The development of visual abilities and creative ideas of children in the process of visual activity. Development of children's creative abilities in visual activity

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Ministry of Education, Science and Youth Policy

Trans-Baikal Territory

GPOU "Chita Pedagogical College"

GraduationqualifyingJob

specialty 050704 Preschool education

Developmentcreativeabilitiesatchildrenseniorpreschoolagethroughpictorialactivities

Introduction

1.1 The concepts of creativity and creativity

1.3 Age features of children of senior preschool age

Conclusions on the first chapter

2.3 Development of creative abilities through visual activity in children of senior preschool age

Conclusions on the second chapter

Conclusion

Bibliography

Application

children creative ability educational

Introduction

Today our society needs non-standard, diversified personalities. We need not only knowledgeable, but also people capable of creative activity.

According to a number of modern psychologists, the best period for the development of creativity is preschool age. It is also well known that the artistic and creative abilities, skills and abilities of children must begin to be developed as early as possible, since art activities contribute to the development of not only creative abilities, but also imagination, observation, artistic thinking and memory of children.

In the process of all types of visual activity (drawing, modeling, applications), the child experiences a variety of feelings: he rejoices at the beautiful image that he created himself, upset if something does not work out. But the most important thing is that by creating an image, the child acquires various knowledge, his ideas about the environment are refined and deepened, in the process of work he comprehends the new qualities of objects, masters the skills and abilities, learns to use them consciously.

The freedom of creative expression of a preschooler is determined not only by figurative representations and the desire to convey them in a drawing, but also by how he owns the means of image. Assimilation by children in the process of learning various options for the image, techniques will contribute to their creative development. Therefore, it is so important to widely include a variety of artistic and visual activities in the pedagogical process. Here, every child can express himself most fully without any pressure from an adult.

Artistic creativity is one of the favorite types of children's activities. To develop the creative abilities of a preschooler is the task of an adult. And this means that the management of art activity requires the teacher to know what creativity is in general, and especially children's, knowledge of its specifics, the ability to subtly, tactfully support the initiative and independence of the child, to help master the necessary skills.

Many scientists were engaged in the development of creative abilities. Psychologists (L.S. Vygotsky, V.A. Sukhomlinsky, B.M. Teplov, S.L. Rubinstein, V.I. Kiriyenko, A.G. Kovalev, L.A. abilities, identified the components, stages of their development, considered the relationship of creativity with learning, indicated the conditions for the development of creativity. The teacher E.A. Flerina - one of the first to define the concept of "children's artistic creativity", expanded and enriched her research T.G. Kazakov, N.P. Sakulina, T.S. Komarov, G.G. graphic activity pre-graphic and graphic periods, stages of development of the creative process of an adult and a child, and N.A. Vetlugina put forward indicators of the quality of children's art products, processed the criteria for evaluating children's creativity by G. Gilford and T. Torrens.

However, with a variety of pedagogical and psychological research, the problem of developing the creative abilities of preschoolers by means of visual activity remains open, the least studied in theory and insufficiently represented in the practice of raising children.

Targetresearch- theoretically substantiate the possibilities of developing the creative abilities of children of senior preschool age through visual activity.

An objectresearch- the process of development of creative abilities in preschool children.

Item- features of the development of creative abilities of children of senior preschool age through visual activity.

Tasksworks:

1. Consider the concepts of creativity and creative abilities, as well as the components of creative abilities.

2. To identify the conditions for the successful development of creative abilities in children of younger and older preschool age;

3. Consider the role of visual activity in the overall mental development of the child;

4. Consider the methods and means of developing the creative abilities of preschoolers in visual activity;

5. Give a comparative description of educational programs for the development of children's creative abilities.

6. Prove that visual activity contributes to the development of creative abilities of children of senior preschool age.

Methodsresearch: theoretical analysis of literature; synthesis, generalization, comparative analysis of programs.

The final qualifying work consists of an introduction, three chapters, a conclusion, a list of references and an appendix.

1. Theoretical aspects of creativity and creative abilities

1.1 The concepts of creativity and creativity

The development of creative abilities will be largely determined by the content that we will invest in this concept. Very often, in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc. What is creativity really? Consider this concept according to the following algorithm: abilities - creativity - creative activity - creative abilities.

There are many definitions of ability. So, B.M. Teplov believed that abilities are individual psychological characteristics that distinguish one person from another and are related to the success of performing any activity or many activities. K.S. Platonov believed that abilities cannot be considered outside the personality. By abilities, he understood such "a part of the personality structure, which, being actualized in a specific type of activity, determines the quality of the latter." According to L.G. Kovalev, abilities should be understood as an ensemble of properties of a human personality that provides relative ease, high quality of mastering a certain activity and its implementation. By definition, N.S. Leites, abilities are personality traits that determine the possibility of implementation and the degree of success of an activity. Abilities are psychological qualities that are necessary for the performance of an activity and are manifested in it. (L.A. Wenger).

Thus, summarizing different points of view on the definition of abilities, we came to the conclusion that abilities are understood as such individual characteristics of a person that provide comparative ease and high quality of mastering a certain activity. But it should be noted that abilities are not innate qualities, they exist only in the process of development and cannot develop outside of a specific activity.

Next, you should answer the following questions:

How do abilities differ from his knowledge, skills and abilities?

R.S. Nemov pointed out that there are certain differences between human abilities and knowledge, skills and abilities. In the presence of abilities and with a lack of knowledge, skills and abilities, a person can quite independently acquire the necessary knowledge, skills and abilities.

Although knowledge, skills and abilities are part of the developed abilities of a person, however, abilities are not necessarily combined with certain knowledge, skills or skills. A person may have abilities, but at the same time he may lack the knowledge, skills and abilities necessary to successfully perform any activity. On the contrary, a person may have some knowledge, skills and abilities in a particular area, but not have the abilities, then he will not be able to fully apply this knowledge, skills and abilities to successfully perform the activity. A person can acquire the relevant knowledge, skills and abilities not due to his abilities, but only due to the fact that he had good teachers, that he was stubbornly and persistently forced to learn something for a long time.

Although the knowledge, skills and abilities necessary for the successful performance of some activity are included in the structure of abilities, the abilities themselves are not limited to them.

The question arises, what is meant by abilities?

R.S. Nemov answers this question in the following way. "The development of abilities is their improvement. It can manifest itself, for example, in the appearance of new abilities in a person, such that he did not have before. Development can also manifest itself in the transformation of a person's elementary abilities into higher abilities."

The development of abilities is also spoken of in cases when it comes to improving existing abilities, that is, the achievement by a person of higher results in performing the same activity.

A person's abilities can develop spontaneously and in an organized way. In the first case, we are talking about a free, natural, consciously uncontrolled and unmanaged process of developing abilities. The development itself in this case occurs as a person accumulates life experience. True, this process cannot be called completely uncontrolled, since adults, to one degree or another, consciously participate in the development of the corresponding abilities in the child. We pay attention to the fact that they do this often, without having either a special program, or a pre-planned plan of purposeful actions, or a systematic assessment of the results of their activities and the degree of development of the child's abilities. The organized process of development of abilities is associated with conscious actions aimed specifically at the development of the corresponding abilities.

R.S. Nemov pointed out two ways of developing abilities: one of them is theoretical, the second is practical. Usually, both paths are combined, and in order for a person’s abilities to develop normally, he needs both knowledge and skills. After reviewing the works of R.S. Nemov, we concluded that abilities can be developed through various things. A person can receive the knowledge necessary for him to form and develop certain abilities. He can develop skills and abilities that are part of the structure of the corresponding abilities.

And the last question that needs to be answered is what are the optimal conditions for the development of abilities.

Optimal conditions for the development of abilities are those conditions under which abilities are formed and developed easily and quickly and reach a sufficiently high level of development. These conditions were determined by the psychologist R.S. Nemov.

1. The presence of certain inclinations in a person. The inclinations of a person should be purposefully identified, and not only those that are directly related to the development of abilities, but also other inclinations that he has. This must be done for the reason that to use for the development of a person's abilities all the inclinations he has.

2. Timely, as early as possible, identification of inclinations. This condition is explained by the fact that the earlier one begins to form and develop a person's abilities, the greater results in their development can be achieved. However, it is important in this regard to catch the very beginning of the manifestation of inclinations and in time to catch a person’s desire to develop the corresponding abilities in himself. If we are talking about young children, then the corresponding desire in them is manifested in an increased interest in the type of activity with which the development of these abilities is associated.

3. Active inclusion of a person in the type of activity in which the corresponding abilities are formed and developed.

4. The inclusion of a person in various types of activities, especially those that are functionally related to emerging abilities and correspond to the inclinations that a person has.

5. Availability of competent, trained teaching staff, who are well versed in the methodology for developing the relevant abilities. It is also important that the teachers themselves have the appropriate highly developed abilities. The latter is due to the fact that the formation and development of abilities takes place not only at the verbal level, through the transfer of knowledge and with the help of verbal explanations, but also through observation and direct imitation.

6. Application for the development of abilities of modern, effective teaching aids, in particular, well-written technical teaching aids, various manuals.

