Fairy tales, myths, legends in Russian art. Material on the topic: The role of Russian folk tales in education Fairy tale in creativity
Savchenko Daria Sergeevna
5th year student
trades
Implementation of a children's kit on the topic:
"Fly Tsokotukha"
interdisciplinary course work
in the disciplines Performing Arts and Composition,
Theory and history of culture.
Supervisor:
Turbasov D.V.
Introduction……………………………………………3
Chapter 1………...………....5
1.1 Classification of fairy tales by genre ………..7
Fairy tale in creativity
porcelain artists….……………….17
Chapter 2 Design and Build
art piece on porcelain………..19
Creation progress
compositions……………………………………….20
Conclusion ……………………………………….21
Bibliography………………………………22
Application……………………………………… 23
Introduction.
The art of creating porcelain products occupies a special place in our artistic culture. It carries for the current generations an understanding of the beautiful, which has been formed over the centuries.
Among the many problems contemporary art problems of traditions are perhaps the most significant and complex. They cause many years of controversy, sometimes turning into organized discussions. However, even today this topic cannot be considered inexhaustible; rather, the further art develops, the more relevant it becomes.
The problem of style in porcelain decoration is connected with the creative assimilation of the traditions of Russian porcelain art with the preservation and use of the wealth of artistic techniques that previous generations owned with their approval in modern times.
Porcelain is a material that is sensitive to any change in style and fashion, however, it is not subject to them.
The Imperial Porcelain Factory is one of the pinnacles of Russian national culture.
Porcelain has a number of amazing properties: it can express the monumentality of architecture and the plasticity of sculpture, and it can reflect all the colorfulness of painting on its snow-white surface.
Preserving traditions enriched with modern technologies allow the Imperial Porcelain Factory today not only to recreate masterpieces of past centuries from the Hermitage collection.
Using this rich experience, talented contemporary artists create new unique works that support any reputation of the art of Russian art porcelain, allow you to carry out responsible orders at the highest level.
Subject is a plot, compositional, coloristic solution of fairy tales in products of decorative and applied art.
object is a fabulous plot in applied art.
Target: based on the studied material, create a project for painting porcelain products and execute it in the material.
Tasks: study of textual and illustrative material on the topic,
reveal a topic, tell about the history of this topic in art, write a text, compose bibliographic list, make sketches, describe the practical part, perform work in the material, prepare a presentation on the topic.
Chapter 1
A fairy tale is the oldest genre of oral folk poetry, epic, mostly prose, a work of a magical, adventurous or everyday nature. Like all folk art, a fairy tale is deeply national, but at the same time, most fairy tale plots are found in many peoples of the world.
The most important characteristic of a fairy tale is that it contains an obligatory setting for fiction, which also determines the poetics of a fairy tale. The main features of a fairy tale include “inconsistency with the surrounding reality” and “the extraordinary ... events that are being narrated” (this is the difference between a fairy tale and a literary narrative).
Fairy tales (whose classification is used in this section) "stand out not on the basis of magic or miraculousness ... but on a perfectly clear composition." At the core fairy tale(an idea that came to a variety of researchers, independently of each other) lies the image of initiation (initiation is a kind of rite of passage, the initiation of young men into the category of adult men) - hence the “other kingdom”, where the hero should go in order to acquire a bride or fabulous values after which he must return home. The narrative is "carried out entirely outside of real life." Characteristic features of a fairy tale: verbal ornament, sayings, endings, stable formulas.
Cumulative tales are built on the repeated repetition of some link, as a result of which either a “heap” (Terem flies), or a “chain” (Turnip), or a “successive series of meetings” (Kolobok) or “references” (Cockerel choked) arises. There are few cumulative tales in Russian folklore. In addition to the features of the composition, they differ in style, richness of language, often gravitating towards rhyme and rhythm. The remaining fairy tales are distinguished into special genres not on the basis of composition, which has not yet been studied enough, but on other grounds, in particular, on the basis of character. actors. In addition, in non-magical tales, the “extraordinary” or “wonderful” “is not taken out of reality, but is shown against its background. This extraordinariness takes on a comical character. The supernatural (wonderful objects, circumstances) is absent here, and if it does occur, it is comically colored.
Tales about animals, plants (the war of mushrooms, etc.), about inanimate nature (wind, frost, sun) and objects (bast shoes, straws, bubbles, coals) make up a small part of Russian and Western European fairy tales, while among the peoples of the North, North America and Africa, fairy tales about animals are widespread (the most popular heroes are clever deceivers - tricksters (jesters) hare, spider, fox, coyote).
Household tales (short stories) are divided according to the types of characters (about clever and clever guessers, about wise advisers, about clever thieves, about evil wives, etc.).
Fables tell about “completely impossible events in life” (for example, about how wolves, having driven a person up a tree, stand on each other’s backs to get him out of there).
Boring tales, rather, "jokes or nursery rhymes", with the help of which they want to calm down children who demand to tell tales (About the white bull).
Diversity folk tales this classification is by no means exhausted, for example, in the Slavic tradition, heroic, soldier's tales, etc. can also be distinguished.
Mythological and fairy-tale characters have become the heroes of Russian art, primarily folk art, since ancient times. Folk art is one of the bearers of national memory. It is in it that the images are preserved Slavic mythology. Often these images have been so transformed over time that it is difficult for us to understand what is depicted in a particular work. But many of the characters are recognizable. These are pharaoh mermaids that adorned houses in the Nizhny Novgorod province, and images of the Mother of the Raw Earth in northern red and white embroideries, and the fabulous birds Sirin and Alkonost, appearing in many types of folk art - embroidery, wood painting, as well as popular prints, and many others. AT folk toy- clay (Dymkovskaya and Kargopolskaya) and wooden (Bogorodskaya) - many fairy-tale characters were also depicted - the heroes of Pushkin's fairy tales were and remain especially popular.
Similar information.
Many centuries ago, when there was still no written language, oral folk art arose, performing the same role that literature later played. For children, the people created wonderful fairy tales, songs, riddles, sayings. Works of folk art have not lost their impact on the child in our days.
Deep moral ideas, dreams and beliefs of the people are reflected in oral works. The fairy tale speaks simply and convincingly about the victory of good over evil, truth over lies, about the triumph of justice. The positive hero of a fairy tale always wins. The tale shows work as the basis of life, the hardworking hero is rewarded, the lazy one is punished. Reason, resourcefulness, courage are glorified in the fairy tale.
The action of the folk tale unfolds against the backdrop of native nature. The child sees an open field, a dense forest, and a fast river. Nature, as it were, sympathizes with the positive hero: an apple tree, a river shelter the girl from the pursuit of swan geese, animals and birds help to overcome obstacles. Pictures of nature help to enhance the emotional impact of the work. The fairy tale contributes to the education of love for the native nature, for the Motherland.
The great Russian teacher K. D. Ushinsky highly appreciated the folk tale. He wrote about the fairy tale: "These are the first and brilliant attempts of Russian folk pedagogy, and I do not think that anyone is able to compete in this case with the pedagogical genius of the people."
In addition to fairy tales, the people created a large number of songs, jokes, nursery rhymes, counting rhymes. Diverse in content, they clarify the child's ideas about the environment, imperceptibly direct his behavior. So, in the song "Magpie-Crow" the one who did not work does not get porridge: he did not saw wood, did not carry water.
Songs amuse the child, accompany his games, develop a sense of humor, teach him to think. From the first months of life, the child listens to the sounds of a melodic lullaby, which the mother sings to him, putting a lot of warmth and affection into it. Funny songs, nursery rhymes are associated with movement and are distinguished by a peppy rhythm. Songs about animals are very close to children.
In folk songs there is a wide variety of rhythms depending on the content - this is either a recitative rhyme, or a dance nursery rhyme, or a calm lullaby. The child receives the first musical perceptions precisely from the tunes of his songs.
The fairy tale creates favorable conditions for children to empathize with the hero, some of them have one audition artistic text does not yet evoke the corresponding emotional experiences. In order to better understand and more deeply feel the meaning of a fairy tale, children need to reproduce the plot of the work and the relationship of its characters in an expanded external form. Good ground in this case is the richness of the fairy tale with dialogues, the dynamism of action, and the characteristic mask roles.
Thus, fairy tales should by no means be considered only as an interesting pastime, as a pleasant, accessible activity for a child. With the help of fairy tales, one can metaphorically educate a child, help to overcome the negative aspects of his emerging personality.
It is useful for a shy and timid child to read the fairy tale "About the Cowardly Hare", for a greedy, selfish child - "About the Fisherman and the Fish", "Three Greedy Little Bears", for a capricious girl - "The Princess and the Pea", etc. If your child has emotional problems (he is anxious, aggressive or capricious), try to compose a fairy tale for him, where the characters and their adventures will help the child solve his problem (fear, insecurity, loneliness, rudeness, etc.). You can come up with a creature that looks a little like your child in appearance (eyes, hair, ears) and character (fighter, timid, capricious) and who, according to the plot of a fictional fairy tale, has many opportunities and choices in order to overcome obstacles. The child himself will find a way out of the traumatic situation. But when telling a fairy tale to a child, be sure to finish it right away. And speak in a normal voice that the child is used to in real life.
Children need fairy tales, especially folk ones. Young children intuitively feel this, only parents need to remember that a fairy tale should be age appropriate.
The works of oral folk art are a great art of the word. A clear, harmonious composition, a fascinating fantasy of a fairy tale, vivid images of heroes, an expressive and extremely concise language, rhythm, and completeness of the plot of a short song make these works highly artistic in form. They will always use big love children.
Fairy tales. They originated in ancient times. Telling fairy tales was a common hobby in Russia, they were loved by both children and adults. In a fairy tale, truth and goodness certainly triumph. A fairy tale is always on the side of the offended and oppressed, no matter what it tells. It clearly shows where the correct life paths of a person go, what is his happiness and unhappiness, what is his retribution for mistakes, and how a person differs from a beast and a bird.
In a fairy tale for children, there is a special charm, some secrets of the ancient worldview are revealed. They find in the fairy tale narrative on their own, without explanation, something very valuable for themselves, necessary for the growth of their consciousness. An imaginary, fantastic world turns out to be a reflection of the real world in its main foundations. A fabulous, unusual picture of life gives the baby the opportunity to compare it with reality, with the environment in which he himself, his family, people close to him exist. The tale accustoms him to the idea that evil in any case must be punished.
For children, it doesn’t matter at all who the hero of the fairy tale is: a person, an animal or a tree. Another thing is important: how he behaves, what he is - handsome and kind or ugly and angry. The fairy tale tries to teach the child to evaluate the main qualities of the hero and never resorts to psychological complication. Most often, the character embodies one quality: the fox is cunning, the bear is strong, Ivan is lucky as a fool, and fearless as a prince. The characters in the tale are contrasting, which determines the plot: the diligent, reasonable sister Alyonushka was not obeyed by brother Ivanushka, he drank water from a goat's hoof and became a goat - he had to be rescued; the evil stepmother plots against the good stepdaughter... Thus, a chain of actions and amazing fairy-tale events arises. The tale is built on the principle of a chain composition, which, as a rule, includes three repetitions. Sometimes the repetition is in the form of a dialogue; then children, if they play a fairy tale, it is easier to transform into its heroes. Often a fairy tale contains songs, jokes, and children remember them first of all.
The tale has its own language - concise, expressive, rhythmic. Thanks to language, a special fantasy world is created. According to the theme and style, fairy tales can be divided into several groups, but usually researchers distinguish three large groups: fairy tales about animals, fairy tales and household (satirical) ones.
Lecture
The first literary work in the life of every person is a fairy tale. Probably, we all remember well how our mother read them to us in the very early years. However, a fairy tale should not be taken solely as a way to entertain a child or amuse him.
It seems so only at first glance, but with a detailed analysis, we see that such a literary genre performs a very important function, namely, the upbringing of a child. Let's remember together what feelings fairy tales evoked in us.
The role of fairy tales in the life of the reader
In the plot, there were always negative and positive characters who fell into the same life situation or took part in a certain event together. Evil characters in every possible way prevented the good ones, making them various intrigues.
However, in the end, good always defeated evil, and often won it over to its side. The unformed psyche of a child, using the example of the main characters of a fairy tale, begins to understand what is good and what is bad; how to treat people, and how not to; what are real life values and what are false ones.
Moral values in fairy tales for adults
You should not assume that fairy tales leave the child in the process of growing up: they accompany a person throughout his conscious life. After all, people tend to lose their life orientations, and these literary works in every possible way contribute to finding them again. Fairy tales for adults contain somewhat transformed moral values of children's fairy tales.
