that artistic creativity is not just a way of self-expression. Sometimes it can become a saving straw, clinging to which a person can go through many and survive. Inner peace, fantasizing, creativity saved many lives in a difficult time for them. Leonid Tishkov is sure that art liberates, releases, can give a person a sense of inner freedom, even if in reality he is deprived of it.

I think that Leonid Tishkov is right. Art helps to survive, helps people to comprehend the situation, to look at things correctly, sometimes not even suspecting its true power. Many examples can be cited to support this idea.

Stalingrad. There are street fights. One side of the street is occupied by our fighters, the other by the Nazis. The fire does not stop day or night. But one day, in the evening, a sergeant comes out of the door of the house. He heads to the middle of the crossroads, where among the ruins one can see a grand piano covered with brick dust, but miraculously preserved. Our soldiers look at the sergeant with bewilderment and anxiety. At any second, everything can end ... They look with bewilderment from the other side.

The sergeant makes his way to the piano, lifts the lid and begins to play. Not a single shot breaks the silence. It all seems like some incredible magic, some kind of miracle. As if from a long peaceful life, the sounds of Fryderyk Chopin's "Waltz" flew to the soldiers. Everyone listens spellbound. The machines were silent.

It turns out that the power of music is greater than the power of war. But what is this power? She is a wonderful symbol of peace and life. This is her strength. Let it be for a while, but nice music stopped the fight. So, Fyodor Mikhailovich Dostoevsky was right when he said that beauty would save the world.

Art enriches spiritual world a person and thereby raises him to another higher level. D. Likhachev said about: “It illuminates and at the same time sanctifies a person’s life. It makes him kinder, therefore, happier.”

Even in the most hopeless times, thanks to art, hope returns to a person. This is the purpose and power of art.

Valeria Gumovskaya©

MELIK-PASHAEV A.A., Doctor of Psychology, Chief Researcher of the Psychological Institute of the Russian Academy of Education, Chief Editor magazine "Art in School", Moscow, Russia.

On the preventive value of artistic creativity

The author considers creativity as a condition and manifestation of the psychological and spiritual health of a person and as a norm in the axiological sense of the word, that is, as the completeness of the actualization of really existing human capabilities. The gift of creativity as such is a generic property of man. Accordingly, creative deprivation is contrary to human nature and therefore fraught with children. dangerous consequences psychological, psychosomatic and social plan. A thesis is put forward about the need for art prevention in the form of a universal, generally accessible, creatively oriented art education.

Key words: Creativity, artistic creativity, statistical and value norm, internal activity of the soul, art prevention.

There is a wide-spread opinion that creativity is connected to some deviations from the psychic norm. However, the author of the article considers creativity exactly as a norm, as a condition for individual's psychological and even mental health and as a manifestation of it. But what is meant is not the statistic norm according to which something is normal if it is encountered often enough under given conditions, but the axiological norm which means "the best of what can be achieved", the total actualization of really existing human abilities. It is stated in the article that creative gift in a broad sense, considered as " the inner activity of the soul" (V.V. Zenkovsky), is not an elite but a generic feature of a human being, Such interpretation of creativity is based on various sources: from biblical anthropology to humanistic psychology as well as therapeutic and pedagogical practice. Therefore blockage of this inner energy, creative deprivation that is wide-spread, for particular, in traditional school education contradicts the very nature of a human and hence may cause dangerous co nsequences for psychic and psychosomatic health of children (depression, depersonalization, feeling of meaninglessness of life) as well as push them to so-called “risk zones" (drug addiction, alcoholism, juvenile delinquency, suicidal tendencies).

It is pointed out that the optimal way of early children "s familiarization with creative experience as it is, with generation and realization of their own ideas, is creative production in one art form or another.

The author presents data which prove that proper participation in the artistic creation provides efficient protection against many psychological deviations and social evils. It is declared that besides the art therapy that is used by those people who already need therapeutic help, it is necessary to develop art prophylaxis as general, commonly available, creation- oriented artistic education.