7. Ensuring systematic monitoring and evaluation of the process of developing abilities both on the part of those who form and develop them, and on the part of those who form and develop these abilities. The latter is important so that a person can consciously control the process of developing his abilities and at any time be able to make sure that his abilities are really developing successfully. This creates an additional internal incentive for their development.

Thus, we can conclude that the presence of these conditions leads to the most complete assimilation of the necessary knowledge, skills and abilities, favors the successful implementation of certain activities and, in accordance with this, the effective development of abilities. It is also undeniable that the most important condition is the presence of the necessary inclinations in a person. In accordance with the presence of certain inclinations, a plan is drawn up for the development of the child's abilities.

Obviously, the concept we are considering is closely related to the concept of "creativity", "creative activity".

Creativity is a process of activity that creates qualitatively new material and spiritual values ​​or the result of creating an objectively new one. The main criterion that distinguishes creativity from manufacturing is the uniqueness of its result.

Creativity is the creation of new cultural, material values.

Creativity is an activity that generates something qualitatively new and is distinguished by originality, originality and socio-historical uniqueness. Creativity is specific to a person, since it always involves a creator - the subject of creative activity. The value of creativity, its functions lie not only in the productive side, but also in the process itself. In music classes, when a child is just beginning to get involved in art, it is very important to talk about his creative development.

The concept of children's creativity means the activity of a child who creates "something new" and is not associated with age restrictions. Children's creativity is closely connected with the game, and the line between them is not always really distinct, it is laid by the target setting - in creativity, the search for and consciousness of the new is usually meaningful as a goal, while the game does not initially imply one. On a personal level, children's creativity is not so much based on the inclinations, knowledge, skills, skills, as it develops them, contributing to the formation of the personality, the creation of oneself, it is more a means of self-development than self-realization.

By creative activity, we mean such human activity, as a result of which something new is created - be it an object of the external world or a structure of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.

If we carefully consider the behavior of a person, his activity in any area, then we can distinguish two main types of actions. Some human actions can be called reproducing or reproductive. This type of activity is closely related to our memory and its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior and actions.

In addition to reproductive activity, there is creative activity in human behavior, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions. Creativity is at the core of this activity.

Thus, in its most general form, the definition of creative abilities is as follows. Creative abilities are the individual characteristics of a person's quality, which determine the success of his performance of various creative activities.

Since the element of creativity can be present in any kind of human activity, it is fair to speak not only about artistic creativity, but also about technical creativity, mathematical creativity, and so on.

1.2 Components of creativity

Creativity is an amalgamation of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses concerning this problem. Many psychologists associate the ability to creative activity, primarily with the peculiarities of thinking. In particular, the famous American psychologist Guilford, who dealt with the problems of human intelligence, found that creative individuals are characterized by the so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form links between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:

1. Speed ​​- the ability to express the maximum number of ideas (in this case, it is not their quality that matters, but their quantity).

2. Flexibility - the ability to express a wide variety of ideas.

3. Originality - the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).

4. Completeness - the ability to improve your "product" or give it a finished look.

Well-known domestic researchers of the problem of creativity A.N. Bow, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities.

1. The ability to see the problem where others do not see it.

2. The ability to collapse mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information.

3. The ability to apply the skills acquired in solving one problem to solving another.

4. The ability to perceive reality as a whole, without splitting it into parts.

5. The ability to easily associate distant concepts.

6. The ability of memory to give out the right information at the right moment.

7. Flexibility of thinking.

8. The ability to choose one of the alternatives for solving a problem before it is tested.

9. The ability to incorporate newly perceived information into existing knowledge systems.

10. The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation.

11. Ease of generating ideas.

12. Creative imagination.

13. The ability to refine the details, to improve the original idea.

Candidates of Psychological Sciences V.T. Kudryavtsev and V. Sinelnikov, based on a wide historical and cultural material (the history of philosophy, social sciences, art, individual areas of practice), identified the following universal creative abilities that have developed in the process of human history.

1. Relism of the imagination - a figurative grasp of some essential, general trend or regularity in the development of a cedant object, before a person has a clear idea about it and can enter it into a system of strict logical categories.

2. The ability to see the whole before the parts.

3. Supra-situational - transformative nature of creative solutions, the ability to solve a problem not just choose from alternatives imposed from the outside, but independently create an alternative.

4. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems) believe that one of the components of a person's creative potential is the following abilities.

1. The ability to take risks.

2. Divergent thinking.

3. Flexibility in thought and action.

4. Speed ​​of thinking.

5. The ability to express original ideas and invent new ones.

6. Rich imagination.

7. Perception of the ambiguity of things and phenomena.

8. High aesthetic values.

9. Developed intuition.

Analyzing the points of view presented above on the issue of the components of creative abilities, we can conclude that despite the difference in approaches to their definition, researchers unanimously single out creative imagination and the quality of creative thinking as essential components of creative abilities.

Speaking about the formation of abilities, it is necessary to dwell on the question of when, from what age children's creative abilities should be developed. Psychologists call various terms from one and a half to five years. There is also a hypothesis that it is necessary to develop creative abilities from a very early age. This hypothesis finds confirmation in physiology.

The fact is that the child's brain grows especially rapidly and "ripens" in the first years of life. This is ripening, i.e. the growth in the number of brain cells and the anatomical connections between them depends both on the diversity and intensity of the work of existing structures, and on how much the formation of new ones is stimulated by the environment. This period of "ripening" is the time of the highest sensitivity and plasticity to external conditions, the time of the highest and broadest possibilities for development. This is the most favorable period for the beginning of the development of the whole variety of human abilities. But the child begins to develop only those abilities for the development of which there are incentives and conditions for the "moment" of this maturation. The more favorable the conditions, the closer they are to optimal ones, the more successfully development begins. If maturation and the beginning of functioning (development) coincide in time, go synchronously, and the conditions are favorable, then development proceeds easily - with the highest possible acceleration. Development can reach its greatest height, and the child can become capable, talented and brilliant.

However, the possibilities for the development of abilities, having reached a maximum at the "moment" of maturation, do not remain unchanged. If these opportunities are not used, that is, the corresponding abilities do not develop, do not function, if the child does not engage in the necessary activities, then these opportunities begin to be lost, degrade, and the faster, the weaker the functioning. This fading of opportunities for development is an irreversible process. Boris Pavlovich Nikitin, who has been dealing with the problem of developing the creative abilities of children for many years, called this phenomenon NUVERS (Irreversible Extinction of Opportunities for Effective Development of Abilities). Nikitin believes that NUVERS has a particularly negative effect on the development of creative abilities. The gap in time between the moment of maturation of the structures necessary for the formation of creative abilities and the beginning of the purposeful development of these abilities leads to a serious difficulty in their development, slows down its pace and leads to a decrease in the final level of development of creative abilities. According to Nikitin, it was the irreversibility of the process of degradation of developmental opportunities that gave rise to the opinion about the innateness of creative abilities, since usually no one suspects that opportunities for the effective development of creative abilities were missed at preschool age. And the small number of people with high creative potential in society is explained by the fact that in childhood only a very few found themselves in conditions conducive to the development of their creative abilities.

From a psychological point of view, preschool childhood is a favorable period for the development of creative abilities because at this age children are extremely inquisitive, they have a great desire to learn about the world around them.

And parents, encouraging curiosity, informing children of knowledge, involving them in various activities, contribute to the expansion of children's experience. And the accumulation of experience and knowledge is a necessary prerequisite for future creative activity. In addition, the thinking of preschoolers is more free than that of older children. It is not yet crushed by dogmas and stereotypes, it is more independent. And this quality needs to be developed in every possible way. Preschool childhood is also a sensitive period for the development of creative imagination.

1.3 Age characteristics of older preschool children

The older preschool age plays a special role in the development of the child: during this period of life, new psychological mechanisms of activity and behavior begin to form.

The age of 5-6 years is characterized by the activation of the growth process: in a year a child can grow by 7-10 cm. The proportions of the body change. Movements are being improved, children's motor experience is expanding, motor abilities are actively developing. Significantly improves coordination and balance stability, necessary for most movements. At the same time, girls have some advantage over boys.

In children, large muscles of the trunk and limbs are actively developing, but small muscles, especially of the hands, are still weak. The senior preschooler technically correctly performs most of the physical exercises. He is able to critically evaluate the movements of other children, but self-control and self-esteem are fickle and appear episodically. Children's ideas about health and a healthy lifestyle, about the importance of hygiene procedures (for which it is necessary to wash hands, brush teeth, etc.), hardening, playing sports, and morning exercises are deepening. Children show interest in their health, acquire information about their body (sense organs, movements, digestion, respiration) and practical skills in caring for it.

There are great changes in higher nervous activity. During the sixth year of life, the main nervous processes are improved - excitation and especially inhibition. This has a beneficial effect on the possibilities of self-regulation. Emotional reactions at this age become more stable, balanced. The child does not get tired so quickly, becomes more mentally resilient, which is associated with increasing physical endurance. Children begin to refrain from unwanted actions more often on their own initiative. But in general, the ability to voluntarily regulate one's activity is still not sufficiently expressed and requires the attention of adults.