Such works teach a person to be a patriot of his state, to have ideas about true love and friendship. The poetic images of the heroes of fairy tales make a person think about whether he has forgotten about the main thing in his life - spiritual development.
Indeed, very often adults are busy with various everyday chores - work, study and raising children. The spiritual idea of life is drastically relegated to the background, and in the end, it completely loses its relevance. Fairy tales are a tool with which adults begin to understand true values own life.
The place of a fairy tale in the world of fiction
The fairy tale occupies one of the most significant places in the world fiction. Moreover, this genre is a pioneer in the formation of a direct literary process in the life of mankind. The fairy tale always went in rhythm with the times and fully reflected those dominant guidelines that were characteristic of mankind in a certain period of its history.
This literary genre did not arise from scratch. In ancient times, it was oral and passed down from generation to generation. Such tales were called folk tales, since they did not have an author, but were supplemented and modified oral text.
Author's fairy tales first appeared in the 17th century. father of classical literary fairy tale Charles Perot is considered to be the one who created the literary construction of the fairy tale, which was repeatedly used by many writers in the future. The story fits all criteria. literary work, the main of which is a lesson to the reader.
Tales of the Russian people K.D.Ushinsky called the first brilliant attempts of folk pedagogy. Admiring fairy tales as monuments of folk pedagogy, he wrote that no one is able to compete with the pedagogical genius of the people. The same should be said about the fairy tales of other peoples.
Fairy tales, being works of art and literature, were at the same time for the working people an area of theoretical generalizations in many branches of knowledge. They are a treasury of folk pedagogy; moreover, many fairy tales are pedagogical works, i.e. they contain pedagogical ideas.
Leading Russian educators have always had a high opinion of the upbringing and educational significance of folk tales and pointed out the need for their wide use in pedagogical work. So, V.G. Belinsky appreciated in fairy tales their nationality, their national character. He believed that in a fairy tale behind fantasy and fiction there is real life, real social relations. V.G. Belinsky, who deeply understood the nature of the child, believed that children have a highly developed desire for everything fantastic, that they need not abstract ideas, but concrete images, colors, sounds. ON THE. Dobrolyubov considered fairy tales to be works in which people reveal their attitude to life, to modernity. N.A. Dobrolyubov sought to understand the views of the people and their psychology from fairy tales and legends, he wanted “so that, according to folk legends, the living physiognomy of the people who preserved these traditions could be outlined before us.”
The great Russian teacher K.D. Ushinsky had such a high opinion of fairy tales that he included them in his pedagogical system. Ushinsky saw the reason for the success of fairy tales with children in the fact that the simplicity and immediacy of folk art correspond to the same properties of child psychology. “In a folk tale,” he wrote, “the great and poetic child-folk tells the children their childhood dreams and at least half believes in these dreams.” In passing, a very revealing fact should be noted. Ushinsky's thoughts about fairy tales are very close in nature to K. Marx's statement about them. In the introduction “To the Critique of Political Economy”, K. Marx wrote that the reason for the popularity of fairy tales among children is the correspondence between the naivety of the child and the artless truth of folk poetry, in which the childhood of human society is reflected. According to Ushinsky, natural Russian teachers - grandmother, mother, grandfather, who did not get down from the stove, understood instinctively and knew from experience what a huge educational and educational power a folk tale is fraught with. As you know, Ushinsky's pedagogical ideal was a harmonious combination of mental and moral and aesthetic development. According to the firm conviction of the great Russian teacher, this task can be successfully accomplished on the condition that the material of folk tales is widely used in education. Thanks to fairy tales, a beautiful poetic image grows together with logical thought in the soul of a child, the development of the mind goes hand in hand with the development of fantasy and feelings. Ushinsky worked out in detail the question of the pedagogical significance of fairy tales and their psychological impact on the child; he resolutely put the folk tale above the stories published in educational literature especially for children, for the latter, as the great teacher believed, were still a fake: a childish grimace on an old face.
Fairy tales are an important educational tool, worked out and tested by the people over the centuries. Life, folk practice of education convincingly proved the pedagogical value of fairy tales. Children and a fairy tale are inseparable, they are created for each other, and therefore acquaintance with the fairy tales of one's own people must necessarily be included in the course of education and upbringing of each child.
In Russian pedagogy, there are thoughts about fairy tales not only as educational and educational material, but also as a pedagogical tool, method. Thus, the nameless author of the article "The Educational Significance of the Fairy Tale", in the monthly pedagogical leaflet "Education and Training (No. 1, 1894), writes that the fairy tale appeared at that distant time, when the people were in a state of infancy. Revealing the meaning of the tale pedagogical tool, he admits that if the same moral maxim is repeated at least a thousand times to children, it will still remain a dead letter for them; but if you tell them a fairy tale imbued with the same thought, the child will be excited and shocked by it. Further in the article, the story of A.P. Chekhov is commented. The little boy took it into his head to smoke. He is admonished, but he remains deaf to the convictions of his elders. The father tells him a touching story about how smoking has adversely affected the health of one boy, and the son, with tears, throws himself on his father's neck and promises never to smoke. “There are many such facts from the life of children,” the author of the article concludes, “and every educator probably had to sometimes use this method of persuasion with children.”
Fairy tales as a method of persuasion were widely used in his pedagogical activity by the outstanding Chuvash teacher I.Ya. Yakovlev.
Many fairy tales, and stories by I.Ya. Yakovlev, compiled by him in the manner of everyday fairy tales, are in the nature of ethical conversations, i.e. act as a means of persuasion in the moral education of children. In a number of fairy tales and stories, he admonishes children by referring to the objective conditions of life, and most often to the natural consequences of children's bad deeds: he assures them, convinces them of the importance of good behavior.
The educational role of fairy tales is great. There is an assertion that the pedagogical significance of fairy tales lies in the emotional and aesthetic plane, but not cognitive. One cannot agree with this. The very opposition of cognitive activity to emotion is fundamentally wrong: the emotional sphere and cognitive activity are inseparable, without emotion, as you know, knowledge of the truth is impossible.
Fairy tales, depending on the topic and content, make listeners think, suggest reflections. Often the child concludes: “It doesn’t happen like that in life.” The question involuntarily arises: “What happens in life?” Already the conversation of the narrator with the child, containing the answer to this question, has a cognitive value. But fairy tales contain cognitive material directly. It should be noted that the cognitive significance of fairy tales extends, in particular, to individual details of folk customs and traditions, and even to household trifles.
For example, in the Chuvash fairy tale “He who does not honor the old, he himself will not see the good” tells that the daughter-in-law, not listening to her mother-in-law, decided to cook porridge not from millet, but from millet and not on water, but only on oil. What came of it? As soon as she opened the lid, millet grains, not boiled, but roasted, jumped out, fell into her eyes and blinded her forever. The main thing in the fairy tale, of course, is the moral conclusion: you need to listen to the voice of the old, take into account their worldly experience, otherwise you will be punished. But for children, it also contains educational material: they fry in oil, not boil it, therefore, it is ridiculous to cook porridge without water, in oil alone. Children are usually not told about this, because in life no one does this, but in a fairy tale children are instructed that everything has its place, that everything should be in order.
Here is another example. The fairy tale "A penny for a miser" tells how a smart tailor agreed with a greedy old woman to pay her one penny for each "star" of fat in the soup. When the old woman put oil, the tailor encouraged her: “Lay, put, old woman, more, do not spare oil, because I ask you not without reason: I will pay a penny for every “star”. The greedy old woman put more and more butter in order to get a lot of money for it. But all her efforts gave an income of one penny. The moral of this story is simple: don't be greedy. This is the main idea of the tale. But its cognitive meaning is also great. Why, - the child will ask, - did the old woman get one big "asterisk"?
The fairy tale "Ivanushka the Fool" tells how he walked, walked through the forest and reached a house. I entered the house, there were 12 stoves, in 12 stoves - 12 boilers, in 12 boilers - 12 pots. Ivan, hungry on the road, began to try food from all the pots in a row. Already trying, he ate. The educational value of the given detail of the tale is that in it the task is offered to the attention of the listeners: 12 x 12 x 12 \u003d? Could Ivan have eaten? Not only could, moreover, only a fairy-tale hero could eat so much: if he tried in all the pots, then he ate 1728 spoons of food!
Of course, the educational value of fairy tales also depends on the storyteller. Skillful storytellers usually always try to use such moments, posing questions like in the course of telling a fairy tale: “What do you guys think, how many boilers were there? How many pots? etc.
The educational significance of fairy tales in geographical and historical terms is well known.
So, in the fairy tale "Let parents always be held in high esteem" tells about the following. The son went to harvest peas, took his old mother with him to the field. The wife, a lazy, quarrelsome woman, stayed at home. Seeing off her husband, she said: “We don’t properly feed your mother at home, she, hungry, would not have eaten all the peas there. Follow her." Indeed, the son in the field never took his eyes off his mother. Mother, as soon as she arrived in the field, took and put one pea in her mouth. She tossed the pea with her tongue, sucked, tried with all her might, toothless, to taste the peas of the new crop. The son, noticing this, remembered his wife’s order: “He doesn’t eat in the morning, so she will eat everything. There is not much sense from her on the field, I’d better take her back home. ” When they arrived home, the mother, while getting off the cart, dropped a single pea from her mouth and confessed this to her son with tears. The son, hearing about this, put his mother on a cart and hurried back to the field. But he was in a hurry in vain, by the time they arrived on his site there was not only not a single pea, but there was no straw left either: a large flock of cranes ate the peas, a large herd of cows, goats and sheep ate the straw. So, a man who regretted one pea for his own mother was left without a single pea.
The moral of the story is quite obvious. From the point of view of its educational value, something else attracts attention. Many narrators of this tale pass it off as the “true truth”: they name the name of the old woman’s son, not only the village where he lived, but also the place where his field (pen) was. One of the narrators reported that the old woman dropped a pea on a pothole known to the listeners, and not at the house, as recorded in the version of the tale we cited. As a result, the tale introduces the past of the village, with some of its inhabitants, talks about economic ties and relationships.
In the fairy tale “About how they fell into the underworld” it is told how the mother of three sons and three daughters wanted to marry them to each other. She managed to marry the eldest and middle daughter, respectively, to the eldest and middle son. Youngest daughter did not agree to marry her brother and ran away from home. By the time she returned, their home with their mother, two sons and two daughters had sunk into the ground. "As soon as the earth wears it!" - talking about a very bad person. So in the fairy tale, the earth could not stand the criminal guilt of the mother, and the children who obeyed the immoral demand of the mother were also punished. It should be noted that the mother is bred disgusting in every respect: heartless, cruel, drunkard, etc. Consequently, her act in relation to her own children is not an accident, but a consequence of her personal qualities. The moral of this tale is obvious: marriage between relatives is immoral, unnatural, and therefore unacceptable. But this tale at the same time has a cognitive meaning: once in antiquity, marriage between relatives was allowed. ancient tale is a reflection of the struggle for the rejection of such marriages, for their prohibition. Such a tale, of course, could only have arisen in ancient times.
The short fairy tale "Fishing" tells how the Chuvash, Russians and Mordovians fished on one large lake. The main idea and main purpose of the fairy tale is the development and strengthening in children of a sense of friendship between peoples: "Russian, Mordvin and Chuvash are all the same: people." But at the same time it also contains a small cognitive material. The Chuvash say: “Syukka” (No”), the Mordovians “Aras” (“No”), the Russians also did not catch a single fish, therefore, in essence, in this case, the position of the Chuvash, Mordovians and Russians is the same. But the Russians heard the words "syukka", "aras" as "pike" and "crucian carp". People speak different languages, words may be similar to each other, but their meaning is different. To understand foreign languages, you need to learn them. The tale assumes that the fishermen do not know each other's languages. But the listener will learn from the fairy tale that "syukka" and "aras" in Chuvash means "no". The tale, although it introduces only two words of other peoples, nevertheless arouses in the child an interest in foreign languages. It was the masterful combination of the educational and the cognitive in fairy tales that made them very effective pedagogical means. In the foreword to The Tale of the Release of the Sun and the Moon from Captivity, the writer of the legend admits that he heard it only once, when he was nine years old. The style of speech was not retained in the memory of the writer, but the content of the legend was preserved. This recognition is indicative: it is generally believed that fairy tales are remembered due to a special way of speech, presentation, etc. It turns out that this is not always true. Undoubtedly, in memorizing fairy tales, their capacious meaning, the combination of educational and educational material in them, plays an important role. This combination contains the peculiar charm of fairy tales as ethnopedagogical monuments, in which the idea of the unity of teaching (education) and upbringing in folk pedagogy is realized to the maximum extent.