Keywords: Creation, artistic creation, statistic and axiological norm, inner activity of the soul, art prophylaxis

Many years ago, in one of the speeches of the famous pediatrician F. Bazarny, a catchy formula sounded: "a person is either creative or sick." It can be perceived as a paradox: after all, many tend to understand creativity as just in the opposite way as some kind of deviation from the mental norm. I will not now dispute or discuss the reasons for the persistence of this prejudice, but I will try, in accordance with the topic of the article, to substantiate the understanding of creativity in general and artistic creativity in particular as a condition and manifestation of health in the psychological and even in the spiritual sense of the word.

But first we need to agree - not, of course, about “what creativity is” (that would be an exorbitant claim!), But about what we will call this word in the context of further reasoning. After all, under creativity different authors mean different things: from a workaround for the fulfillment of tabooed desires to the creation of something new that has not been before. The second point of view is the most common and, at first glance, does not raise objections. But on closer examination, the psychologist hardly recognizes it as completely satisfactory.

In order to avoid the devaluation of the term, the supporters of such an understanding of creativity themselves have to stipulate that creativity is not the product of any “new”, but only one that has an objective cultural and social significance. A reservation is undoubtedly necessary, but it is equally obvious that the criteria for this objective validity are indefinite and changeable.

Another question inevitably arises: the introduction of something new into life, and, moreover, “objectively significant”, can be both constructive and destructive. Does the value halo associated with the concept of “creativity” allow us to ignore this difference and call creativity any manifestation of human activity? Or should we talk about creativity with a plus sign and a minus sign, about creativity and “anti-creativity?”

Many thinkers and scientists have thought about this. Thus, Pavel Florensky considered it unsatisfactory to define culture as “ man-made”, since it actually equalizes the great work of human genius, and, for example, a thieves' master key: both of them have to be recognized as a fact of culture.

Touching upon this problem, psychologist V.N. Druzhinin proposes to distinguish between adaptive and transformative human activity; while the second can be both creative, that is, creative, and maladaptive, destructive, which does not create a new environment, but destroys the existing one. But it is practically impossible to separate these two aspects of the manifestation of human activity: in any creation of the new one can see an aspect of the voluntary or involuntary destruction of the old. From my point of view, the issue under discussion is fundamentally unresolvable within the framework of understanding creativity as “creating something new”. (I confess in advance: the question is not removed by itself even with the understanding of creativity, which I will try to substantiate below.)

Further. If not every "creation of the new" can be called creativity, then not every creativity is the creation of an objectively new. It is no coincidence that in pedagogical psychology such concepts as subjective creativity arose, or - in a different scientific context - the student's quasi-research activity. They were needed to denote what is not the creation or discovery of something new for humanity, but is such subjectively, for the child himself. The brightest example in the history of science: teenager Blaise Pascal single-handedly rediscovered a number of axioms of the ancient geometer Euclid. Having done this, he did not say anything that mankind did not know, but discovered what he himself did not know and, most importantly, discovered the source of creative genius in himself.

I summarize: the criterion of objective novelty of a product is not a psychological criterion. It is legitimate from the point of view of the history of art, science or other field cultural activities. The psychologist, on the other hand, should consider, first of all, the inner side of the creative act, what takes place in the human soul and is embodied in the forms and results of this or that activity.

It is by no means to say that scientists are not trying to penetrate into this inner realm of the creative process. There are many studies in which empirically, based on correlations with a person's achievements in any activity, individual psychological traits characteristic of a creative person. Such, for example, as “androgyny”, “tolerance to uncertainty”, commitment to non-standard solutions, independence of assessments and judgments (non-conformity), and so on.

Of interest are empirical generalizations concerning the stages of the creative process (from posing a problem to verifying the solution obtained as a result of insight), the role of the conscious and unconscious on these different stages, etc.

Recognizing the importance of such research, I at the same time recall the deep thought expressed by someone that there are two kinds of knowledge: one can know “about something”, and one can know “something”. Knowledge of the first kind is surprisingly extensive and useful in one way or another, but it remains external and in this sense superficial; the essence of the knowable (whether it be a person, a phenomenon of nature, historical event, fact of culture) remains for the cognizer a kind of “thing in itself”, the very existence of which he may not suspect.

And to know something means to know from within, through communion, revealing something both in the object of knowledge, and, thus, in oneself.

From this point of view, everything that has been said above should be attributed to the knowledge of the first type. These are some kind of labels, identifying signs of creative talent or the creative process, associated with them rather correlatively than meaningfully. They look quite plausible, they should be taken into account, but it seems to me that they do not help to understand the power that generates creativity and its existential meaning for the person himself.