Social representations of the moral plan are formed. Gradually, there is a transition from impulsive, situational behavior to behavior mediated by rules and norms. Children actively turn to rules in regulating their relationships with peers. Older preschoolers already distinguish between good and bad deeds, have an idea of ​​good and evil, and can give relevant specific examples from personal experience and literature. In assessing peers, they are quite categorical and demanding, in relation to their own behavior they are more condescending and not objective enough.

The intellectual abilities of children are expanding. According to its characteristics, the brain of a six-year-old child approaches the parameters of the brain of an adult. The child not only identifies essential features in objects and phenomena, but also begins to establish cause-and-effect relationships between them, spatial, temporal and other relationships. Children operate with a sufficient amount of temporary representations: morning-afternoon-evening-night; yesterday-today-tomorrow, earlier-later; are oriented in the sequence of days of the week, seasons and months related to each season. They quite confidently master orientation in space and on the plane: left-to-right, top-bottom, front-back, close-far, above-below, etc.

The general outlook of children is expanding. The interests of older preschoolers gradually go beyond the immediate environment of the kindergarten and family. Children are attracted by the wide social and natural world, unusual events and facts. They are interested in the inhabitants of the jungle and oceans, space, distant countries and much more. The senior preschooler tries to independently comprehend and explain the information received. From the age of five, the real flowering of the ideas of "little philosophers" about the origin of the Sun, Moon, stars and other things begins. To explain to children, knowledge drawn from films and television programs is involved: about astronauts, moon rovers, space travel, star wars.

Children with keen interest listen to stories from the life of their parents, grandparents. Familiarization with technology, various types of labor, and the professions of parents ensures the child's further entry into the modern world, familiarization with its values. Under the guidance of an adult, preschoolers are involved in search activities, accept and independently set cognitive tasks, put forward assumptions about the causes and results of observed phenomena, use different methods of verification: experiments, heuristic reasoning, long-term comparative observations, independently make small “discoveries”.

In older preschool age, the possibilities of memory increase, intentional memorization arises for the purpose of subsequent reproduction of the material, and attention becomes more stable. There is a development of all cognitive mental processes. In children, the thresholds for sensations are reduced. Visual acuity and accuracy of color discrimination increase, phonemic and sound-altitude hearing develops, the accuracy of estimates of the weight and proportions of objects increases significantly, and children's ideas are systematized.

Speech continues to improve. During the year, the dictionary increases by 1000-1200 words (compared to the previous age), although in practice it is very difficult to establish the exact number of learned words for a given period due to large individual differences. Coherent, monologue speech is being improved. A child, without the help of an adult, can convey the content of a small fairy tale, story, cartoon, describe the events that he witnessed. Uses many grammatical forms and categories correctly. In the sixth year of a child's life, the muscles of the articulatory apparatus have become sufficiently strong, and children are able to correctly pronounce all the sounds of their native language. However, in some children, even at this age, the correct assimilation of hissing sounds, the sounds l, r, is just coming to an end.

A productive imagination develops, the ability to perceive and imagine various worlds based on a verbal description, for example, space, space travel, aliens, the princess's castle, wizards, etc. These achievements are embodied in children's games, theatrical activities, in drawings, children's stories.

Drawing is a favorite activity of older preschoolers, they devote a lot of time to it. Children are happy to show their drawings to each other, discuss their content, exchange opinions. They like to arrange exhibitions of drawings, they are proud of their successes.

The growing need of older preschoolers to communicate with peers, in joint games and activities leads to the emergence of a children's community. A peer becomes interesting as a partner in games and practical activities. A system of interpersonal relations, mutual sympathies and attachments is developing. An older preschooler suffers if no one wants to play with him.

Children become selective in relationships. In communication with peers, same-sex contacts predominate. Children play in small groups of two to five people. Sometimes these groups become permanent in composition. This is how the first friends appear - those with whom the child best achieves mutual understanding and mutual sympathy. Preference for certain types of games is becoming more and more pronounced, although in general the game repertoire is diverse, including role-playing, directing, building and constructive, mobile, musical, theatrical games, game experimentation.

The gaming interests and preferences of boys and girls are determined. Children independently create a play space, build the plot and the course of the game, distribute roles. In a joint game, there is a need to regulate relationships with peers, norms of moral behavior are formed, moral feelings are manifested. Behavior is formed, mediated by the image of another person. As a result of interaction and comparison of their behavior with the behavior of their peers, the child has the opportunity to better understand himself, his Self.

There is a more active interest in cooperation, in the joint solution of a common problem. Children tend to negotiate among themselves to achieve the ultimate goal. An adult helps children in mastering specific ways to achieve mutual understanding based on the interests of partners.

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

The formation of creative abilities in children provides, along with the acquisition of visual skills and abilities, the development of creative abilities.

According to V. Stern, a child's drawing is by no means an image of a specific perceived object, but an image of what he knows about it. Children's art, according to the psychologists of the Leipzig school of complex experiences, is expressive in nature - the child depicts not what he sees, but what he feels. Therefore, the drawing of a child is subjective and often incomprehensible to an outsider.

To understand children's drawing, it is very important to explore not only the product, the result of drawing, but also the process of creating a drawing. N.M. Rybnikov noted that for a child, the product of visual activity plays a secondary role. The process of creating a drawing comes to the fore for him. Therefore, children draw with great enthusiasm. Small children depict little on paper, but at the same time they speak and gesticulate. Only towards the end of preschool age does the child begin to pay attention to drawing as a product of visual activity.

N.P. Sakkulina believes that by the age of 4-5, two types of draftsmen stand out: those who prefer to draw individual objects (they mainly develop the ability to depict) and those who are inclined to unfold the plot, narration (their image is supplemented by speech and acquires a playful character). G. Gardner calls them "communicators" and "visualizers". For the first, the process of drawing is always included in the game, dramatic action, communication; the second focus on the drawing itself, draw selflessly, not paying attention to the environment. This opposition can be traced to specific children involved in the art studio. Children who are inclined to the plot-play type of drawing are distinguished by their vivid imagination, activity of speech manifestations. Their creative expression in speech is so great that the drawing becomes only a support for the development of the story. The visual side develops worse in these children. Children focused on the image actively perceive the objects and the drawings they create, take care of their quality.

Knowing these features, we can purposefully guide the creative manifestations of children.

According to A.V. Zaporozhets, visual activity, like a game, allows you to more deeply comprehend the subjects of interest to the child. However, even more importantly, as he masters the visual activity, he creates an internal ideal plan, which is absent in early childhood. At preschool age, the internal plan of activity is not yet fully formed, it needs material supports, and drawing is one of such supports.

American authors W. Lowenfeld and W. Lombert Britten believe that artistic education has a huge impact on the development of a child. A child can find himself in drawing, and at the same time his development will be inhibited. The child may have self-identification, perhaps for the first time. At the same time, his creative work in itself may not have aesthetic value. Much more important is the change in its development. According to L.S. Vygotsky, we must consider drawing from a psychological point of view, as a kind of children's speech and a preliminary stage of written speech.

It is especially important to note the expressive function. drawing: in it the child not only expresses his attitude to reality, but also indicates what is the main thing for him and what is secondary. There are always emotional and semantic centers in the drawing, thanks to which it is possible to control the emotional and semantic perception of the child.

One of the main conditions and indicators of the child's physical and neuropsychic health is the timely and versatile mastery of a small arsenal of movements that improve the functions of the central nervous system. If we talk about plastic, we believe that it is necessary to focus on the development of hand movements in a child, namely fingers (during drawing, modeling, exercises).

In connection with the need to develop in children the ability to perform subtle manipulations, one interesting circumstance should be noted - the existence of a close relationship between the coordination of subtle, light movements and speech. Research by Professor M. Koltseva showed that children's speech activity partially develops under the influence of impulses coming from the fingers. The same is confirmed by numerous studies of other specialists: the level of development in children is always in direct proportion to the degree of development of the movements of the fingers.

Thus, modern pedagogical and psychological research proves the need for visual arts for the mental, aesthetic development of preschool children, as well as for the development of children's creative abilities. Preschoolers are able, in the process of objective sensual activity, including drawing, to highlight the essential properties of objects and phenomena, to establish connections between individual phenomena and to reflect them in a figurative form. This process is especially noticeable in various types of practical activities: generalized methods of analysis, synthesis, comparison and comparison are formed, the ability to independently find ways to solve creative problems develops, the ability to plan one's activities, and creative potential is revealed.

This implies the need to engage not only in the visual arts, but also in specific types of artistic creativity, including drawing.

Conclusions on the first chapter

Creativity is an integral activity of the individual, necessary for every modern person and the person of the future. And it is possible and necessary to begin its formation in the preschool period.

Creative abilities are the individual characteristics of a person's quality, which determine the success of his performance of various creative activities.

Researchers unanimously single out creative imagination and the quality of creative thinking as essential components of creative abilities.

Senior preschool age provides excellent opportunities for the development of creative abilities. And the creative potential of an adult will largely depend on how these opportunities were used.

The ongoing wide inclusion in the pedagogical process of a variety of classes in artistic and creative activities, maximum attention and respect for the products of children's creativity, their widespread use in the lives of preschoolers and in the design of the premises of a children's institution fills the lives of children with new meaning, creates an atmosphere of emotional well-being for them, causes feeling of joy.