FEATURES OF FAIRY TALES AS FOLK MEANS OF EDUCATION
Not being able to analyze in detail all the features of fairy tales, we will dwell only on their most characteristic features, such as nationality, optimism, the fascination of the plot, imagery and amusingness, and, finally, didacticism.
The material for folk tales was the life of the people: their struggle for happiness, beliefs, customs, and the surrounding nature. In the beliefs of the people there was a lot of superstitious and dark. This is dark and reactionary - a consequence of the difficult historical past of the working people. In most fairy tales, best features people: hard work, talent, loyalty in battle and work, boundless devotion to the people and homeland. The embodiment of the positive traits of the people in fairy tales made fairy tales an effective means of transmitting these traits from generation to generation. Precisely because fairy tales reflect the life of the people, their best features, cultivate these features in the younger generation, the nationality turns out to be one of the most important characteristics fairy tales.
In fairy tales, especially in historical ones, one can trace the interethnic ties of peoples, the joint struggle of the working people against foreign enemies and exploiters. In a number of fairy tales there are approving statements about neighboring peoples. Many fairy tales describe the journey of heroes to foreign countries, and in these countries they, as a rule, find helpers and well-wishers for themselves. Workers of all tribes and countries can agree among themselves, they have common interests. If a fairy-tale hero has to wage a fierce struggle in foreign countries with all kinds of monsters and evil wizards, then usually victory over them entails the liberation of people languishing in the underworld or in the dungeons of monsters. Moreover, the liberated people hated the monster just as much as the fairy-tale hero, but they did not have enough strength to free themselves. And the interests and desires of the liberators and the liberated turned out to be almost the same.
As a rule, positive fairy-tale heroes are helped in their difficult struggle not only by people, but also by nature itself: a thick-leaved tree that hides the fugitives from the enemy, a river and a lake that direct the pursuit along the wrong path, birds that warn of danger, fish that seek and find a ring dropped into the river, and passing it on to other human helpers - a cat and a dog; an eagle raising the hero to a height inaccessible to man; not to mention the faithful fast horse, etc. All this reflected the age-old optimistic dream of the people to subdue the forces of nature and make them serve themselves.
Many folk tales inspire confidence in the triumph of truth, in the victory of good over evil. As a rule, in all fairy tales, the suffering of a positive hero and his friends is transient, temporary, joy usually comes after them, and this joy is the result of a struggle, the result of joint efforts. Optimism children especially like fairy tales and enhances the educational value of folk pedagogical means.
The fascination of the plot, imagery and amusingness make fairy tales a very effective pedagogical tool. Makarenko, describing the features of the style of children's literature, said that the plot of works for children should, if possible, strive for simplicity, the plot - for complexity. Fairy tales most fully meet this requirement. In fairy tales, the scheme of events, external clashes and struggle is very complex. This circumstance makes the plot fascinating and attracts the attention of children to the fairy tale. Therefore, it is legitimate to assert that the tales take into account the mental characteristics of children, first of all, the instability and mobility of their attention.
Imagery- an important feature of fairy tales, which facilitates their perception by children who are not yet capable of abstract thinking. In the hero, those main character traits that bring him closer to the national character of the people are usually very convex and vividly shown: courage, diligence, wit, etc. These features are revealed both in events and through various artistic means, such as hyperbolization. Thus, as a result of hyperbolization, the feature of industriousness reaches the maximum brightness and convexity of the image (in one night to build a palace, a bridge from the hero’s house to the king’s palace, in one night to sow flax, grow, process, spin, weave, sew and clothe the people, sow wheat , grow, harvest, thresh, grind, bake and feed people, etc.). The same should be said about such traits as physical strength, courage, courage, etc.
Imagery is complemented funnyness fairy tales. The wise educator-people took special care to make fairy tales interesting and entertaining. In a folk tale, there are not only bright and lively images, but also subtle and cheerful humor. All peoples have fairy tales, the special purpose of which is to amuse the listener. For example, fairy tales "shifters": "The Tale of Grandfather Mitrofan", "What was his name?", "Sarmandey", etc.; or "endless" tales, such as the Russian "About the White Bull". In the Chuvash proverb “One had a smart cat,” the cat died. The owner buried her, put a cross on the grave and wrote on the cross like this: "One had a smart cat ...", etc. And so on until the listeners, with laughter and noise (“Enough!”, “No more!”) deprive the narrator of the opportunity to continue the tale.
Didacticism is one of the most important features of fairy tales. Fairy tales of all peoples of the world are always instructive and instructive. It was precisely noting their instructive nature, their didacticism, that A.S. Pushkin wrote at the end of his “Tale of the Golden Cockerel”:
The tale is a lie, but there is a hint in it!
Good fellows lesson.
Hints in fairy tales are used just to enhance their didacticism. The peculiarity of the didacticism of fairy tales is that they give “good fellows a lesson” not with general reasoning and teachings, but with vivid images and convincing actions. Therefore, didacticism in no way reduces the artistry of fairy tales. One or another instructive experience, as it were, is formed completely independently in the mind of the listener. This is the source of the pedagogical effectiveness of fairy tales. Almost all fairy tales contain certain elements of didacticism, but at the same time there are fairy tales that are entirely devoted to one or another moral problem, for example, the Chuvash fairy tales "Smart Boy", "What is learned in youth - on a stone, what is learned in old age - in the snow”, “You won’t go far on a lie”, “An old man - four people”, etc. There are many similar tales among all peoples.
Due to the features noted above, fairy tales of all peoples are an effective means of education. A.S. wrote about the educational value of fairy tales. Pushkin: "... in the evening I listen to fairy tales and thereby reward the shortcomings of my accursed upbringing." Fairy tales are a treasure trove of pedagogical ideas, brilliant examples of folk pedagogical genius.
PEDAGOGICAL IDEAS OF FAIRY TALE
In a number of folk tales, we meet with certain pedagogical concepts, conclusions, and reasoning. First of all, it should be noted the desire of the people for knowledge. In fairy tales there is an idea that books are a source of wisdom. The fairy tale "In the Land of the Yellow Day" speaks of "one big book". In the short fairy tale "Arguing in vain" it is indicated that only those who know how to read need a book. Therefore, this tale affirms the need to learn to read in order to have access to bookish wisdom.
In folk tales, some methods of influencing the personality are reflected, the general conditions of family education are analyzed, the approximate content of moral education is determined, etc.
Once upon a time there was an old man with his son and daughter-in-law. He also had a grandson. This old man was tired of his son and daughter-in-law, they did not want to look after him. And so the son, on the advice of his wife, put his father on a sled and decided to take him to a deep ravine. He was accompanied by the old man's grandson. The son pushed the sleigh with his father down into the ravine and was about to go back home. But his little son stopped him: he rushed into the ravine for a sled, despite the angry remark of his father that he would buy him a new, better sled. The boy pulled a sled out of the ravine and said that his father should buy him new sleds. And he will take care of these sleds, so that after many years, when his father and mother grow old, he will deliver them to the same ravine.
The main idea of the tale is that a person should be punished according to his deserts for his crime, that punishment is a natural consequence of his crime. The content of the Russian fairy tale, processed by L.N. Tolstoy, is completely similar, in which a child playing with wood chips tells his parents that he wants to make a tub in order to feed his father and mother from it in the same way as they wanted to do with their grandfather.
The power of example in education is emphasized in folk pedagogy in the maximum way. In the fairy tale “Let parents always be held in high esteem”, the natural consequence of the daughter-in-law’s act is her blindness, the son is that he was left without peas. In another tale, "You Can't Get Far on a Lie," the liar is severely punished: the neighbors did not come to his aid when thieves attacked his house. Russians, Ukrainians, Tatars, etc. have a similar fairy tale.
About conditions family education and measures of influence on the personality are discussed in the fairy tales "Snowstorm", "Magic Sliver" and some others. The fairy tale "Snowstorm" tells that disagreements, quarrels in the family are worse than the strongest snowstorm on the street; I want to run away from home without looking at anything. In such conditions, of course, the correct upbringing of children is also excluded. The fairy tale "The Magic Sliver" contains a hint that parents should also engage in self-education, that family relations should be built on mutual concessions.
A husband and wife lived. The wife was quarrelsome. She constantly made scandals to her husband, which ended in fights. And so this woman decided to seek advice from a wise old woman: “What to do with a husband who offends me all the time.” This old woman, already from a conversation with a woman, realized that she was quarrelsome, and immediately said: “It is not difficult for you to help. Here, take this sliver, it is magical, and as soon as your husband comes home from work, put it in your mouth and hold it firmly with your teeth. Don't let go for anything." On the advice of the old woman, the woman did all this three times, and after the third time she came with gratitude to the old woman: "The husband stopped offending." The tale contains a call for compliance, accommodating, complaisant.
In fairy tales, including the cited one, the problem of the personality of the teacher, the direction of his educational efforts, is also posed. In this case, the old woman is one of the folk teachers-masters. Fairy tales show that their distinctive feature is that they are engaged in educating not only children and youth, but also their parents. This is very typical.
The principle of conformity to nature, and almost in the spirit of Ya.A. Komensky, is contained in the fairy tale "What is learned in youth - on a stone, what is learned in old age - in the snow." Stone and snow - in this case - images introduced to substantiate an empirically established objective physiological and psychological pattern. This regularity lies in the fact that in childhood, in youth, a person assimilates educational material much more firmly than in old age. The grandfather tells his grandson: “The snow is blown away by the wind, melts from the heat, but the stone has been lying safe and sound for hundreds and thousands of years.” The same thing happens with knowledge: if they are acquired in youth, they are stored for a long time, often for life, and knowledge acquired in old age is quickly forgotten.
Many other problems of public education are also raised in fairy tales.
An amazing pedagogical masterpiece is the Kalmyk fairy tale “How a lazy old man began to work,” which considers the gradual involvement of a person in work as the most effective way to overcome laziness. The fairy tale reveals in a fascinating way the method of accustoming to work: initiation to work begins with an advance encouragement and the use of the first results of labor as reinforcement, then it is proposed to move on to the application of approval; inner motivation and the habit of work are declared indicators of the final solution to the problem of instilling industriousness. The Chechen fairy tale "Hasan and Ahmed" teaches how to preserve the sacred bonds of brotherhood, calls to cherish the feeling of gratitude, to be hardworking and kind. In the Kalmyk fairy tale Unresolved Court Cases, even a kind of symbolic experiment is set up, proving the need for extremely gentle treatment of a newborn. “The brain of a newborn child is like foam of milk,” the fairy tale says. When the herds of the Gelung Gawang were noisily going to the watering place past the wagon, the child had a concussion and he died.”
Fairy tales comment on the pedagogical ideas of proverbs, sayings and aphorisms, and sometimes fairy tales argue these ideas, revealing them on specific facts. For example, the Chuvash aphorism is known: “Labor is the support of life” (options: “handle of fate”, “rule of life”, “basis of life”, “support of the universe”). There are many adequate proverbs about labor among other peoples. Thoughts similar to this aphorism are contained in the tales of many peoples. The author of this book at one time selected and translated into Chuvash Russian, Ukrainian, Georgian, Evenk, Nanai, Khakass, Kirghiz, Lithuanian, Latvian, Vietnamese, Afghan, Brazilian, Tagalog, Hindu, Bandu, Lamba, Hausa, Iraqi, Dahomean, Ethiopian fairy tales, the main idea of which corresponds to the above proverb. As the name of the collection, its second part is taken - "Support of Life". This small anthology of fairy tales from different nations shows the universal nature of ideas about work and diligence.
The collection opens with a Kyrgyz fairy tale “Why is a person stronger than anyone in the world?” A similar story is known to many peoples. The tale is interesting because it contains the best answer to the riddle-question: "Who is the strongest in the world?"
Wings wild goose frozen to the ice, and he marvels at the strength of the ice. The ice says in response that the rain is stronger, and the rain - that the earth is stronger, the earth - that the forest is stronger (“sucks the power of the earth and stands rustling with leaves”), the forest - that the fire is stronger, the fire - that the wind is stronger (it blows - puts out the fire , will uproot old trees), but the wind cannot overcome low grass, it is stronger than a ram, and that one is stronger than a gray wolf. The wolf says: “The strongest man in the world. He can catch a wild goose, melt the ice, he is not afraid of rain, he plows the earth and makes it useful for himself, extinguishes the fire, conquers the wind and makes it work for himself, mows grass for hay that does not lend itself to a scythe, uproots and throws away, slaughters the ram and eats its meat, praises. Even I am nothing for a man: he can kill me at any time, take off his skin and sew a fur coat for himself.