In order to try to see the problem of creativity from the inside, it is necessary, first of all, to determine how we understand the essence of man. Indeed, at the base of any psychological concept, no matter how rational it may look, one can find some axiomatic, logically unprovable and experimentally unverifiable, but a supposed idea of ​​what, or rather, who a Man is. Or, as they used to say in the past, “who we are, where we come from and where we are going? This representation predetermines the vector, possibilities and limits of the possibilities of this direction of research. It may not be realized by the author himself, mimicking something taken for granted and the only possible one, or it may be relied upon consciously and responsibly.

We will proceed from the fact that man is a creator by nature. As was said, the original axiom is not subject to proof, but a variety of sources testify in favor of its truth.

• Biblical and patristic anthropology: man is not only created, but animated by the creative spirit, and this is precisely his likeness to the Creator.
• Humanistic psychology, which sees the task of a person and the guarantee of the health of an individual and society in self-actualization, that is, in the full disclosure of a person's potential.
• Modern psychotherapy (in particular, the diverse branches of art therapy) and its direction as creative self-expression therapy: creativity in its various forms gives strength to live and restores health.
• Best Teaching Practice different types arts (perhaps, and not only arts): in favorable psychological and pedagogical conditions, almost all students general education schools go to the level of creativity:
  - Creation of full-fledged artistic images. In Russian pedagogy, an example is the teaching of fine arts according to the system of B.M. Nemensky, literature
  - according to the Z.N. Novlyanskaya and G.N. Kudina, many theatrical and pedagogical practices, etc. (The foregoing does not mean equality of children in this respect, but that's another question.)

I find the general psychological substantiation of the thesis about the creative nature of man in the fundamental work of the remarkable scientist, and later also the teacher, theologian and clergyman V.V. Zenkovsky, published over a hundred years ago. In this work, the Author shows that, contrary to appearances, inner life a person is not subject to causal logic; it is directed not by certain objective, independent factors to which a person reacts and to which he adapts, but by his inherent inner activity, or the inner energy of the soul, which acts teleologically, selectively transforming the material of all objective influences and impressions.

This internal energy characterizes a person as a creative being who needs, in the words of the great preacher of our time, Metropolitan Anthony of Surozh, “to live from the inside out”, and not just respond to outside influences.

I emphasize: we are not talking about individual prominent people, but about a person as such, in the generic sense of the word. In other words, creativity, creative self-realization is the norm human being. It seems that this statement is hopelessly opposed by the data of test studies, which collectively limit the number of " creative people» a negligible percentage of the total sample. I will not now discuss the validity of the methods, nor the criteria for evaluating the results of these studies. More fundamental is the question of what is considered normal.

Usually, the norm is understood statistically, when, simply speaking, what is considered normal is that which occurs quite often in actual conditions. But I proceed from a fundamentally different, value-based understanding of the norm, when the highest possible, the fullness of a person's potentialities, is recognized as normal. (Let me remind you, in connection with what has been said above, of the above data on the creative achievements of "ordinary" children under adequate psychological and pedagogical conditions.)

Understanding creative self-realization as a norm of human life sharply raises the question of what happens to us, especially to children, when the manifestation of internal energy souls, as is often the case in traditional school settings. V. Bazarny, mentioned at the beginning of the article, says that without creative inspiration, children find themselves in the grip of oppressive, almost unbearable experiences of emptiness, the meaninglessness of life, and the unbearable malleability of time. The development of this situation is possible in two directions, one worse than the other. The first can be likened to the death of grass sprouts rolled under the asphalt and not finding the strength to break it. The consequences of this are the lack of meaning in life, the feeling of unreality of oneself in the world, depersonalization, depression, suicidal tendencies.

The image of the second direction is a boiling sealed kettle, which at some point explodes. Consequences - deviant, criminal, self-destructive behavior, the so-called unmotivated crimes, the "complex of Herostratus", who finds no other way to prove that he lived on earth, how to destroy what others have created. Considering all this, one can modify the aphorism of V. Bazarny, given at the beginning of the article, and say: a person deprived of creativity is either a potential patient or a potential criminal.