2. Methodological features of the development of creative abilities of children of senior preschool age through visual activity

2.1 Conditions for the successful development of creative abilities in children of senior preschool age

One of the most important factors in the creative development of children is the creation of conditions conducive to the formation of their creative abilities. Based on the analysis of the works of several authors, in particular J. Smith, B.N. Nikitin and L. Carroll, we identified five main conditions for the successful development of children's creative abilities.

The first important condition for the development of a child's creative abilities is the creation of an environment that is ahead of the development of children. It is necessary, as far as possible, to surround the child in advance with such an environment and such a system of relations that would stimulate his most diverse creative activity and would gradually develop in him precisely that which at the appropriate moment is capable of developing most effectively. For example, long before learning to read, a one-year-old child can buy blocks with letters, hang the alphabet on the wall and call the letters to the child during games. This promotes early reading acquisition.

The second, extremely important, condition for the effective development of creative abilities follows from the very nature of the creative process, which requires maximum effort. The fact is that the ability to develop the more successfully, the more often in his activity a person gets "to the ceiling" of his capabilities and gradually raises this ceiling higher and higher. This condition of maximum exertion of forces is most easily achieved when the child is already crawling, but is not yet able to speak. The process of knowing the world at this time is very intensive, but the baby cannot use the experience of adults, since nothing can be explained to such a small one. Therefore, during this period, the baby is forced more than ever to be creative, to solve many completely new tasks for him on his own and without prior training (if, of course, adults allow him to do this, they solve them for him). The child rolled far under the sofa ball. Parents should not rush to get him this toy from under the sofa if the child can solve this problem himself.

The third condition for the successful development of creative abilities is to provide the child with great freedom in choosing activities, in alternating tasks, in the duration of doing one thing, in choosing methods, etc. Then the desire of the child, his interest, emotional upsurge will serve as a reliable guarantee that even more stress of the mind will not lead to overwork, and will benefit the child.

But granting a child such freedom does not exclude, but, on the contrary, implies unobtrusive, intelligent, benevolent help from adults - this is the fourth condition for the successful development of creative abilities. The most important thing here is not to turn freedom into permissiveness, but help into a hint. Unfortunately, hinting is a common way for parents to "help" children, but it only hurts the cause. You can't do anything for a child if he can do it himself. You can't think for him when he can think of it himself.

It has long been known that creativity requires a comfortable psychological environment and the availability of free time, so the fifth condition for the successful development of creative abilities is a warm, friendly atmosphere in the family and the children's team. Adults must create a safe psychological base for the child to return from creative search and his own discoveries. It is important to constantly stimulate the child to be creative, to show sympathy for his failures, to be patient even with strange ideas that are unusual in real life. It is necessary to exclude comments and condemnations from everyday life.

But the creation of favorable conditions is not enough to raise a child with a high creative potential, although some Western psychologists still believe that creativity is inherent in the child and that it is only necessary not to prevent him from expressing himself freely. But practice shows that such non-intervention is not enough: not all children can open the way to creation and maintain creative activity for a long time. It turns out (and pedagogical practice proves this), if you choose the appropriate teaching methods, then even preschoolers, without losing the originality of creativity, create works of a higher level than their untrained self-expressing peers. It is no coincidence that children's circles and studios, music schools and art schools are so popular now. Of course, there is still a lot of debate about what and how to teach children, but the fact that it is necessary to teach is beyond doubt.

2.2 Analysis and comparative characteristics of educational programs for the development of children's creative abilities

At present, all kinds of programs for the upbringing and education of children in a preschool institution have been published.

A number of programs are the result of many years of work of scientific and scientific-pedagogical complexes. All these programs show different approaches to the organization of the pedagogical process in kindergarten.

When studying various educational programs for a preschool institution, two types of programs were distinguished: complex and partial. For analysis and comparison, the integrated programs "Childhood", "Rainbow", "Development", "Origins" were selected. We will analyze and compare the programs that have become widespread in the practice of preschool institutions to varying degrees.

We are interested in a certain aspect of the analyzed programs, namely the artistic and creative activity of children.

The "Rainbow" program was developed by the team of authors of the laboratory of preschool education of the Institute of General Education of the Ministry of General and Vocational Education of the Russian Federation.

Work under the Rainbow program has been carried out since 1989 in accordance with the law of the Ministry of Education of Russia. The team of authors proceeded from the fact that in a person's life, preschool childhood is given a short time. Therefore, on the one hand, everything possible must be done so that the child fully passes the preschool years, and on the other hand, it is necessary to use this age as efficiently as possible. The program is based on the idea that each year of a child's life is decisive for the formation of certain mental neoplasms.

Pedagogical work in the program is built on the basis of theoretical positions on the leading role of activity in the mental development of the child and the formation of his personality.

In the program "Rainbow" the basis of the sections "Visual activity" and "Artistic work" is folk art. Distinctive features in the program "Rainbow" is that, like in no other program, a lot of attention is paid to acquainting children with genuine examples of folk and decorative and applied art. The program "Rainbow" emphasizes the importance of caring for the results of children's activities, visual activity is called productive. Drawing, modeling are those forms of manifestation of children's activity in which children can get a real result and set a goal.

The program contains many interesting methodological findings, fragments of the organization of children's artistic activities. There are methodological recommendations for teachers and methodological aids widely used in practice. The program does not impose a specific methodology for working with children, only recommendations are given, and this is of great importance for the work of a teacher in developing creative abilities in preschool children.

The program "Childhood" is in many ways consonant with the program "Rainbow" in the development of creative abilities in children.

"Childhood" - a program for the development and education of children in kindergarten was created as a program of enriched, multiple development and education of a child - a preschooler in various activities. The program is based on general ideas that reflect the views of the authors on preschool childhood, the conditions for the effective development of the child in the preschool years, his full-fledged personal formation and development, and his readiness for schooling.

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1. Relevance of the problem

The formation of a creative personality is one of the most important tasks of pedagogical theory and practice at the present stage.

Preschool childhood is a very important period in the life of children. It is at this age that every child is a little explorer, with joy and surprise discovering an unfamiliar and amazing world around him. The more diverse children's activities, the more successful the child's versatile development is, his potentialities and the first manifestations of creativity are realized. The need to draw is inherent in children at the genetic level. By copying the world around them, they study it.

The relevance of the work is as follows:

The most favorable for the development of creative abilities of a preschooler is visual activity using non-traditional drawing techniques. With their help, you can develop intelligence in children, the ability to think, as well as encourage creative activity.

And as psychologists say: "Drawing for a child is not art, but speech." Drawing makes it possible to express what, due to age restrictions, he cannot express in words. In the process of drawing, prohibitions and restrictions recede. At this moment, the child is absolutely free.

I believe that non-traditional drawing methods are an opportunity for self-expression of a child's personality. They help to overcome the fear of seeming ridiculous, inept, incomprehensible. Original drawing reveals the creative possibilities of the child, allows you to feel the colors, their character and mood.

Every child is born an artist. It is only necessary to help him awaken his creative abilities, open his heart to goodness and beauty, help him realize his place and purpose in this beautiful world.

The experience of my work shows that it is non-traditional drawing techniques that are more conducive to the development of creativity and imagination in children.

While working, I ran into a problem - children are afraid to draw, because, as it seems to them, they do not know how, and they will not succeed.

This is especially noticeable in the middle group, where the skills of visual activity in children are still poorly developed, children lack self-confidence, imagination, and independence. As a rule, classes are more often reduced only to a standard set of visual materials and the traditional way of transmitting the information received, non-traditional image techniques are rarely used, their corrective significance is not taken into account.

As practice shows, it is obvious that traditional approaches to solving the problem of developing creative abilities, given the potential of the new generation, are not enough to develop creative abilities to express their fantasies. Meanwhile, the use of non-traditional techniques contributes to the enrichment of children's knowledge and ideas about objects and their use; materials, their properties, ways of working with them.

After analyzing the drawings of preschoolers, I came to the conclusion that it is necessary to facilitate drawing skills, this can greatly increase the interest of preschoolers in drawing. I think it is necessary to fill the modern educational process with new content, principles, methodological ideas, focused on the development of creative aspiration, initiative, interest, inspiration. It is important that the more actively the child's creative abilities are manifested and developed in the educational process, the more active and successful his life position will be in the future.

2. Stages of work

I, for myself, formulated the stages of work on this direction:

I. Preparatory stage:

Analysis of psychological, pedagogical and methodological literature on the development of creative abilities of preschool children through non-traditional forms of visual activity

Organization and replenishment of the developing environment;

Carrying out diagnostics of the development of creative abilities of preschool children;

Selection and systematization of forms of organization of children, methods and techniques that contribute to the development of children's creative abilities.

Development of a long-term plan for visual activity.

Drawing up a plan of interaction with parents and teachers.

II. main stage:

Implementation of planned activities with children (directly educational activities, joint activities);

Interaction with parents and teachers.

III. Final stage:

Diagnosis, registration and analysis of results, summing up, forecasting further activities.