A man in a Kyrgyz fairy tale is a hunter (he catches birds at the beginning of the fairy tale and hunts wolves at the end), a plowman, a mower, a cattle breeder, a butcher, a tailor ... He also puts out the fire - this is not an easy job. Thanks to labor, a person becomes the master of the universe, it is thanks to labor that he conquers and subjugates the mighty forces of nature, becomes stronger and smarter than everyone in the world, acquires the ability to transform nature. The Chuvash fairy tale “Who is the strongest in the universe?” differs from the Kyrgyz fairy tale only in some details.
Similar tales in somewhat modified versions are also found among other peoples. The Nanai fairy tale “Who is the strongest of all?” is peculiar and interesting. The boy fell while playing on ice and decided to find out what the power of ice is. It turned out that the sun is stronger than ice, a cloud can cover the sun, the wind can disperse a cloud, but cannot move a mountain. But the mountain is not the strongest in the world; allows trees to grow on their top. Adults were aware of human strength and wanted children to know this and try to be worthy of the human race. The boy, playing, grows and prepares for work. And an adult is strong precisely by labor, and he says to the boy: “So, I am the strongest of all if I knock down a tree growing on a mountain top.”
In Russian, Tatar, Ukrainian fairy tales, as well as in the fairy tales of other peoples, the idea is clearly carried out that only the one who works can be called a person. In labor and struggle, a person acquires his best qualities. Hard work is one of the main human characteristics. Without labor, a person ceases to be a person. In this regard, the Nanai fairy tale "Ayoga" is interesting, which is a true masterpiece: a lazy girl who refuses to work, eventually turns into a goose. Man has become himself through labor; he can cease to be it if he ceases to work.
The main idea of the Dargin fairy tale "Sunun and Mesedu" is that labor is a joyful creativity, it makes a person strong, saves him from all worldly troubles. The central character of Sunun's tale is brave, resourceful, honest, generous. The leading thought of the tale is clearly expressed: “... and Sununa's friends helped him master all the skills that people knew, and Sununa became stronger than all his brothers, because even the khanate can be lost, but you will never lose what your hands can do and head."
In the Ossetian fairy tale "What is more expensive?" one of the young men, by his personal example, proves to the other that the most precious thing in the world is not wealth, but a faithful friend, and loyalty in friendship consists in joint work and struggle. The Udmurt fairy tale "Lazy Woman" describes a whole system of measures to influence a lazy wife in order to instill in her industriousness. In the Koryak fairy tale "A Boy with a Bow" it is said that "before the fathers of the boys who began to walk, they made bows to practice shooting." The Yakut fairy tale “The Stupid Daughter-in-Law” contains an appeal to first learn to work, then to obey, and consciousness is required from the obeyer: “This is how those who want to obey everyone have to live - you even have to draw water with a sieve!” - the fairy tale ridicules the daughter-in-law, who has not learned the rule, known to the neighboring Nenets people: “You can’t scoop up water with a net.” The Bulgarian fairy tale "Mind wins" shows that a person wins not by force, but by the mind. The same idea is preached in the Kirghiz, Tatar and Chuvash fairy tales.
The hero of Chechen fairy tales is not afraid to go into battle with a huge snake and sea monsters, a fire-breathing dragon and a terrible wolf Berza Kaz. His sword strikes the enemy, his arrow never misses. Dzhigit takes up arms to intercede for the offended and subdue the one who sows misfortune. A true horseman is one who never leaves a friend in trouble, will not change this word. He is not afraid of danger, saving others, he is ready to lay down his head. In this self-forgetfulness, selflessness and self-denial is a wonderful feature of a fairy-tale hero.
The themes of Chechen fairy tales are unexpected, others are unique. A Chechen sits on patrol for many days and nights. On his knees is a saber, pointing to his face. He falls asleep for a moment, his face hits a sharp saber, and his neck is wounded - blood flows. Wounds do not allow him to sleep. Bleeding, he will not miss the enemy. And here is another tale. “Two friends lived - Mavsur and Magomed. They became friends when they were boys. Years passed, Mavsur and Magomed grew up, and friendship grew stronger with them. Mavsur proved this and saved Magomed. And they began to live and live, never to be separated. And no one knew a stronger friendship than theirs. To die with him, for him is a manifestation of friendship typical of Chechens. Loyalty in friendship is the highest human value for a Chechen. The theme of another tale is the hero's help to his father's friend. The sons said to their father with one voice: “If there is something between heaven and earth that can help your friend, we will get it and help your friend out of trouble.”
There is nothing on earth more valuable than the motherland. A horse hurries towards the native mountains - and he understands the Chechen.
On the coat of arms and the flag of the Chechen Republic - Ichkeria - a Wolf is depicted ... This is a symbol of courage, nobility and generosity. The tiger and the eagle attack the weak. The wolf is the only animal that dares to attack the strong. He replaces the lack of strength with courage and dexterity. If the wolf loses the fight, he does not die like a dog, he dies silently, without making a sound. And, dying, turns his face to his enemy. The wolf is especially revered by the Vainakhs.
Fairy tales simply and naturally pose the problems of instilling in young people a sense of beauty, the formation of moral traits, etc. In one old Chuvash fairy tale "The Doll", the main character sets off to look for a groom. What interests her in the future groom? She asks everyone two questions: “What are your songs and dances?” and “What are the rules and regulations of life?” When the sparrow expressed a desire to become the bridegroom of the doll and performed a dance and a song, talking about the conditions of life, the doll ridiculed his songs and dances (“The song is very short, and its words are not poetic”), she did not like the sparrow rules of life, everyday life . The tale does not deny the importance of good dances and beautiful songs in life, but at the same time, in a witty form, very evilly ridicules those idlers who, without working, want to spend time in fun and entertainment, the tale inspires children that life severely punishes the frivolity of those who does not appreciate the main thing in life - everyday, hard work and does not understand the main value of a person - diligence.
In the Ossetian fairy tales "Magic hat" and "Gemini" the moral code of the highlander is given. The covenants of hospitality are cultivated in them, well-wishes are confirmed by the example of the father, labor combined with intelligence and kindness is declared as a means of combating poverty: “Alone, without friends, drinking and eating is a shame for a good mountaineer”; “When my father was alive, he did not spare a churek and salt, not only for friends, but also for his enemies. I am my father's son"; “May your morning be happy!”; "Let your path be straight!" Kharzafid, “a good mountaineer”, “harnessed oxen and a cart and worked day, worked night. A day passed, a year passed, and the poor man drove away his need. The characteristic of the young man, the son of a poor widow, her hope and support, is noteworthy: “He is brave, like a leopard. Like a sunbeam, his speech is direct. His arrow hits without a miss.
The three virtues of the young highlander are clothed in a beautiful form - the formulated virtues are joined by an implicit appeal to the beautiful. This, in turn, enhances the harmony of the perfect personality. Such an implicit presence of individual features of a perfect person characterizes the oral creativity of many peoples. So, for example, the highly poetic Mansi fairy tale “Sparrow”, from beginning to end sustained in the form of a dialogue, consists of nine riddles-questions and nine riddles-answers: “Sparrow, sparrow, what is your head? - A drinking dipper spring water. - What is your nose? - A crowbar for chiseling spring ice... - What are your legs? - Podporochki in the spring house ... "Wise, kind, beautiful act in a fairy tale in poetic unity. The highly poetic form of the fairy tale itself immerses its listeners into the world of beauty. And at the same time, it vividly depicts the life of the Mansi people in its smallest details and details: it tells about a painted oar for riding up the river, a lasso for catching seven deer, a trough for feeding seven dogs, etc. And all this fits in eighty-five words of a fairy tale, including prepositions.
The most generalized pedagogical role of fairy tales was presented in his works by V.A. Sukhomlinsky. He used them effectively educational process, in Pavlysh, children themselves created fairy tales. The great democratic teachers of the past, including Ushinsky, included fairy tales in their educational books, anthologies.
With Sukhomlinsky, fairy tales became an integral part of his theoretical heritage. Such a synthesis of folk principles with science becomes a powerful factor in enriching the pedagogical culture of the country. Sukhomlinsky achieved the greatest success in educational work, primarily due to the fact that the first of the Soviet teachers began to widely use the pedagogical treasures of the people. Progressive folk traditions of education were realized by him to the maximum extent.
The formation of Sukhomlinsky himself was greatly influenced by folk pedagogy. He brilliantly transferred his experience to his pupils. Thus, the experience of self-education becomes a support in education. In the book "Methodology for educating a team", published in Kyiv in 1971, there is an amazing fairy tale, based on which Sukhomlinsky makes important pedagogical generalizations.
What is love?... When God created the world, he taught all living things to continue their kind - to give birth to others like themselves. God placed a man and a woman in a field, taught them how to build a hut, gave a shovel to a man, and a handful of grain to a woman.
Live: continue your family, - God said, - and I will go about the housework. I'll come back in a year and see how you are...
God comes to people a year later with the archangel Gabriel. Comes early in the morning, before sunrise. He sees a man and a woman sitting near a hut, in front of them the bread ripens in the field, under the hut there is a cradle, and the child sleeps in it. And a man and a woman look at the orange field, then into each other's eyes. At that moment, when their eyes met, God saw in them some kind of unprecedented strength, an unusual beauty for him. This beauty was more beautiful than the sky and the sun, the earth and the stars - more beautiful than anything that God blinded and made, more beautiful than God himself. This beauty surprised God so much that his God’s soul trembled with fear and envy: how is it, I created the earthly foundation, molded a person out of clay and breathed life into him, but apparently I could not create this beauty, where did it come from and what kind of beauty is this?
This is love, - said the archangel Gabriel.
What is this - love? God asked.
The archangel shrugged.
God approached the man, touched his shoulder with his old hand and began to ask: teach me to love, Man. The man did not even notice the touch of the god's hand. He felt like a fly had landed on his shoulder. He looked into the eyes of a woman - his wife, the mother of his child. God was a weak, but evil and vengeful grandfather. He got angry and shouted:
Yeah, so you don't want to teach me how to love, Human? Remember me! Older from this hour. Let every hour of life take away your youth and strength drop by drop. Turn into a ruin. Let your brain dry up and your mind become impoverished. Let your heart become empty. And I will come in fifty years and see what will remain in your eyes, Man.
God came with the archangel Gabriel after fifty years. He looks - instead of a hut there is a little white house, a garden has grown on a wasteland, wheat is earing in the field, sons plow the field, daughters tear flax, and grandchildren play in the meadow. Grandfather and grandmother are sitting near the house, looking at the morning dawn, then into each other's eyes. And God saw in the eyes of a man and a woman an even stronger, eternal and invincible beauty. God saw not only Love, but also Loyalty. God was angry, screaming, hands trembling, foam flying from the mouth, eyes on his forehead climb:
Is old age not enough for you, Man? So die, die in agony and grieve for life, for your love, go to the ground, turn into dust and decay. And I'll come and see what your love will turn into.
God came with the archangel Gabriel three years later. He looks: a man is sitting over a small grave, his eyes are sad, but in them there is an even stronger, unusual and terrible human beauty for God. God has already seen not only Love, not only Loyalty, but also the Memory of the Heart. God's hands trembled from fear and impotence, he approached the Man, fell to his knees and begged:
Give me, Man, this beauty. Whatever you want, ask for her, but just give me her, give me this beauty.
I can't, said the man. - She, this beauty, gets very expensive. Its price is death, and you are said to be immortal.
I will give you immortality, I will give you youth, but just give me Love.
No, don't. Neither Eternal youth, nor immortality can be compared with Love, - answered the Man.
God got up, squeezed his beard into a handful, moved away from grandfather, who was sitting near the grave, turned his face to the wheat field, to the pink dawn and saw: a young man and a girl were standing near the golden ears of wheat and looking at the pink sky, then into each other's eyes . God grabbed his head with his hands and went from earth to heaven. Since then, Man has become God on Earth.
That's what love means. She is more than God. This is the eternal beauty and human immortality. We turn into a handful of dust, but Love remains forever...