Speaking of creativity as a necessary and healing form human existence I mean, of course, not only artistic creativity. As said great philosopher BUT. Lossky, the creative potential inherent in man is initially “super-quality”, that is, universal in nature. It is no coincidence that the method of creative self-expression therapy we mentioned, developed and successfully practiced by M.E. Stormy and his followers, extends to almost all spheres of our activity, communication and leisure, in each of which actualization of the "inner energy of the soul" is possible.

But in childhood, art has an undeniable priority, as an area in which a child can early and most successfully acquire the experience of creativity as such: the generation, embodiment and presentation of his own ideas. On what is this assertion based?

We have already said that in favorable learning conditions, the artistic and creative potential, to a greater or lesser extent, is revealed in almost all children. Let us add to this that in no other area does a child of preschool and primary school age create something that would be recognized as valuable and even tried to be partially adopted by the professional elite, as has been happening in art for more than a hundred years. And the point is not that children are seen as future professionals who will bring something valuable to the artistic culture of mankind - this just may well not be - but that what they create is already an undoubted, albeit marked by age originality, artistic value.

This peculiarity is connected with another argument in favor of the priority of art in the early creative development children. Achievements of small (but still closer to adolescence) children in any scientific field are attracted by the fact that they are ahead of their age and think in principle in the same way as adult scientists. There is no "children's science", and children's art exists, and a person with at least a little pedagogical experience will determine with sufficient accuracy the age of the author of a drawing or essay. (A convincing example: everyone will say that the author of the brilliant children's quatrain "May there always be sunshine!" is about four years old.)

This combination of full-fledged artistry and age originality speaks, from my point of view, of the maximum "environmental friendliness" of this type of creativity for young children.

The foregoing allows us to assert that early initiation into artistic and creative experience is an almost indispensable condition and the best means of educating psychologically, morally and socially prosperous generations. And there are numerous confirmations of this.

Art therapy as a branched field of correction of mental disorders is too well known to once again confirm its significance. But it is worth mentioning the facts that go beyond the usual ideas about its capabilities.

Everyone will agree that choral singing is a useful thing both from the physical and from the mental, psychological point of view. But there is, for example, evidence that in one of the Chinese colonies, a police commissioner began to treat drug addiction with regular choral singing. And he got a result that was 10 times higher than that achieved in special institutions with the help of pharmacological agents and special psychotechnics, and in fact approaching one hundred percent. Of course, this requires verification in other conditions, but I will put emphasis on the word requires.

And here is evidence from the criminal sphere. An outstanding teacher V.V. Sukhomlinsky wrote: "The more serious the crime, the more inhumanity, cruelty, stupidity in it, the poorer the intellectual, aesthetic, moral interests of the family." And further: "None of those who committed the crime could name a single work of symphonic, operatic or chamber music." But here the inverse relationship is also guessed, and it is confirmed by scientific data. In our time, the American scientist M. Gardiner studied the life experience of thousands of young people who were registered with the police. And he became convinced that the more actively a teenager is engaged in music, the less likely he is to have friction with the law, and of those capable of playing from a sheet, no one came to the attention of the police. The author concludes that a child’s serious music lessons “completely rule out criminal experience”

The initiative of the Venezuelan musician and public figure HA. Abreu, who engages children from the age of two in music lessons - not in search of geeks, but for the social adaptation of millions of children from the most disadvantaged sections of society, and calls this movement a program of national salvation.

It is possible to give examples of the equally beneficial influence of theater and other types of artistic creativity, but what has been said is enough to, summarizing, return to the idea expressed in the title of the article.

When a child has reached nervous exhaustion, lost sleep, fell into depression or, God forbid, thought about suicide, that is, when he is already ill, we turn to art therapy and attract the forces of art and artistic creativity to help. But is it worth waiting for trouble? Why not engage in arttrophilaxis, which requires only what, it would seem, should already exist in school: a universal, generally accessible, full-fledged, creatively oriented art education?

Moreover, as we see, it can not only warn psychological problems of varying severity, but also to protect the growing child from falling into those circles of self-destructive and criminal hell, which we correctly call "risk zones". Because it does not act with fruitless and cruel prohibitions, restrictions and punishments (remember the soldered teapot!), but from childhood it opens a positive, socially approved way out of the locked “inner energy of the soul” of a growing person.