Having studied and analyzed the author's developments, methodological manuals, such How: I. A. Lykova , T. S. Komarova "Visual activity in kindergarten"; G. N. Davydova "Unconventional drawing techniques in kindergarten" and others, as well as the advanced experience of working with children, accumulated at the present stage by practicing teachers, I became interested in the possibility of using non-traditional methods of visual activity in working with preschoolers.

3. Goals and objectives of the work

So I found a lot of interesting ideas and techniques, set myself the goal of the work, which will be to develop the creative abilities of preschoolers through the use of traditional non-traditional techniques of productive artistic activity.

To achieve this goal, I put forward the following tasks:

1. To teach children non-traditional drawing techniques, combining various materials and image techniques, independently determine the idea, methods and forms of its implementation, technically competently apply non-traditional and traditional methods of drawing, understand the significance of their work, experience joy and pleasure from creative work.

2. To develop children's creativity, visual and figurative thinking, creative imagination and artistic taste, creative imagination, by creating creative situations in artistic and visual activity, the ability to navigate on a sheet of paper.

3. To educate children in an aesthetic attitude to the world around them through the ability to understand and create artistic images.

4. To create in the group favorable psychological and pedagogical conditions for the creative self-realization of each child.

5. The relationship of directly educational with independent and joint activities of children with a teacher

6. To involve in creative experimentation with visual materials, the use of ways to create an image on their own initiative and in new conditions, the use of a variety of visual techniques and their combinations;

7. To cultivate confidence, independence, initiative in productive artistic activity;

8. Involve parents in joint creative activities, improve their pedagogical competence in the field of artistic and aesthetic development of children.

To develop the creative abilities of a preschooler is the task of an adult. And this means that the management of visual activity requires the teacher to know what creativity is in general, and especially children's, knowledge of its specifics, the ability to subtly, tactfully support the initiative and independence of the child, to help master the necessary skills.

It is also important to create conditions for the artistic and aesthetic development of children, since the development of the child depends on how the process of his upbringing is carried out, how the space in which he grows and improves is organized, in what environment he is located - diverse, rich, extraordinary, changing.

4. Activity in different activities

The environment in a preschool institution, in comparison with the usual family environment, should be intensively developing, stimulating the emergence and development of the child's cognitive interests, his volitional qualities, emotions, and feelings.

Creation of a subject-spatial developing environment: for this purpose, we, together with parents, have created favorable conditions for children, "Creativity Center" to satisfy the child's natural desire for creativity, as well as the presence of a subject-developing environment for productive artistic and creative activities:

Colored chalk, plasticine, sets of paints, felt-tip pens, pencils;

Sets with stencils for application and drawing;

Colored and white paper, cardboard, wallpaper, paper of different tones and textures;

Stickers, fabrics, self-adhesive film;

Paste, glue - pencil, cups for water, napkins for brushes; Board, easel, magnetic board;

Non-standard equipment (pokes, blowing tubes, cotton buds, stamps, brushes, foam rubber, seals, clichés, etc.);

Developing games, albums on acquaintance with arts and crafts, types and genres of art);

Coloring books, illustration material, etc.

It is imperative to use game techniques, fabulous images, the effect of surprise, and, of course, one should not forget about the presence of a variety of materials for creativity and the ability to act with them at any moment. All this helps to interest the child, set him up for creative activity.

The success of teaching non-traditional techniques largely depends on what methods and techniques the teacher uses to convey certain content to children, to form their knowledge, skills and abilities. Let us turn to the modern classification of methods, the authors of which are I. Ya. Lerner and M. N. Skatkin.

To develop children's creativity, you can apply the following methods learning:

1) information-receptive method, which includes the methods of examining and showing the model of the educator;

2) a reproductive method aimed at consolidating the knowledge and skills of children. This is an exercise method that brings skills to automatism. It includes the reception of repetition, work on drafts, the execution of shaping movements with the hand;

3) a heuristic method, which is aimed at showing independence at some point in the lesson, i.e. the teacher offers the child to do part of the work on their own;

4) a research method that develops in children not only independence, but also imagination and creativity. The teacher offers to independently perform not any part, but the whole work.

Artistic creativity is one of the favorite types of children's activities. One of the techniques aimed at creating conditions for the creative self-expression of the child is the organization of work with children using non-traditional drawing methods. To develop creative abilities in the classroom, I introduced the children to a variety of non-traditional drawing techniques and began to teach children this step by step from simple and gradually moving on to more complex ones. Each of these techniques is a little game.

The creative process is a real miracle children reveal their unique abilities and experience joy, they get great pleasure from the very process of fulfillment that creation gives them. Experience has shown that there are many techniques for mastering non-traditional image techniques that bring real joy to preschoolers if it is built taking into account the specifics of the activity and age of children. It is non-traditional drawing techniques that create an atmosphere of ease, openness, contribute to the development of initiative, independence, create an emotionally favorable attitude towards activities in children. In many ways, the result of the child's work depends on his interest, so it is important to activate the attention of the preschooler in the lesson, to encourage him to work with the help of additional incentives.

Such incentives can be:

• play, which is the main activity of children;
• a surprise moment - the favorite hero of a fairy tale or cartoon comes to visit and invites the child to go on a trip;
• a request for help, because children will never refuse to help the weak, it is important for them to feel significant; musical accompaniment, etc.

In addition, it is desirable to vividly, emotionally explain to the children the methods of action and show image techniques.

Their use allowed children to feel myself:

• more relaxed, bolder, more direct;
• develops imagination, spatial thinking;
• gives complete freedom for development to freely express its intention;
• encourages children to creative searches and solutions;
• showing initiative and individuality.

I noticed that non-traditional technique does not allow copying a sample, which in the process of all types of fine arts (drawings, modeling, applications) the child experiences a variety of feelings: rejoices at a beautiful image that he created himself, upset if something does not work out.

But the most important thing is that by creating an image, the child acquires various knowledge, his ideas about the environment are refined and deepened, in the process of work he comprehends new qualities of objects, masters skills, abilities, new non-traditional techniques, learns to use them consciously. And most importantly, non-traditional drawing plays an important role in the overall mental development of the child. After all, it is not the end product - the drawing - that is valuable in itself, but the development of the personality: the formation of self-confidence, in one's abilities, self-identification in creative work, purposefulness of activity.

Conducting classes using non-traditional techniques leads to:

To remove children's fears;

Develops self-confidence;

Develops spatial thinking;

Teaches children to freely express their intention;

Encourages children to creative searches and solutions;

Teaches children to work with a variety of materials;

Develops a sense of composition, rhythm, color, color perception;

Feeling of texture and volume;

Develops fine motor skills of hands;

Develops creativity, imagination and flight of fancy;

While working, children get aesthetic pleasure.

I believe that on the one hand, teachers improve their creative abilities, accumulating theoretical and practical experience in solving problems, on the other hand, working directly with preschoolers, they improve knowledge and deepen their abilities in the process of co-creation.

The main thing for the teacher is to remember a number of rules: encourage independent thoughts and actions of the child, if they do not cause obvious harm to others; do not interfere with the child’s desire to do, portray something in his own way; respect the point of view of the pupil, whatever it may be.

Therefore, offer children to do more free drawings, verbal, sound, tactile and taste images, interesting movements and other spontaneous creative manifestations in the course of classes, free activities of children. I apply non-estimation in relation to children's creativity, that is, I do not use an explicit system of evaluation of the child's products, I only discuss individual meaningful moments of these works, I do not compare with other children, but only with the child himself, with his past experiences.

5. Use of non-traditional techniques and materials

Drawing with palms, fingers, stamps, applique with scraps of colored paper and drawing, gluing cotton balls, threads, crushed shells, modeling from multi-colored dough with drawing a picture with stamps or subsequent coloring;

* Games and exercises that contribute to the formation of the sensory experience of children: tactile and visual examination of objects and toys;

* Considering attractive toys, household items;

* Examination of bright books with illustrations for Russian folk tales, nursery rhymes.

Necessary for the development of children's creativity is their work with a variety of materials (drawing with colored crayons, wax, charcoal, etc., so that the child can find the right material and apply it himself. The task of the teacher is to teach children to manipulate materials of various quality, properties, use non-traditional methods of representation.

For example, one of the practical methods for developing creativity is teaching children various ways of depicting objects (for example, drawing grass with a stroke, stroke, sticking, splashing, etc., as well as combining different materials using mixed visual techniques, creating some unusual game situation, a surprise moment can also make children want to create a creative image.

The methods of my influence that stimulate children to be creative, first of all, include visual and verbal methods and their relationship, as well as practical methods. You can have conversations with children that help me draw the attention of children to the main thing, teach children to emotionally perceive artistic images. For this purpose, I also use a poetic word, since the mood, the character of the character, natural phenomena are conveyed in it by other artistic means. Children need to form an idea of ​​a different approach to conveying an image, and therefore, during a conversation, we consider different options for an image. It is advisable that before conducting conversations, we arrange small expositions of reproductions of paintings, small sculptures, graphics, decorative and applied arts in the group. We also arrange thematic exhibitions, final talks and final exhibitions.