On the basis of the fairy tale, Sukhomlinsky draws very important pedagogical conclusions: “When I told expectant mothers and fathers about love, I tried to establish in their hearts a sense of dignity and honor. True love is the true beauty of a person. Love is the flowers of morality; there is no healthy moral root in a person - there is no noble love either. Stories about love are the hours of "our happiest spiritual unity." Boys and girls are waiting for this time, according to Sukhomlinsky, with hidden hopes: but in the words of the educator they are looking for an answer to their questions - those questions that a person will never tell anyone about. But when a teenager asks what love is, he has completely different questions in his thoughts and in his heart: how can I be with my love? These intimate corners of the heart should be touched especially carefully. “Never interfere in the personal,” Sukhomlinsky advises, “do not make the subject of general discussion what a person wants to hide most deeply. Love is noble only when it is shameful. Do not focus the spiritual efforts of men and women on increasing the "knowledge of love." In the thoughts and heart of a person, love should always be surrounded by a halo of romance, inviolability. Disputes “on topics” of love should not be held in the team. This is simply unacceptable, this is a dense moral lack of culture. You, father and mother, talk about love, but let them be silent. The best conversation of young people about love is silence.
The conclusions of the talented Soviet pedagogue show that the pedagogical treasures of the people are far from exhausted. The spiritual charge accumulated by the people for thousands of years can serve humanity for a very long time. Moreover, it will constantly increase and become even more powerful. This is the immortality of mankind. This is the eternity of education, symbolizing the eternity of the movement of mankind towards its spiritual and moral progress.
FAIRY TALES AS A MANIFESTATION OF PEOPLE'S PEDAGOGICAL GENIUS
A folk tale contributes to the formation of certain moral values, an ideal. For girls, this is a red girl (clever, needlewoman ...), and for boys - a good fellow (brave, strong, honest, kind, hardworking, loving Motherland). The ideal for a child is a distant prospect, to which he will strive, comparing his deeds and actions with him. The ideal acquired in childhood will largely determine him as a person. At the same time, the educator needs to find out what the ideal of the baby is and eliminate the negative aspects. Of course, this is not easy, but that is the skill of the teacher to try to understand each pupil.
Work with a fairy tale has various forms: reading fairy tales, retelling them, discussing behavior fairytale heroes and the reasons for their success or failure, theatrical performance of fairy tales, holding a fairy tale connoisseur competition, exhibitions of children's drawings based on fairy tales, and much more*.
* Baturina G.I.. Kuzina T.F. Folk pedagogy in the education of preschoolers. M.. 1995. S. 41-45.
It is good if, when preparing the staging of fairy tales, the children themselves will select its musical accompaniment, sew costumes for themselves, and distribute roles. With this approach, even small fairy tales give a huge educational resonance. Such “trying on” the roles of fairy-tale heroes, empathy with them, make the problems of the characters of even the long and well-known “Turnip” even closer and more understandable.
TURNIP
Grandfather planted a turnip and says:
Grow, grow, turnip, sweet! Grow, grow, turnip, strong!
The turnip has grown sweet, strong, big, big.
The grandfather went to pick a turnip: he pulls, he pulls, he cannot pull it out. Grandpa called grandma.
grandma for grandpa
Grandfather for a turnip -
The grandmother called her granddaughter.
Granddaughter for grandmother
grandma for grandpa
Grandfather for a turnip -
They pull, they pull, they can't pull it out.
Granddaughter called Zhuchka.
Bug for granddaughter
Granddaughter for grandmother
grandma for grandpa
Grandfather for a turnip -
They pull, they pull, they can't pull it out.
Bug called the cat.
Cat for a bug
Bug for granddaughter
Granddaughter for grandmother
grandma for grandpa
Grandfather for a turnip -
They pull, they pull, they can't pull it out.
The cat called the mouse.
Mouse for a cat
Cat for a bug
Bug for granddaughter
Granddaughter for grandmother
grandma for grandpa
Grandfather for a turnip -
Pull-pull - pulled out a turnip.
I was lucky enough to attend an unforgettable performance of the fairy tale "Turnip" in Shorshenskaya high school, brilliantly implemented by the teacher Lidia Ivanovna Mikhailova. It was a musical tragicomedy, with songs and dances, where a simple plot was expanded by the dialogues of the characters.
In the graduating class, an hour-long lecture is given on the topic "The wise pedagogical philosophy of "Turnip"". In the same school, in the tenth grade, a discussion “One Hundred Questions about Turnip” was held. Questions were collected, both their own, and accidentally heard, and children's. They also arose spontaneously, in the course of reasoning.
In this tiny fairy tale, everything makes sense. You can discuss this with your children. For example, why did grandfather plant a turnip? Not carrots, not beets, not radishes. The latter would be much more difficult to pull out. The turnip is all out, holding on to the ground only with its tail. The primary action is important here - sowing a single tiny, barely visible seed, which has a round, spherical shape, the turnip itself almost exactly reproduces the ball, increasing in size thousands of times. This is very similar to the parable of Christ about the mustard seed: it is the smallest of all seeds, but when it grows, it becomes the largest of all garden plants. Infinitely small and infinitely large. The fairy tale reveals resources, reserves of infinite, universal development. Yes, and a mouse from the same category of relationships: the infinitely small has its own meaning in the world, its meaning, the infinitely large is made up of the infinitely small, without the latter there is no first: “Mouse urine is a help to the sea,” say the Chuvash. There is a similar proverb among the Buryats.
So, in "Turnip" a whole philosophical concept reveals itself, wise and highly poetic, as well as huge resources of the word, verbal means and methods. This tale is a testament to the extraordinary possibilities and spiritual potential of the Russian language, to the fact that the Russian language has rightfully become the language of interethnic communication. Therefore, no matter how the situation in the country and in the world changes, we must by no means allow the deterioration of the study of the Russian language and Russian culture.
Control questions and tasks
1. The most ingenious fairy tales in the world are "Ryaba Hen", "Gingerbread Man", "Turnip". Try to justify it with reasoning.
2. I typed almost a hundred questions about "Repka", my own and students. Grandfather planted a turnip, sowed, probably? Grandfather was a grandfather - how did he not manage to pull out a turnip, did he immediately become a grandfather? And the grandmother - match him. The main characters of the tale seem to be a turnip and a granddaughter - is it really so? How is the idea of the infinitely large embodied in the fairy tale? What can you say about the diminutive suffix "to" in relation to the huge turn-to-toe? What do you think about the "intersecting" pairs of seven fairy tale characters? What can you say about such couples as a cat and a mouse, a dog and a cat? (G.N. Volkov).
Ask two or three more questions, and use proverbs in your reasoning.
3. How do you think of a matinee of fairy tales in the classroom?
4. What is your favorite fairy tale and justify why you especially like it?
5. Highlight the moral basis of A.S. Pushkin's fairy tale "About the Fisherman and the Fish."
6. Discuss the topic of V.A. Sukhomlinsky's favorite fairy tale about love.
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Introduction
fairy tale decorative applied pictorial
Currently, the Federal State Educational Standards for Primary and Secondary Schools establish requirements not only for knowledge of various subjects by students, but also for personal development of the child, forming the integrity of his nature and the need independently acquire knowledge, i.e. teach to learn (48, p. 5; 49, p. 3), to believe in yourself and your strengths.
Today, education sets a triune goal: the education of a cultured person ( subject of culture), a free citizen ( subject of history, civil society), creative individuality (subject of activity, self-development). If socialization is aimed at forming an external manifestation of human behavior and at a quick result that can be under external control, then in education - on the development of internal regulators of human behavior, and in this deep and gradual process, he is his own controller. Both processes are implemented in the same social space. This is how it is formed value concept of the educational process(6, p. 190).
Many scientists and practitioners have studied issues related to the personal development of the student, because without this, creative activity is impossible. Personality, as we know, is connected with the spiritual essence of a person and manifests itself in its integrity. The fact that in addition to knowledge, skills and abilities, it is necessary to form an emotional, aesthetic attitude to the world through the experience of creative activity, says People's Artist Russian B.M. Nemensky in his book “The Wisdom of Beauty” (34, p. 34), believing that the ability to empathize is the foundation of any understanding of a person by a person, his “humanization”.
Social development is the result of the process of "growing" the child into culture (11, p. 47), genuine cultural development and cultural creativity (27). B.F. Lomov, Doctor of Psychology, spoke about the obligatory formation of a complex of cognitive, emotional, practical spheres in a person in his development (28). However, the position of our other scientist V.P. Zinchenko regarding the fact that culture is a very important external source of development, but it is powerless when its internal sources and driving forces for self-development dry up in a person (20, p. 151).
Education today should have the ideological and organizational potential to carry out a protective function in relation to those spiritual values that culture and art keep for us. The teacher should provide children with pedagogical support, include their inner spiritual forces, paying attention to the creative potential of Russian culture. No wonder our wonderful classical teacher V.A. Sukhomlinsky wrote about the child's passion for the most noble creativity - the creation of joy for people, as is typical for art itself (47, p. 242). Art forms the ability to be happy: the happiness of communication, mutual understanding, as well as the happiness of creative work.
The values accumulated by art should become a means of humanization, the formation of moral and aesthetic responsiveness to the beautiful and the ugly, the vigilance of the child's soul. talking plain language- need solve the problem of development of the child's personality, not only his socialization, but also education (rather self-education, leading to the possibility of choice), to form his moral immunity against the ugly in life, so that he can withstand the negative manifestations of the environment.
Our contemporary, the famous innovative teacher Sh.Ya. Amonashvili defines as a priority goal art education- spiritual and moral development of the child, i.e. the formation of his qualities that meet the ideas of true humanity, kindness (1, p. 9).
A B.M. Nemensky is the head of the creative team that created the program " art and artistic work"(22-25) considers the goal of this subject in elementary school to be "the formation artistic culture students as an integral part of the spiritual culture, i.e. culture of world relations worked out by generations” (22, p. 3; ibid., p. 9). For basic school education, from his point of view, the goal is: “the development of value, aesthetic exploration of the world as a form of self-expression and orientation in the artistic and moral space of culture” (23, p. 3).
Emotional-valuable, sensual experience expressed in art can only be achieved through own experience- living the artistic image (23, p. 6), expressing the content in the form artwork; for children, it is the animation of nature, holistically reflected in folklore and works of folk art through images, signs, symbols by skilled craftsmen (otherwise, the perceptions of the perceiver of art will turn out to be without-Imagery, i.e. ugly).
There is a huge potential for the development of humanity and kindness in a child in parables and fairy tales, experiencing which he, together with the hero, acquires moral qualities and unleashes its creative potential. The main thing is that he forms an attitude towards himself, towards others, towards culture and art, towards the world around him, towards activity (and this is already upbringing).
Russian fairy tale gives a holistic view of a person. Its allegorical form prompts the reader to his own reflections, forms a number of questions, the search for answers to which stimulates the development of the individual. The impact of the fairy tale is aimed at maintaining the integrity of any person. The issues of systematization of a fairy tale, identification of its specificity, motives, plots were dealt with by scientists Propp V.Ya. (41, 42), Zueva T.V. (21), Korepova K.E. (26) and many others. etc. Today, many therapeutic fairy tales have been created (Zinkevich-Evstigneeva T.D. (19), Bezlyudova M.M. (3) and others are engaged in the issues of fairy tale therapy). But few people, for this purpose, turned to the study of the pedagogical potential of folk arts and crafts in Russia. It is impossible not to recall with gratitude the name of the remarkable researcher of the DPI, ethnographer and teacher V.N. Polunina (40).
So for me, as a teacher of fine arts, the relevance of the problem stated in this work was revealed: the reflection of the world of Russian fairy tales in folk arts and crafts and in children's creativity.
object my research is the artistic image of the Russian fairy tale.
Subject - perception of fairy-tale images in folk DPI and in children's art.
Purpose of the study: to study the features of the Russian fairy tale, to determine the relationship of its spiritual meaning with the essence of folk applied art and - more broadly - with fine arts, to identify what are the possibilities of their perception in the development of the personality of students.
The goal is revealed through the setting of the following tasks:
to trace the possibilities of a fairy tale, the figurative language of metaphor for the formation of the inner world of a person, the education in him of a respectful attitude to history, Russian culture, and the moral values of the people;
analyze the symbolic language of decorative art, the reflection of magical fairy-tale images (images of flowers, birds, horses) in folk art;
study the work of storytellers;
to develop a methodology for conducting classes with students of primary and secondary schools in the lessons of fine arts in order to determine the potential of Russian fairy tales and folk art for the development and education of a child's personality.