Because it allows you to feel like an author who is really present in this world, who has the right to creatively change it, but also bears the author's responsibility for what he freely, on his own initiative, creates. All this makes sense everyday life man and makes obviously uninteresting and unattractive everything that can only destroy it.

Much more can be said, and many times it has been said about the indispensable role of art education and creativity in the formation of a child's personality, and, therefore, in the life of society. This is the development of the sensory sphere, which is so significant for children, which remains unclaimed in the conditions of a one-sidedly rationalized education. This is the development of spiritual responsiveness, and familiarization with the enduring values ​​of humanity, without which any knowledge and “competencies” can be easily turned to harm. This is an increase in general mental abilities, intellectual activity, and a more successful development of other school disciplines, which is observed in any educational institution where art is given its due place. But long experience shows that, for reasons that are difficult to explain, these rather well-known facts do not lead to a change in the state cultural and educational policy, which stubbornly keeps art on the margins of general education and, in fact, more and more reduces it to nothing.

But art education also brings opportunities that cannot be brushed aside, and it is to them that I draw attention. Introduction to art is a powerful means of preventing many social disasters and mental disorders, the growth of which among new generations is a formidable danger to national culture and, in the foreseeable future, to the very existence of society, people and state.

List of sources used:

1. Florensky P.A. From the theological heritage. / Theological works. Issue 9. M.: Edition of the Moscow Patriarchy, 1972. pp. 85-248.
2. Druzhinin VN Psychodiagnostics of general abilities. M.: Academy, 1996, 216 S.
3. Maslow A. Far limits of the human psyche. St. Petersburg: Eurasia, 1997.
4. A Practical Guide to Creative Expression Therapy. Ed. M.E. Stormy. M.: Academic project OPPP, 2002.
5. Zenkovsky V.V. The problem of mental causation. Kyiv, 1914.
6. Slobodchikov V.V. Theory and diagnostics of development in psychological anthropology. // Psychology of learning, 2014, No. 1, pp. 3-14.
7. Bazarny V.F. Neuro-psychic fatigue of students in the traditional school environment. - Sergiev Posad .: Min. arr. RF, 1995.
8. Bazarny V.F. Interview. " Soviet Russia", 10/23/2004.
9. Sukhomlinsky V.V. Selected pedagogical works. Volume 1. 1979.
10. Kirnarskaya D.K. Musical ability. - M.: Talents-XX Century, 2004

TRANSLITERATION OF RESOURCES:

1. Florenskiy P.A. From bogoslovskogo naslediya. / Bogoslovskie trudyi. Vyip.9. iVf: Izdanie Moskovskoy patriarhii, 1972. str.85-248.
2. Druzhinin V.N. Psychodiagnostika obschih sposobnostey. Moscow: Akademiya, 1996, 216 S.
3. Maslou A. Dalnie predelyi chelovecheskoy psihiki. SPb.: Evraziya, 1997.
4. Prakticheskoe rukovodstvo po terapii tvorcheskim samcrvyirazheniem. Under red. M.E. Burno. M.: Akademicheskiy project OPPP, 2002.
5. Zenkovskiy V.V. Problema psihicheskoy prichinnosti. Kiev, 1914.
6. Slobodckikov V.V. Teoriya i diagnostika razvitiya v psihologicheskoy antropologii. // Psychology obucheniya, 2014, #1, s. 3-14.
7. Bazarnyiy V.F. Nervno-psihicheskoe utomlenie uchaschihsya v traditsionnoy shkolnoy srede. - Sergiev Posad.: Min.obr.RF", 1995.
8. Bazarnyiy V.F. Interview. "Sovetskaya Rossiya", 10/23/2004.
9. Suhomlinskiy V.V. Izbrannyie pedagogicheskie sochineniya. Tom 1.1979.
10. Kirnarskaya D.K. Muzyikalnyie sposobnosti. - M.; Talantyi-HH Vek, 2004.

Melik-Pashaev, A.A. On the preventive significance of artistic creativity / A.A. Melik-Pashaev // Thematic issue "International Chelpanivska psychological and pedagogical reading", - K .: Gnosis, 2016. - 354 p. - T. 3. - VIP. 36. - S. 20-28. - 0.8 p.l. – ISBN 978-966-2760-34-7.