I use thematic literary, musical, folklore and game material that allows me to make classes accessible, interesting, meaningful and informative. The development of creativity is facilitated by the organization of observations in nature. Children develop observation skills. Children begin to notice that in nature the colors are very different. (not just white, blue, red, but there are a variety of shades). Children use these shades in their drawings. The teacher teaches children to see how the shape and size of an object changes from lighting (for example, in the evening it seems to be getting darker, in the daytime, on the contrary, bright, colorful, the object is clearly visible). It is necessary to analyze objects with children, paying their attention not only to the main parts, but also to secondary ones, noticing the expressiveness of the outline.

The development of creativity in children is facilitated by various excursions to nature, to museums, targeted walks, as well as organizing holidays, entertainment, watching cartoons, listening to children's songs.

One of the methods is creative tasks. The content of such tasks can be phenomena of reality, social events, fairy-tale images. In creative tasks, I put children in unusual conditions, they are invited to independently find various options for color solutions, compositional construction. The educator must create an unusual situation of novelty. Search situations force children to go from the unknown to the familiar, to guess, to try ways of depicting. In tasks of a creative nature, I draw the attention of children to the background of the paper, which helps to create a color image of the picture; when depicting nature, we must teach children to use a variety of colors. All this as a whole develops in children a sense of color harmony. In many ways, the result of the child’s work depends on his interest, so in the lesson I activate the attention of the preschooler, encourage him to work with the help of additional incentives.

Such incentives can be:

Play, which is the main activity of children;

Surprise moment - any hero of a fairy tale or cartoon comes to visit and invites the child to go on a journey;

A request for help, because children will never refuse to help the weak, it is important for them to feel significant;

Lively, emotional speech of the educator

When moving to new standards, I use design technology to communicate with parents, which allows in all projects not only to involve children and parents in the creative process, but also to get a real product of creativity.

Exercises and educational games from the series "Smarter"- contributing to the comprehensive harmonious development, consolidating knowledge about color, mastering the properties of visual materials and the rules for using tools by children;

Games for the development of fine motor skills - finger games, game exercises for the development of skills to create objects using counting sticks, (game situations "Wrapping thread on a ball", "We make koloboks");

Exercises that contribute to the development of skills to connect the elements of the picture (strokes, lines, strokes) with the objects of the environment;

Picked up: - sets of pictures (subject, plot, pictures; - games for the development of fine motor skills of the fingers; - educational, didactic and desktop - printed games; - children's fiction; encyclopedias.

Compiled in a methodical piggy bank: - complexes of finger games and exercises; - non-traditional drawing techniques in kindergarten; - riddles, physical minutes, counting rhymes; - complex classes with non-traditional drawing techniques; - "Advice from a psychologist". So, in order to ensure the full development of the creative abilities of children in a timely manner, you need to imagine what it is. This is a complex concept that includes several components that teachers and parents should focus on. attention:

• desire for discovery;
• the ability to know;
• activity;
• fantasy;
• initiative;
• desire for knowledge;
• the ability to find non-standard in familiar phenomena and things;
• mental alertness;
• the ability to invent and discover;
• freedom of imagination;
• intuition;
• the ability to put into practice the acquired knowledge and experience;
• discoveries and inventions.

It was important to interest parents, to acquaint them with the system of work on the development of creative abilities in visual activity.

The effectiveness of the experience: In the process of creativity, children learned how to create things with their own hands, learned riddles, joys and disappointments - all these are important components of the learning and development process. The creative process taught children to explore, discover and skillfully handle their world. Most of us have already forgotten about the joy that drawing brought us in childhood, but it was - no doubt.

The results of my work in this direction are:

Activity and independence of children in creative activities;

The ability to find new ways for artistic representation;

The ability to convey in the works their feelings using various means of expression.

Thus, based on the work done, I saw that children have increased interest in non-traditional drawing techniques. Children began to look creatively at the world around them, find different shades, and gained experience in aesthetic perception. They create something new, original, show creativity, imagination, realize their plan, and independently find means for implementation. Children's drawings have become more interesting, more meaningful, the idea is richer. Masterpieces live, breathe, smile, and most importantly, each drawing seems to be a work of art. The children gained self-confidence, the timid overcome the fear of a blank sheet of paper, they began to feel like little artists.

Used Books:

1. Beloshistaya A.V., Zhukova O.G. Magic colors. 3-5 years: Handbook for activities with children. - M.: Arkti, 2008.
2. Davydova G.N. Non-traditional drawing techniques in kindergarten. Part 1. - M.: "Publishing house Scriptorium 2003", 2008.
3. Davydova G.N. Non-traditional drawing techniques in kindergarten. Part 2. - M.: "Publishing house Scriptorium 2003", 2008.
4. Drawing classes with preschoolers / Ed. R. G. Kazakova - M .: TC Sphere, 2008.
5. Visual activity of older preschoolers: recommendations, classes, didactic games / ed. - comp. M.G. Smirnova. - Volgograd: Teacher, 2009.
6. Komarova T. S. Visual activity in kindergarten. program and guidelines. - M. Mosaic - Synthesis, 2008.
7. Komarova T.S. Visual activity: Teaching children technical skills and abilities. //Preschool education, 1991, N2.\
8. Lykova I.A. Visual activity in kindergarten: planning, class notes, guidelines. - M .: "Karapuz - Didactics", 2007.
9. Nikitina A.V. Non-traditional drawing techniques in kindergarten. /Manual for educators and interested parents/. - St. Petersburg: KARO, 2008. - 96p.
10. Sakharova O.M. I draw with my fingers: Litera Publishing House, 2008.
11. Utrobina K.K., Utrobin G.F. Funny drawing by poke with children 3-7 years old: We draw and learn about the world around us. - M.: "Publishing house Gnome and D", 2008.
12. Fateeva A.A. We draw without a brush. - Yaroslavl: Academy of Development, 2004.
13. Artistic creativity in kindergarten: A guide for the educator and music director. Ed. ON THE. Vetlushnaya. - M.: Enlightenment, 1974.

TABLE OF CONTENTS
Introduction
1. Theoretical foundations for the development of visual activity of children of senior preschool age
1.1. The concept of visual activity of children of senior preschool age
1.2. Features of the development of visual activity of children of senior preschool age
1.3. Conditions for the development of visual activity of children of senior preschool age
2. Features of the development of creative abilities of children of senior preschool age in visual activity
2.1. The concept of creative abilities of children of senior preschool age
2.2. The value of creative abilities in the development of children of senior preschool age
2.3. Conditions for the development of creative abilities of children of senior preschool age
2.4. Features of work on the development of creative abilities with older preschoolers in fine arts
Conclusion
Bibliography

INTRODUCTION
One of the important tasks in the field of education is the aesthetic education of children, the creation of conditions for the manifestation of the creative abilities of each child. From an early age, a child should develop a sense of beauty, high aesthetic tastes, the ability to understand and appreciate works of art, the beauty and richness of folk crafts. This contributes to the formation of a spiritually rich harmonious development of the individual. The development of creative abilities in children is a complex and lengthy process, children get their first artistic impressions, become familiar with art, and master various types of artistic activities.
Visual activity, including drawing, modeling, and appliqué, is of great importance for the comprehensive development of preschool children. The interest in visual activity that arose during this age period, supported by adults (parents, teachers), can successfully develop in the subsequent years of preschool childhood. As studies conducted under the guidance of the famous scientist V. I. Slobodchikov in the early 1990s showed, drawing contributes to the formation of figurative representations in preschoolers, which are an important psychological basis for mastering the ability to learn. It is at this age that children develop the ability to visual activity.
Foreign scientists (B. Jefferson, E. Cramer, V. Lounfeld, W. Lambert) also note the importance of visual activity, visual creativity of children in the upbringing and development of various aspects of the personality. This is how V. Lounfeld (USA) calls fine art an intellectual activity, also pointing out its important role in the emotional development of a child. IN last years more and more attention is being paid to the development of aesthetic and emotional perception of art, which gradually turn into aesthetic feelings, contribute to the formation of an aesthetic attitude to reality. The use of various types of art in the aesthetic development of a child provides an opportunity for personal development, activates the creative process, deepens emotions, develops feelings, intelligence (S.M. Vainerman, A.A. Gribovskaya, T.N. Doronova, A.V. Dubrovskaya, O. P. Karachunskaya, T. S. Komarova, O. A. Lebedeva).
Preschool age is most favorable for improving the work of the senses, the accumulation of information about the qualitative diversity of the world around. The sooner we develop the emotional-sensory world of the child, the brighter he himself and the products of his creativity will be. One of the main features is that the development of children's creativity is considered in the relationship between training and education. Much attention is paid to the development of children's independence, providing ample opportunities for expressing their own ideas and reflecting personal experience. The formation of children's creativity is impossible without the development of children's perception, enrichment of their ideas about the environment, development of imagination. Creativity is an integral activity of the individual, necessary for every modern person and the person of the future. And it is possible and necessary to begin its formation in the preschool period.
The relevance of this topic is that the formation of a creative personality is one of the most important tasks of modern education. The transformations taking place in society give rise to new requirements in education. One of them is the development of creative abilities in children of senior preschool age.
So, the object of our study is the visual activity of preschool children.
The subject is the creative abilities of preschool children in the process of visual activity.
The purpose of our study: to reveal the features of the development of creative abilities of preschool children in visual activity.
Tasks:
1. Study the theoretical and methodological literature on the research topic;
2. Describe the features of the development of visual activity of preschool children.
3. To identify the features of the development of creative abilities in the visual activity of preschool children
Research methods: literature analysis, analysis of the conceptual and terminological system, generalization, comparison, opposition, pedagogical observation.
The structure of the work: the work consists of an introduction, two chapters, conclusion. In the introduction, the relevance of the problem is substantiated, the theoretical significance of the study is determined, the object, subject, tasks, purpose of the work are formed.
The first chapter reveals the theoretical foundations for the development of visual activity of children of senior preschool age.
The second chapter is devoted to the study of the features of the development of creative abilities of children of senior preschool age in visual activity.
The work is presented on 33 pages of computer layout, written using 15 literary sources.