Hypothesis lies in the fact that with the help of living a fairy tale, a child is able to develop a value attitude to the world and take a creative position in visual activity, revealing his inner potential, i.e. learn to believe in yourself and not be afraid of open tasks like “go there - I don’t know where, bring something - I don’t know what”, develop the ability to empathize, learn reflection and self-regulation. In addition, he has the opportunity to create a drawing and write his own fairy tale. Those. the teacher can use the potential of the fairy tale, putting the child in the position of the main character, forming his faith in his own strength, responsibility, ability to decide challenging tasks, live and gain personal experience, absorbing the spiritual wisdom of the Russian people.
M methodology and methods:
· the work is built within the framework of the humane-personal and activity approaches in pedagogy, in the understanding of the school art lesson as a window to the world of culture, disclosed in the works of Birich I.A. (6), Nemensky B.M. (34, 35), Amonashvili Sh.A. (1), Seliverstova E.N. (45), Shcherbakova S.I. (53) and others;
· there is an analysis of sources (scientific literature and Internet materials);
· systematization of available materials about fairy tales, folk arts and crafts;
The literature on art history is used.
1. Russian fairy talelike proyamanifestation of the people's worldview
1.1 skazka - source folk wisdom
Our life path begins in the world of fairy tales. Grandmothers read them to us, parents tell us, growing up, we read them ourselves, and growing up, we tell or read them to our children and grandchildren. So it was and always will be. After all, a fairy tale is an inexhaustible source of folk wisdom, they reflect our past, present and future. (53, p. 173)
The fairy tale is one of the oldest genres of traditional Russian folklore. Telling fairy tales in Russia was perceived as an art, good storytellers were highly revered by the people. Unfortunately, today not all children read fairy tales, many do not even know the main fairy tale characters, i.e. the connection between generations, closeness to nature is broken, we can lose those moral roots and traditions that have existed for many centuries.
The term "fairy tale" itself appeared in the 17th century, and was first recorded in the charter of the voivode Vsevolodsky. Until that time, the word "fable" was widely used, derived from the word "bayat", that is, to tell. The first collection of Russian folk tales appeared in the 18th century. IN AND. Dahl in his dictionary interprets the term "fairy tale" as "a fictional story, an unprecedented and even unrealizable story, a legend" and cites a number of folk proverbs and sayings associated with this type of folk art, for example, the famous "neither in a fairy tale to say, nor to describe with a pen." This characterizes the tale as something instructive, but at the same time incredible, a story about something that cannot actually happen, but from which everyone can learn a certain lesson (14).
Many collectors of fairy tales (Rybnikov, Hilferding, Barsov, Onchukov) revealed to us the names of folk storytellers T.G. Ryabinina, V.P. Shchegolenka, I.A. Kasyanov, Fedosova, Chuprov. At the beginning of the 20th century, a whole series of collections of Russian folk tales was published, which absorbed the pearls of folk art, and first of all, we turn to Russian folk tales in the processing of A.N. Afanasiev (2).
A huge work on the classification of Russian fairy tales was carried out by the Russian philologist V.Ya. Propp (41, 42). He showed what a fairy tale consists of, how it "folds", gave an idea of its heroes, the system of events and the role of fairy tale characters in them, and wealth. visual means and imagery of folk speech. He saw in folk tales a reminder of totemic initiation rituals.
The scientist singled out fairy tales of six plot types:
fairy tales about serpent fighting (the struggle of a hero with a wonderful opponent);
fairy tales about the search for and liberation from captivity or witchcraft of the bride or groom;
fairy tales about a wonderful helper;
fairy tales about a wonderful subject;
fairy tales about miraculous power or skill;
Other wonderful tales (tales that do not fit into the first five groups).
He also developed a typology of fairy-tale characters, identifying seven types of actors according to their functions:
pest (antagonist)
the donor,
wonderful helper
kidnapped hero (desired item),
the sender,
false hero.
V.Ya. Propp singled out 31 functions of characters (42) of a fairy tale (the so-called Propp maps). The meaning of Propp's discovery lies in the fact that his scheme fits all fairy tales. Holistic Analysis fairy tales allows you to consider all the nuances artistic structure in close connection with the content of the work and thus contributes to a higher level of understanding of its ideological content, visual features and artistic merit.
Russian folk tales are distinguished, first of all, by their educational orientation: let us recall, for example, the famous saying that "a fairy tale is a lie, but there is a hint in it." They sing of moral values, such as readiness to help, kindness, honesty, ingenuity. They are one of the most revered genres of Russian folklore due to a fascinating plot that opens the reader to an amazing world of human relationships and feelings and makes them believe in a miracle. Thus, Russian fairy tales are an inexhaustible source of folk wisdom, which we still use.
There is not a single person who would not know at least one fairy tale, who would not be subdued by its beauty, cordiality, gaiety and resourcefulness. In all fairy tales, Good triumphs over Evil. The fairy tale teaches us to love and forgive, to conquer fear. In a fairy tale, we, together with the hero, go through tests, solve riddles. She shows us the way to find happiness - this is a common, free and joyful work. It is in him that the generosity of the human heart is manifested.
In a fairy tale, a special, mysterious world appears before the listener. There are extraordinary things in the fairy tale fantastic heroes, goodness and truth defeat darkness, evil and lies. This is the world where Ivan Tsarevich rushes through the dark forest on a gray wolf, where the deceived Alyonushka suffers, where Vasilisa the Beautiful brings a scorching fire from Baba Yaga, where the brave hero finds the death of Kashchei the Immortal (50).
Some of the fairy tales are closely related to mythological representations. Such images as Frost, Water, Sun, Wind are associated with the elemental forces of nature. The most popular of Russian fairy tales are: "Three Kingdoms", "Magic Ring", "Finista's Feather - Clear Falcon", "The Frog Princess", "Kashchei the Immortal", "Marya Morevna", "The Sea King and Vasilisa the Wise", " Sivka-Burka", "Morozko" and others.
The hero of a fairy tale is courageous, fearless. He overcomes all obstacles in his path, wins victories, wins his happiness. And if at the beginning of the tale he can act as Ivan the Fool, Emelya the Fool, then at the end he necessarily turns into a handsome and well done Ivan Tsarevich.
We are all falling into fairy world, we cry and laugh, we love and suffer, together with the hero we fight and defeat the Serpent Gorynych. A fairy tale always draws us into its world, makes us suffer, experience, rejoice. She makes us think, because "there is a hint in her, a good lesson for a good fellow." There is so much meaning in a fairy tale that it can: support, encourage in Hard time, to bring up in the child that trait that he really lacks, replacing edification with beautiful story. A fairy tale is just a pleasure from the subtlety of the human mind, the accuracy and beauty of the Russian language. The heart stops in surprise, and the soul takes off with admiration. A fairy tale always contains a “hint, a lesson for good fellows” and carries a certain psychological message, making you think about your worldview and actions. This is the oldest and very wise source of moral knowledge (46, p. 6).
The fairy tale speaks the language of metaphor (“Not the friend who smears honey, but the one who speaks the truth”), which in a folded form, addressing both the consciousness and the subconscious, conveys to us the spiritual depth of Russian culture, archetypal symbols, teaching us to imagine images in their imagination and shaping our consciousness (29). Thanks to the fairy tale, the child learns the world not only with the mind, but also with the heart. The fairy tale calls to fight against evil, against the enemies of the Motherland, to defend justice. The fairy tale helps to believe in the power of good. Actions, actions of fairy-tale characters bring up wonderful feelings in us: love, kindness, trust, beauty, tenderness. We experience pleasure, happiness, joy from their victories, exploits; we grieve at their failures, we stigmatize evil, we believe that it will be punished. Fairy tales teach us to dream, hope, believe, love, trust, express our attitude to good and evil.
A fairy tale is truth and fiction at the same time. Proverbs and sayings are also a source of folk wisdom: "Where there is work, there is good", "Do not spit in the well - it will come in handy to drink water." They reflect everyday life, customs and very often echo fairy tales.
A fairy tale is a fertile and irreplaceable source of moral perception of the world.
1.2 Fairy-tale images in arts and crafts
A fairy tale knows a secret source in which dreams, hopes and aspirations are hidden. She knows everything, and that is her great wisdom, not appreciated by everyone.
Man has long been striving for creativity, for beauty. After all, beauty always brings joy to people. Admiring nature, its wisdom and harmony, a person began to decorate his home, household items, labor. At the same time, nature has always been his teacher. People for centuries selected in nature perfect forms, joyful color combinations, surprising and delighting with their ingenuity and taste. Russian nesting dolls, Dymkovo toys, wooden Khokhloma products, Gzhel ceramics, lacquer miniatures Palekh craftsmen, Vologda lace, Zhostovo trays belong to the best examples of arts and crafts, which is most firmly associated with everyday life and everyday life of a person (12, 13, pp. 66-105).
Language and folk arts and crafts are historical memory, this is morality, this is the spiritual wealth of the people. In Russian folk art, the eternal images of Flowers and herbs, the Horse, the Bird, the Woman, the Tree of Life have survived to this day. Just as a person’s figurative knowledge of the world could be “verbal, material, active,” so in the process of this knowledge metaphors-words, metaphors-things, structures, metaphors-actions were born.
It is important to learn for yourself in the artistic wealth of monuments of folk art to distinguish kingdom of copper(artistic style, as in a fairy tale, it is significant for its plastic, graphic and color expressiveness), kingdom of silver(moral ideals of the people, generous work, faith in goodness, the fight against evil, it is important to feel this with your heart), kingdom of gold(the innermost knowledge of the people about the world, giving folk art the necessary importance in the historical path of development of art and the people) . These three facets are harmoniously integrated in the monuments of art into a single whole, which contributes to the penetration into the world spiritual heritage of our people, without understanding of which the revival of Russia is impossible (40, p. 58).
Since ancient times, man has admired nature, flowers and herbs. Flower in Russia it meant chastity, today it is joy, a wish for happiness. A flower is a flower, but we are surprised at its vitality, how it breaks through the asphalt, what power is hidden in it. Let's remember the fantastic sprout of "krin" - a symbol of the spring revival of nature in art Ancient Russia, amulet, protection of the family; in each seed, bud, the potential of the future flower is hidden (also in a child, we do not always see his future potential, which is hidden for the time being). The most beautiful of the Goddesses - Mother Lada - came to people along the rainbow with a baby and with an armful of flowers in her hands. Plants have served man since ancient times. Healers have known about the healing properties of flowers, herbs, and fruits since ancient times.
Fern flower- a fiery symbol of the Purity of the Spirit. Has powerful healing powers. The people call him Perunov Tsvet. It is believed that he is able to open treasures hidden in the earth, to fulfill desires. It gives a Man the opportunity to reveal in himself the Spiritual Power and Abilities (57). Anyone who gets the Fire-flower becomes a prophetic person, knows the past, present and future, guesses other people's thoughts and understands the conversations of plants, birds, reptiles and animals. Charming and tender white water lily- nothing more than the famous fairy tale-grass. From time immemorial craftsmen they depict flowers and herbs with great love, decorating products and their home.
In the products of folk craftsmen, images come to life that came from pagan beliefs and legends, folk epic and fairy tales. One of these images is bird.
With what love V.N. Polunina tells about the figurative expressive Severodvinsk festive ladle-bird as about the things of a bird that has sailed to us from its distant far away, a good messenger, a hope that needs to be passed on to children (40). And the art critic A.K. Chekalov (52) surprisingly beautifully describes this image of a bird as an example of the unity of all plastic means, when both the material and the form, organically merging with the decor, equally participate in creating the image of the bird’s things, when the master is puzzled not by the transfer of the quality and features of a certain type of birds, but creates symbolic image a meal, in which all the elements of Nature participate - Sky-Water-Earth-Sun, creates a mythological image-thing, a thing-metaphor. That's when the decor does not seem deprived of its high purpose, not only to decorate, but above all to carry the magic of things as part of a common ritual.
The bird is a fabulous character who can not only sing beautifully, but also give people joy! The image of birds on household items (spinning wheels, cutting boards, huts, embroidery and in folk toys) carried a huge philosophical meaning and meaning. Legends have been preserved telling about wonderful birds - this is the Bird - Fire from the golden Khokhloma (36), these are the Sirin and Alkonost birds from Russian epics, this is the Arkhangelsk wood chip from the Far North.
There is a familiar legend : In the far north, in the Arkhangelsk province, he lived - there was a hunter. Winter in the north is long, cold: now a blizzard, then a snowstorm, then a strong cold. And this year the winter lingered for a long time; chilled human habitation, and the hunter's youngest son fell ill. He was ill for a long time, emaciated, turned pale; neither the doctor helped nor the healer. Woe to the hunter. Sorry son. The hunter asked his son: “What do you want?” The boy whispered softly: "I want to see the sun ...". Where can you get it in the north? The hunter thought, heated the hearth to make it warmer. But fire is not the sun. The hunter drew attention to the torch, which glowed in the reflection of the fire. His face lit up with a smile; and he understood how to help his son. The hunter worked all night. He carved a bird from a log, cut chips from a torch, decorated them with openwork carvings. He hung the bird over his son's bed, and the bird suddenly came to life: it spun, moved in jets of hot air that came from the stove. The boy woke up, smiled and exclaimed: “Well, here is the sun!” From that day on, the child began to recover rapidly. So they attributed the miraculous power to the wooden bird and began to call it « holy spirit» , the keeper of children, a symbol of family happiness.
The bird was compared to the sun. Therefore, in ancient times, people believed that birds with their sonorous singing drive away winter darkness, cold and bring spring and warm summer on their wings. Especially people were preparing for the meeting of spring. The image of larks was baked from dough, the children ran with these gingerbread from house to house, planted them on branches, on thawed patches. So they asked the birds to bring spring on their wings.
Since ancient times in fairy tales different peoples world very often there is an image of a bird. It can be evil, it can be kind, but more often than not, the image of a bird brings people happiness, light, good luck, as it is associated with female images of goddesses. We see the image of a bird in fairy tales: “The Swan Princess”, “The Tale of Tsar Saltan”, “Finist the Clear Falcon”, “The Fire Bird”, etc.
AT decorative arts the image of the bird of happiness can be found in embroidery, woodcarving, folk crafts Gzhel, Khokhloma, Gorodets painting, Mezenskaya it. e. And how many interesting images of a bird you will meet in a folk toy: here is a turkey in a Dymkovo toy. The rich imagination of folk craftsmen turns the most ordinary poultry into fabulous creatures. From three or four primary colors - red, yellow, green and blue on a white background - the artist creates an amazing spectacle. The origin of the craft is associated with the ancient national holiday“Whistle”, for which throughout the winter the craftswomen prepared various whistles in the form of horses, riders, cows, birds. Birds symbolized light, warmth, fertility. They were depicted in the house, so that it was always warm and light. So they attracted the sun and happiness.
Gzhel (54.55) is associated with tenderness, beauty, harmony, fairy tale. Gzhel products attract everyone who loves beauty, rich imagination and harmony, high professionalism of their creators. Gzhel is the cradle and main center of Russian ceramics. And here we see amazing fabulous birds, surrounded by the harmony of floral motifs and ornaments. It is here that the pan-European image of the Blue Bird is embodied - a symbol of happiness and a dream come true (43).
The painting, which is now called Gorodets, was born in the Volga region. You will never confuse with anything the joyful colors of Gorodets painting, its birds with outlandish tails in the form of a butterfly wing. Gorodets painting comes from the icon, and, just like in the icon, there is a lot of symbolism in it. The horse in it is a symbol of wealth, the bird is a symbol of family happiness, and the flowers are health and prosperity in business (56).
Look at Gorodets birds - they always have a fat belly. Such an outline of a bird is a tradition, and trying to thoughtlessly change it is the same as depriving an ancient symbolic image of its meaning. Perhaps this "unaesthetic" tummy just symbolizes the birth of a new life and is the key to family happiness! It is necessary to respect the tradition and draw birds the way thousands of artists painted them before us.
The bird in the Gorodets painting has a sharp silhouette: it has a flexible line of the neck and chest (sinusoid), a tail in the form of a butterfly wing, a filiform beak and legs. The traditional color of the bird is: the body is black, the tail is cherry (kraplak), the wing is green.
At the Firebird in Khokhloma painting (51) The image of the bird has rounded, soft forms that look like petals and are decorated with flowing curls. A bird is like a flower or some part of it. And how amazing is the firebird (62). She lives in the thirtieth kingdom in the garden of the Tsar Maiden or Koshchei the Immortal. During the day, the Firebird sits in a golden cage, sings heavenly songs to the Tsar Maiden. At night, she flies into the garden, flies through the garden - it all lights up at once! That miracle bird feeds on magic golden apples of rejuvenation, which returns strength, health and youth to the sick and old. Behind this bird, which brings great happiness to the hero who masters at least one of its feathers, fabulous good fellows set off one after another on an unknown path. We see a bird - a symbol of goodness, peace, love! (16.17)
AT petrikovskaya painting birds are important. Birds - peacocks, roosters, cuckoos, etc. - Differ in decorative effect, richness of color. The image of a bird in the Petryakovskaya painting is beautiful and elegant (38). You can just admire the works in which the miracle of birds and flowers fabulously reflect the real beauty of nature, the soul of the people, their mythology, songs and love for life and beauty. Of course, floral ornament prevails in Petrikovskaya painting, but many masters, in addition, depict various birds, both real and fabulous (roosters, owls, firebirds, a rooster, a cuckoo, etc.). In the composition However, there must always be balance. Birds are placed so that the flowers around them balance the pattern, but there should be free space between them. The selection of colors in Petrikovskaya painting has one of the leading values. Colors are selected in warm, cold or mixed colors. The center must be highlighted with the main color, the main elements make more than others and more magnificent. To emphasize the basis of the composition, accents can be highlighted in a contrasting color.
The charm of art Zhostovo- in the sincerity, immediacy of its content and means of expression. Garden and wild flowers - both real and born by the artist's fantasy, collected in bouquets and spread out in wreaths and garlands, magical birds and horses - these themes resonate with every person, evoke a sense of beauty (18). The means of Zhostovo art are vividly expressive. It has its own artistic system, pictorial techniques and original style, formed from an alloy of ornamental folk paintings. Each tray is a unique work of art.
Majestic and solemn, the embroidery compositions brought to us the echoes of the pagan mythology of the ancient Slavs. Scientists believe that female figures, images of horsemen and birds were symbols of Nature and the elements of fire, water and air subordinate to it.
Horse in Russian folk tales it was often compared to a bird. He also represented all natural phenomena associated with fast movement - wind, storm, clouds. But he was the male symbol of the Gods. The horse was often depicted as fire-breathing, with a clear sun or a moon in its forehead, and a golden mane (44).
Horse- the peasant breadwinner, the support of the entire economy, one of the oldest and favorite images of folk art. The horse was as necessary to the peasant to grow bread as the sun itself. The sun took on the form of a horse, and horse as if acquiring the power of the sun. It was believed that folklore horses, like birds, have wings. They easily galloped from mountain to mountain, across seas and rivers, and were distinguished by their size and strength.
“The horse is running - the earth is trembling, sparks are pouring from the eyes, smoke is pouring out of the nostrils. He passes mountains and valleys between his legs, covers small rivers with his tail, jumps over wide rivers, ”says one of the tales.
In folk tales, heroes find miracle horses inside the mountains, in dungeons, behind iron doors, on iron chains. The image of the mountain is a rethought image of a cloud, and the doors and chains metaphorically depict winter shackles. Among many peoples, the morning dawn was revered in the form of a goddess who brings the brilliant horses of the sun to the sky, and the evening dawn was considered a goddess who takes the horses to rest.
In the fairy tale “Vasilisa the Beautiful”, the heroine went to Baba Yaga to ask for fire to light the light in the house, and met fairy-tale riders in the forest: “Suddenly a rider gallops past her: he is white, dressed in white, the horse under him is white and the harness on the horse white - it began to dawn in the yard. She goes on, as another rider gallops: he himself is red, dressed in red and on a red horse - the sun began to rise. When the girl reached the hut of the baba-yaga, she looked: another rider was riding: he was black, dressed in all black and on a black horse, galloped to the gate and disappeared - night had come. At the meeting, the Baba Yaga explained to Vasilisa that the white rider is a clear day, the red rider is a clear sun, and the black one is a dark night.
A wooden horse, made for children's fun, was often all decorated with solar signs. or flowers . It was believed that this protects the child from evil forces. Images of horses can often be seen on household items (ladle handles, spinning wheels , spindles, on clothes) . In Russian villages, skates still decorate the roof of the roof, the upper part of which bears the same name: this is the ancient Russian God Rod protecting his relatives, covering the hut with his wonderful wings. The custom is widespread to nail a horseshoe over the entrance to the house for good luck.
We see images of birds and horses in folk embroidery, gold embroidery, lacework, and tiles. The creation of these images in arts and crafts, I think, is inexhaustible.
We are going to a fairy tale along the road of Goodness and Beauty. Good luck!
1.3 Russian artists - fairy tale illustrators
Have you ever been in a hut on chicken legs? Among many Russian painters who sought inspiration in folk history, culture and poetry, V. Vasnetsov occupies a special place. The artist admitted: “I have always been convinced that ... in a fairy tale, in a song, an epic, the whole whole image of the people, internal and external, with the past and present, and maybe the future, is reflected ...” (8, p. 476). In his painting "Guslars" - singers-narrators. In their epic songs, the images of their favorite heroes come to life, becoming a kind of chronicle of folk history.
The name of Viktor Mikhailovich Vasnetsov is one of the most famous and beloved among the names of Russian artists of the 19th century (37). His creative heritage is interesting and multifaceted. He was called "a true hero of Russian painting." He was the first among painters to turn to epic fairy tales. “I lived only in Russia” - these words of the artist characterize the meaning and significance of his work. Paintings of the everyday genre and poetic canvases on the plots of Russian folk tales, legends, epics; illustrations for the works of Russian writers and sketches of theatrical scenery; portraiture and ornamental art; painting on historical plots and architectural projects - such is the creative range of the artist.
But the main thing that the artist enriched Russian art is the works written on the basis of folk art. What paintings by Viktor Vasnetsov can be considered the most famous? Anyone will answer that these are the famous fairy-tale works of the master: "Heroes", which some will call "Three heroes", gentle, thoughtful "Alyonushka" and, perhaps, no less famous creation - "Ivan Tsarevich on the Gray Wolf". Why are these works so clearly imprinted in the memory of most people? Perhaps this is due to primordially Russian images or heartfelt fairy tale motifs that are passed on to new generations, already at the level of people's memory and have become in some ways even a reflection of the history of Ancient Russia.
"Heroes"(1881-98), which we admire, took about thirty years of the life of the master. It was for so long that he was looking for that single idea of three images that personify the soul of the Russian people. Ilya Muromets is the strength of the people, Dobrynya Nikitich is his wisdom, Alyosha Popovich is the connection of the present and the past with the spiritual aspirations of the people.
Viktor Vasnetsov himself admitted that the fabulous Alyonushka (1881) was his favorite work, for the creation of which he traveled from Moscow to his native places. And to convey greater penetration to the image, he visited many concerts of classical music. Each twig, flower and blade of grass sing a laudatory song to Russian nature, sing of beauty, freshness and at the same time the sad thoughtfulness of the main character.
No less famous work - "Ivan Tsarevich on the Gray Wolf" (1889) reveals the author for us as a deep connoisseur of everything that is called "the soul of the Russian people." The fairy tale characters of the beauty and the prince tell about the time when people knew how to listen and hear nature.
The works of the great master of Russian painting became the world image of everything Russian and folk in the painting of the late 19th century.
Another great illustrator - Bilibin Ivan Yakovlevich(1876-1942). He expressed his impressions not only in images, but also in a number of articles (4, 5). Since 1899, creating design cycles for publishing fairy tales (Vasilisa the Beautiful, Sister Alyonushka and brother Ivanushka, Finist the Clear Falcon, the Frog Princess, etc., including Pushkin's fairy tales about Tsar Saltan and the Golden Cockerel), he developed - in the technique of ink drawing, highlighted watercolor, - special " Bilibino style»book design, continuing the traditions of ancient Russian ornament (4).
In the summer of 1899, Bilibin left for the village of Yegny, Tver province, in order to see the dense forests, transparent rivers, wooden huts, hear fairy tales and songs, and began to illustrate Russian folk tales from Afanasyev's collection. For 4 years, Bilibin illustrated seven fairy tales: “Sister Alyonushka and Brother Ivanushka”, “White Duck”, “The Frog Princess”, “Marya Morevna”, “The Tale of Ivan Tsarevich, the Firebird and the Gray wolf”, “Feather of Finist Yasna-Falcon”, “Vasilisa the Beautiful”. Bilibin did not create individual illustrations, he strove for an ensemble: he drew a cover, illustrations, ornamental decorations, a font - he stylized everything like an old manuscript.