1. THEORETICAL FOUNDATIONS OF ART ACTIVITY OF CHILDREN OF THE OLDER PRESCHOOL AGE
1.1. The concept of visual activity of children of senior preschool age
Visual activity is the most important means of aesthetic education. In the process of drawing, modeling, designing, application, favorable conditions are created for the psycho-emotional development of pupils, a positive perception of art, which contributes to the formation of an aesthetic attitude to reality. Visual activity is a creative activity, aimed not only at reflecting the impressions received in life, but also at expressing one's attitude to the depicted.
Visual activity is a specific figurative knowledge of reality. And like any cognitive activity, it is of great importance for the mental education of children. Mastering the ability to depict is impossible without the development of purposeful visual perception - observation. In order to draw, sculpt any object, you first need to get to know it well, remember its shape, size, design, color, arrangement of parts. For the mental development of children, it is of great importance to gradually expand the stock of knowledge based on ideas about the diversity of forms of the spatial arrangement of objects in the world around them, various sizes, and a variety of shades of colors. When organizing the perception of objects and phenomena, it is important to draw children's attention to the variability of shapes, sizes (child and adult), colors (plants at different times of the year), different spatial arrangement of objects and parts (a bird sits, flies, pecks grains, a fish swims in different directions etc.). Learning visual activity is impossible without the formation of such mental operations as analysis, comparison, synthesis, generalization. The faculty of analysis develops from a more general and coarse discrimination to a more subtle one. Knowledge of objects and their properties, acquired in an effective way, is fixed in the mind.
In the classroom for visual activity, children's speech develops: the assimilation and name of shapes, colors and their shades, spatial designations contributes to the enrichment of the dictionary; statements in the process of observing objects, when examining objects, buildings, as well as when looking at illustrations, reproductions from paintings by artists, have a positive effect on expanding vocabulary and forming coherent speech. As psychologists point out, for the implementation of various types of activities, the mental development of children, those qualities, skills, abilities that they acquire in the process of drawing, application and design are of great importance. Visual activity is closely related to sensory education. The formation of ideas about objects requires the assimilation of knowledge about their properties and qualities, shape, color, size, position in space. Children define and name these properties, compare objects, find similarities and differences, that is, perform mental actions. In the process of visual activity, mental and physical activity are combined. To create a drawing, it is necessary to make efforts, to carry out labor actions, to master certain skills. The visual activity of preschoolers teaches them to overcome difficulties, to show labor efforts, to master labor skills. At first, children have an interest in the movement of a pencil or brush, in the traces they leave on paper; gradually new motives of creativity appear - the desire to get a result, to create a certain image. Preschoolers acquire many practical skills that will later be needed to perform a wide variety of jobs, acquire manual skills that will allow them to feel independent. The development of labor skills and abilities is associated with the development of such volitional qualities of a person as attention, perseverance, endurance. Children are taught the ability to work, to achieve the desired result. The participation of children in preparing for classes and cleaning jobs contributes to the formation of diligence and self-service skills.
According to L.A. Wenger in each type of activity there is an indicative and performing part and, accordingly, indicative and performing actions; indicative actions - this is an assessment of the problem that has arisen, the study of the conditions for its solution, correlation with one's capabilities, with known methods of solution, the choice of a method of implementation; performing actions - performing actions and achieving results. Knowledge, skills and abilities relate to the performing part of the activity, whether it is a practical or cognitive activity. The tasks of orienting actions are not independent, but they are subordinated to the solution of more general cognitive or practical tasks. When performing actions are formed, indicative ones are curtailed. When it is necessary to master new actions, the speed and quality of mastering depend on the nature of the orientation in the task.
G.V. Labunskaya and N.P. Sakulina believe that the process of creating an image consists of two parts: the formation of a visual representation and its reproduction. According to N.P. Sakulina, the first part of the activity is called indicative, and the second - performing. Different in character, they require from a person the manifestation of various qualities (properties) of the personality.
In the study by Yu.A. Poluyanov, the following periods of development of pictorial activity were identified, covering the entire period of childhood: the pre-pictorial period (or the stage of "doodles"), and the pictorial period: the stage of shapeless images, the stage of pictorial schemes, the stage of plausible images, the stage of correct (or realistic ) images. At preschool age, one can observe the development of pictorial activity from the pre-pictorial stage to the stage of plausible images, which does not apply to preschool childhood, but is observed in some cases.
In preschool institutions, the types of visual activity are:
1. Drawing- one of the favorite activities of children, giving great scope for the manifestation of their creative activity. Drawing is a type of visual activity, the main purpose of which is a figurative reflection of reality. Drawing is one of the most interesting for preschool children: it deeply excites the child, causes positive emotions.
2. Modeling- is a kind of sculpture, the originality of modeling lies in the three-dimensional way of depicting. Modeling is necessary for the development of sensations, perceptions and visual representations in children. It is believed that vision is the leading one in the cognition of objects of the real world, but at the first stages of the formation of an image in children, the support for vision is the touch of an object.
3. Application- children get acquainted with simple and complex forms of various objects, parts and silhouettes of which they cut and paste. Application (from the Latin word applicato - application) is one of the types of visual technique based on cutting out and overlaying various forms and fixing them on another material taken as a background. The concept of "application" includes ways to create works of art from materials of different properties and texture, united by the similarity of the execution technique.
4. Design- this type of activity is more than others associated with the game. Construction (from the Latin word construere) means bringing various objects, parts, elements into a certain mutual position. By its nature, children's design is more similar to visual activity. Under children's design, it is customary to understand the creation of various designs and models from building materials and parts of designers, the manufacture of crafts from paper, cardboard, various natural (moss, branches, cones, stones, etc.) and junk (cardboard boxes, wooden coils, rubber tires, old metal items, etc.) materials. There are two types of design: technical and artistic. Construction is a productive activity that meets the interests and needs of preschoolers.
Thus, visual activity is understood as an artistic and creative activity aimed not only at reflecting the impressions received in life, but also at expressing one's attitude to the depicted.