For all seven books, Bilibin draws the same cover, on which he has Russian fairy-tale characters: three heroes, the bird Sirin, the Serpent Gorynych, the hut of Baba Yaga. All page illustrations are surrounded by ornamental frames, like rustic ones.
Bilibin. Red window rider carved platbands. They are not only decorative, but also have content that continues the main illustration. In the fairy tale “Vasilisa the Beautiful”, the illustration with the Red Horseman (sun) is surrounded by flowers, and the Black Horseman (night) is surrounded by mythical birds with human heads. The illustration with Baba Yaga's hut is surrounded by a frame with toadstools (and what else can be next to Baba Yaga?). But the most important thing for Bilibin was the atmosphere of Russian antiquity, epic, fairy tales. From genuine ornaments, details, he created a semi-real, semi-fantastic world.
The peasant needed a horse to grow bread, just like the sun itself. The images of the sun and the horse in folk art merge into one. In the poetic representations of the people, the rider on horseback freed spring from winter captivity, unlocked the sun, opened the way for spring waters, after which spring came into its own. This motif in folklore was embodied in the image of Egor the Brave.
Baba Yaga is a fairy tale character living in dense forest. “On the stove, on the ninth brick, lies a Baba Yaga, a bone leg, her nose has grown into the ceiling, snot hangs over the threshold, her tits are wrapped on a hook, she sharpens her teeth” (2); “Baba Yaga gave them a drink, fed them, took them to the bath”, “Baba Yaga, a bone leg, rides in a mortar, rests with a pestle, sweeps the trail with a broom.” V. Dal writes that Yaga is “a kind of witch or evil spirit under the guise of V. Bilibin Baba Yaga.
Ornamental lines clearly limit the colors, set the volume and perspective in the plane of the sheet. filling watercolor paints black-and-white graphic drawing only emphasize the given lines. To frame the drawings by I.Ya. Bilibin generously uses ornament (33).
In our 21st century, the century of narrow specialization, the figure Nicholas Konstantinovich Roerich is a unique phenomenon. great artist, archaeologist and researcher, Nicholas Roerich has world fame as a painter and scientist. Less familiar to us is his literary legacy. For example, few people know that Nikolai Konstantinovich also wrote ... fairy tales. With beautiful allegorical images, with the alluring beauty of mysterious worlds. The heroes of his fairy tales are carriers of lofty feelings and thoughts that have eternal human value (39). They dispose to deep meditation, tune in to high feelings, aspire to spiritual perfection.
S.K. Makovsky about N.K. Roerich :»… There are artists who recognize in man the secret of lonely spirituality. They look intently into the faces of people, and each human face is a world separate from the world of all. And there are others: they are attracted by the secret of the soul of the blind, close, common for entire eras and Nicholas Roerich. Gallery of paintings by the artist - Zmievna, 1906 peoples , penetrating the whole element of life , in which the individual is drowning , like a weak stream in the dark depths of an underground lake” (30, pp. 33-35).
The faces of the people on Roerich's canvases are almost invisible. They are the faceless ghosts of centuries. Like trees and animals, like quiet stones of dead villages, like monsters of antiquity, they are merged with the elements of life in the mists of the past. They are without a name. And they don't think, they don't feel lonely. They do not exist separately and as if they never existed: as if before, long ago, in a clear life, they lived by a common thought and a common feeling, together with the trees and stones and monsters of antiquity.
The artist, whom you involuntarily want to compare with Roerich, - M.A. Vrubel. I'm not talking about similarities. Roerich does not resemble Vrubel either by the nature of the painting or by the suggestions of his ideas. And yet, at a certain depth of mystical comprehension, they are brothers. Temperaments are different, forms and themes of creativity are different; the spirit of incarnations is one. Vrubel's demons and Roerich's angels were born in the same moral depths. From the same twilight of unconsciousness their beauty arose. But Vrubel's demonism is active. It is more frank, brighter, more magical. Prouder.
“In the picture “Pan”, the Greek god turns into a Russian goblin. Old, wrinkled, with bottomless blue eyes, knobby, like twigs, fingers, he seems to emerge from a mossy stump.
The characteristic Russian landscape acquires a fantastic magical coloring - boundless wet meadows, a winding rivulet, thin birch trees, frozen in the silence of twilight descending to the ground, illuminated by the crimson of the horned month (64).
The swan princess is a character in Russian folk tales. In one of them, in the retelling of A.N. Afanasyev tells about the transformation of twelve birds - swans into beautiful girls, in another - about the appearance of a wonderful Swan-bird on the shore of the blue sea (2).
Sadko (Wealthy Guest) is the hero of the epics of the Novgorod cycle. Sadko was at first a poor harpist who amused the Novgorod merchants and boyars by playing the harp on the shores of Lake Ilmen. With his game, he received the location of the tsar of the Water. The king demanded that the hero marry his daughter, who was to be chosen. In gratitude for the salvation, Sadko built churches in honor of the Most Holy Theotokos and Nikola Mozhaisky in Novgorod.
Fairy tales were illustrated by many wonderful artists: Tatyana Alekseevna Mavrina, Elena Dmitrievna Polenova, Gleb Georgievich Bedarev, each of their works is an amazing image that immerses us in a mysterious magical world.
2. Fairy-tale images in children's fine artnews
I believe that we perceive the world around us through the prism of our attitude and experience: for one, the world is beautiful, joyful, happy, for another it is ugly and cruel, but it is one, and this is the truth. As you are, so is the world around. Observe the beautiful, do good and strive for the truth - then the world around you will delight and support you. The world needs to be loved, and it will respond in kind. Each of us is responsible for the world around us, but above all for our inner world. Learning to manage your feelings and emotions, to restrain your thoughts is a huge job. I really liked Socrates' representation of a man in the form of a chariot (emotions are horses, the chariot is the body, and the charioteer is the mind). We differ from animals in that we have a mind, which means that it is important not to impose our opinion, but to lead the children to their own discoveries, to give them freedom of choice, creativity. I think that an artist is a magician who himself creates an artistic image and is able to change the world around.
The work of the teacher is not visible with a simple glance, we will see it in many years, when a particle of our soul will speak in people who are already adults by that time. For me, the main thing is to see not so much a student as a person, to form such important values and meanings as: love for mother, family, respect for people, gratitude, honesty, creative work. But the main thing is to see the joy in the eyes of the child, although this is not always possible.
2.1 Alsmall (magic) flower
Lesson "Scarlet (magic) flower" was held in 2 "A" class. There are 23 students in the class, 7-8 years old. Leading activity of this age period- educational and cognitive. The intellectual-cognitive sphere of the psyche is predominantly developing. The younger school age is distinguished by the following neoplasms: arbitrariness, internal plan of action, self-control, elements of reflection, which I took into account when planning the lesson. Children are engaged in fine arts for the 2nd year, the class is strong, there are many creative children, well prepared for the perception of the proposed material, showing interest in the subject. There is a comfortable psychological atmosphere in the classroom.
The theme of the year for the program "Fine Arts" (School of B.M. Nemensky) "Art and You", the theme of the quarter: "Reality and Fantasy", the theme of the lesson: "Image and Fantasy" (25). The lesson continues the cycle of lessons of the first quarter. In the previous lesson, the children learned to peer into the real world, not only to look, but also to see. This lesson introduces students to the role of fantasy in human life, the images of Russian fairy tales - herbs and flowers. The main goal that I have set for myself is to bring students to an understanding of the importance of nature in human life, the healing role of plants, as well as the fact that each plant has its own purpose, each flower has a soul; through acquaintance with the story “Fern Color” (Appendix 1), show that a glow appears above the plant - “when a color appears”, and not a flower (the ancients said so: “Fern color”, i.e. over the place where the future fruit of any plants have a glow, which means that plants also have a soul); prove that magic exists not only in Russian fairy tales, but is revealed to those who believe in it.
The purpose of the lesson for the students:
create an image of magical herbs(scarlet flower) based onKhokhloma painting.
The purpose of fate, set before itself:
· To teach children to admire the beauty of their native nature and the creativity of folk masters, to develop the need to communicate with the Russian fairy tale, to develop their emotional sphere, fantasy and imagination, the ability to create an artistic image.
· To teach to listen and hear, to look and see, to observe, to participate in a dialogue, to express one's opinion, to reflect on the image real and magical.
· Show the principles of gouache to create images of magical herbs and a scarlet flower.
The content of the educational material is: acquaintance with the world of Russian fairy tale as the basis for the formation of the ability to develop visual representations, images of magical herbs and flowers, as well as the simplest elements of Khokhloma painting in order to create a new artistic image. The main idea of the lesson in the development of spiritual and emotional sphere child through the animation of nature, awareness of its role as a helper to man both in the world of fairy tales and in real life.
The development of the artistic taste of children was carried out by demonstrating reproductions of works by artists I. Shishkin, N. Roerich, Y. Kamyshny and others, as well as works by Khokhloma masters. The development of imagination and fantasy was carried out by the students creating their own image of a scarlet flower and magical herbs.
During the lesson, the following teaching methods and forms of cognitive activity of the student were used: attention game; creation of a problem situation when updating the dialogue method. For example, children are asked a question to which there is no answer:
Does the fern bloom? (The fern flower is endowed with a magical property. According to the ancient belief of the Slavs, who picked a fern flower on the night of Ivan Kupala will find happiness, be able to understand the language of animals. But in fact, these plants never bloom, so the magical fern flower simply does not exist in nature).
Is there a scarlet flower? (There is a scarlet flower in fairy tales, it is magical, even if we don’t see it, we can imagine it, invent it ...).
The lesson uses a conversation, a demonstration of the presentation "Magic Flowers and Herbs" and a discussion of its content, a demonstration of working methods - elements of Khokhloma painting, and drawing exercises
painting elements: "sedge"; "grass"; "droplets"; "antennae; "curls"; "bushes"; "berries". Berries of cranberries, currants, mountain ash were drawn with a poke seal (ear sticks); gooseberries, strawberries - with a brush.
Then she offered to close her eyes and imagine the image of a scarlet flower: “And suddenly the merchant sees, on a green hillock a flower blooms with the color of scarlet, beauty unprecedented and unheard of, what can be said in a fairy tale, not written with a pen ... And the merchant exclaimed in a joyful voice:“ Here is the Scarlet flower, what is not more beautiful in the world, about which the younger daughter, beloved, asked me. Imagine what kind of flower and herbs you found in the forest, which one you will draw.
The main stage of the lesson was the implementation of a practical task. Practical work almost did not require individual assistance from the teacher. The previous stages of the lesson motivated children well for independent creative work. This is also the most successful stage of the lesson, which helped to reveal the creative abilities of each child.
The success of achieving the goal of the lesson was determined by the prevailing microclimate of mutual trust between the teacher and students, the enthusiasm of students for the content of the educational material. The children quickly joined the lesson, watched the presentation with interest and actively answered questions, picked up very beautiful words about the scarlet flower - divine, wonderful, affectionate ...
The tasks I set were completed. The lesson reached its goal. The result was summed up, the results were seen, everyone liked them - joyful smiles, everyone learned something. Children's work completed successfully. I liked to draw on a dark background, to poke, to draw flowers. Everyone liked Inola Khaustova’s work very much, the flower really turned out magical, even Stepan Shchipachev’s poem “The blue expanses do not see themselves ...” was remembered about the soul of plants, where there are amazing lines:
"And it's sweet to know if you're walking through the woods,
Are you going down the mountain path:
With your insatiable eyes
Nature admires itself."
Students admired the images of their native nature, their reflection in painting and arts and crafts, worked with interest to create new artistic images. However, not everyone fully thought out the composition, got carried away with poking. Some got little grass, many forgot about the leaves.
There was an atmosphere of cooperation in the classroom. At the final stage, students developed the ability to evaluate the results of the artistic and creative activities of their own and classmates. As a result, an exhibition of students' work was organized in the class.
2.2 Bird things image
The prophetic bird in Slavic mythology was the mother of the gods Gamayumn, singing divine songs to people, giving hope, foreshadowing the future for those who can hear the secret. Gamayun knows everything in the world. She was considered a bird of paradise, the messenger of the gods, who sang the Book of Songs to people.
Sacred birds were coastlines. These were birds with a female face: the mellifluous Sirin is a dark force, a bird of sadness, a messenger underworld; wonderful Alkonost - a bird of joy, a bird of paradise; the phoenix bird rising from the ashes; Stratim is the mother of all birds; Firebird, swan girls (swans) (7).
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