1.2. Features of the development of visual activity of children of senior preschool age
Artistic creativity is a complex process of cognition and figurative reflection of the surrounding reality.
Children, getting acquainted with the world around them, try to reflect it in their activities - games, drawing, modeling, stories, etc.
In this regard, visual activity presents rich opportunities, since in essence it is transformative and creative. Here the child gets the opportunity to reflect his impressions of the world around him, to convey images of the imagination, turning them into real forms with the help of various materials.
In the older preschool age, perceptions become purposeful. Most of them are based on visual sensations; with their help, the child can perceive the color, size, shape. But since his experience is still small, sight alone cannot give him completeness of perception, it is necessary to include touch and other sensations in perception, helping to form a more complete representation.
Teaching a child to see the world is one of the tasks of an educator. And this means developing in children observation, the ability to be aware of what they see, that is, developing in children the ability to think, reason, analyze, and draw conclusions. A child of 5-6 years old, perceiving the surrounding objects, is already trying to highlight their features, analyze, generalize, and draw their own conclusions. But so far they are superficial. Children are often attracted to bright, dynamic, but minor details, often not essential in working on a drawing. This is reflected both in the nature of their ideas about the subject, and in the image in the drawing or modeling.
By the older preschool age, the child develops more and more the level of analytical-synthetic thinking, which is important for the image process. Imagination begins to play an increasingly important role in activity. But the images of the younger preschooler's imagination are still unstable, fragmentary, which also affects his drawings. With age, the imagination becomes richer, children can independently think through the content of their work, introduce new images.
An important role is played by emotions that contribute to the manifestation of interest in visual activity, the concentration of attention and feelings of the child on the image being created, and enhance the work of the imagination.
Preschoolers can master visual skills and abilities. By the age of six, he has a sufficient stock of skills and is able to use them consciously, independently choosing the necessary techniques when depicting new objects.
In scientific research on children's creativity, a number of features are noted that characterize the presence of creative principles in a child's activities. This is a manifestation of activity, independence and initiative in the application of already mastered methods of work to new content, in finding new ways to solve problems, in the emotional expression of one's feelings using various visual means.
At first, the knowledge of the environment in the visual activity of the child is not associated with creative manifestations and consists in the knowledge of the properties of the material with which the child acts: pencils and paints leave marks on paper, clay is soft, you can sculpt from it.
For further visual activity in the development of creative principles, this period plays an important role, as the child gets acquainted with the material with which he can embody his ideas in images. When he begins to understand that the traces left by a pencil can mean something, and, at his own request or at the suggestion of an adult, he tries to draw some kind of object, then his activity becomes pictorial in nature. The child has a plan, a goal that he seeks to implement.
In the process of work, the child implements this plan, supplementing it in accordance with the content. Children can convey the psychological state of the characters depicted in a simplified way, with simple details: crying with tears, laughter with the corners of the mouth raised up, fear with hands raised up, etc. More complex means of expressing feelings, such as eye expression, are not available to preschoolers. But along with these main expressive features of the image for children, they often draw grass, an airplane in the air, trying to fill empty spaces on paper.
The most accessible expressive means for a preschooler is the use of color. Color in the visual arts (painting, graphics) is an important means of expressing the artistic intent, the idea of ​​the work. Its use is closely related to the content of the work, since it has no independent meaning. Color contrasts are used to highlight the main thing in the picture; color conveys the mood: dark, muted tones - in paintings with a sad content, bright, saturated - in joyful ones. A child of preschool age, of course, cannot use color in such a diverse way, and at first perceives it as an independent value, without connection with the real coloring of the object. The child enjoys any color of pencil, paint, painting over everything with them. Having become acquainted with many colors, children often use them as an expressive tool that helps to make the image more beautiful, more elegant, that is, they use it decoratively. Here, too, there is a violation of the real color, since at first the child is attracted to bright contrasting combinations of colors. This decorativeness can sometimes contradict the characterization of the image. Gradually, children of older preschool age move away from decorative coloring, mastering different shades. With the development of perceptions and aesthetic feelings, they begin to use color to convey the mood of the image. Although they still use color in an emotional way: what they like is painted in bright colors, unloved, scary images - in dark ones. This is very clearly manifested in drawing on fairy-tale themes. For example, children draw Baba Yaga in brown, black, and goodies - Vasilisa the Beautiful, Ivan Tsarevich with a variety of bright colors.
Preschoolers also convey their attitude to what they are depicting by other means that also violate reality. But this violation occurs as a result of the desire to enhance the significance, expressiveness of the image. So, sometimes they change the correct proportions in order to highlight something, for example, in the picture of a butterfly, the size is larger than the children themselves. The transfer of the dynamic state of the depicted object is also one of the expressive means used by the child. If at a younger age the movement is not depicted, then the image of objects in motion is available to older children, which can make the image expressive.
Children's creativity is also characterized by the use of compositional means, primarily rhythm and symmetry. They not only give harmony, harmony to the image itself and the whole picture, but also facilitate the image, which is especially important for children who have not yet mastered fine arts. Since rhythm is inherent in human movements in general, the child quickly begins to use it consciously in order to do the job beautifully. In older preschool age, a sense of rhythm helps to create a compositionally complete picture.
A peculiar moment in the performance of the composition is the non-shielding of one object by another, the violation of proportional relationships between them. These moments, as if violating the veracity, speak of the child's desire to convey his real impressions of the life around him, where each object has its place in space, all the details of its form can be considered. On the other hand, this is due to the inability to convey life ideas by those conditional means with which all compositional techniques in the drawing are associated. Rhythm and symmetry are especially used in decorative works, where expressiveness largely depends, besides color, on the rhythm of construction.
The development of abilities and creativity in children are two interrelated tasks of artistic education, based on familiarizing children with the surrounding reality. The symbolic image is not available to preschool children. It involves the image of the subject with the maximum degree of generalization. A child's drawing is always specific. As soon as some details appear in an indefinite form, this is already an image, since the child thinks the object in action, adding the missing sounds, with his own movement. Gradually, the amount of detail in the image increases, the image becomes richer. Children almost always put their attitude into the work, conveying it through pictorial or other means. This allows you to call the child's drawing original, expressive.
Thus, the means of expression used by children are quite diverse: color, shape, composition. They help to convey the characteristic features of the image, the attitude towards it. The degree of expressiveness depends primarily on the development of the child's figurative vision, the stock of impressions and the level of development of visual abilities.

1.3. Conditions for the development of visual activity of children of senior preschool age
The main significance of visual activity lies in the fact that it is a means of aesthetic education. In the process of visual activity, favorable conditions are created for the development of aesthetic perception and emotions, which gradually turn into aesthetic feelings that contribute to the formation of an aesthetic attitude to reality. The direct aesthetic feeling that arises when perceiving a beautiful object includes various constituent elements: a sense of color, a sense of proportion, a sense of form, a sense of rhythm. For the aesthetic education of children and for the development of their visual abilities, acquaintance with works of fine art is of great importance (Appendix 1). The brightness, expressiveness of images in pictures, sculpture, architecture and works of applied art evoke aesthetic experiences, help to perceive the phenomena of life deeper and more fully and find figurative expressions of their impressions in drawing, modeling, appliqué .. Gradually children develop artistic taste.
A necessary condition for the development of the visual activity of a preschooler is the presence of a conscious goal: the desire to create an original image and master the system of visual skills and abilities.
A preschooler in his aesthetic development goes from an elementary visual and sensory impression to creating an original image with adequate visual and expressive means. To do this, it is necessary to create a basis for his creativity, namely, in the group there should be methodological literature appropriate for the age of the children and visual demonstration material, drawing and application samples, handouts. The more the child sees, hears, the more significant and productive the activity of his imagination will become, therefore, much attention is paid to creating a subject-developing environment. Islands of visual activity in groups should be equipped with visual materials and equipment, children should have at their disposal paper of different colors and formats, colored pencils, felt-tip pens, colored wax crayons, chalk, paints, natural and “waste” material, clay, plasticine. The quality and quantity of materials vary by age group. The environment should be organized so that the materials and equipment children need to carry out any activity are either in the child's field of vision or available so that he can take them without seeking help from an adult, and should also be constantly updated. To place visual material, cabinets or shelves are needed that children have free access to, its correct location, a well-lit place, there should be a place for demonstrating children's work. Particular attention should be paid to creating conditions for the independent visual activity of children, providing them with as much as possible of the most diverse material. Given that the formation of the image is influenced by the artistic word, music, it is necessary to enrich the content of the relevant corners, make didactic games, manuals, a series of reproductions from paintings by artists, a slide projector, slides, audio cassettes with music, books for children about art. Immersing them in such a diverse aesthetic environment through the practical activities of creating various crafts, decorations for the group allows them to instill in them a sense of beauty. Before the child proceeds to the direct image of any object or phenomenon, while expressing his personal attitude towards it, he must develop a concrete image of it. The preschooler receives these ideas from the surrounding reality in the process of observation, communication, and research. Therefore, it is necessary to use such forms of preliminary work as walking and joint activities with children, viewing reproductions of paintings and talking about the painting. Pay attention to evoke in children an emotional response to the content of works of fine art, a desire to get acquainted with the work of artists. The use of didactic games, game tasks, dramatization games, psychological studies helps to create images. It is necessary to have works of fine art, as well as products of decorative and applied art: Gorodets painting, Khokhloma, Dymkovo toys.
Thus, the conditions should be age-appropriate and promote the development of creative abilities.
So, in the process of drawing, modeling, application, the child experiences a variety of feelings: he rejoices at the beautiful image that he created himself, he is upset if something does not work out. But the most important thing: by creating an image, the child acquires various knowledge; his ideas about the environment are clarified and deepened; in the process of work, he begins to comprehend the qualities of objects, memorize their characteristic features and details, master fine skills and abilities, learns to use them consciously. Therefore, it is so important to widely include a variety of artistic and visual activities in the pedagogical process (Appendix 2). Here, every child can express himself most fully without any pressure from an adult.

2. FEATURES OF THE DEVELOPMENT OF THE CREATIVE ABILITIES OF OLDER PRESCHOOL CHILDREN IN ART ACTIVITIES
2.1. The concept of creative abilities of children of senior preschool age
Creativity (creativity) is an active, purposeful human activity, as a result of which something new, original appears. Creativity is the most important characteristic of a personality - and it is necessary to form it in a child from a very early age. The preschool period of development has a special place in the development of creativity.
Domestic psychologists and teachers - L. S. Vygotsky, V. V. Davydov, A. V. Zaporozhets, N. N. Poddyakov, N. A. Vetlugina and others - proved that the creative abilities of children appear already at preschool age. This is confirmed by many discoveries, the creation of interesting, sometimes original drawings and designs. According to the definition of S. I. Ozhegov, creativity is a conscious goal-setting, active human activity aimed at understanding and transforming reality, creating new original, previously non-existent objects. Ability - natural giftedness, talent.
Preschool age is a bright, unique page in the life of every person. Preschool childhood is the time of the initial formation of the personality, the formation of the foundations of self-awareness and the individuality of the child.
Creativity gives birth in a child to a living fantasy, a living imagination. Creativity, by its very nature, is based on the desire to do something that no one has done before you, or - although what existed before you, to do in a new way, in your own way, better. In other words, the creative principle in a person is always a striving forward, for the better, for progress, for perfection and, of course, for beauty in the highest and broadest sense of this concept.
In order to ensure the full development of the creative abilities of children in a timely manner, you need to imagine what it is. This is a complex concept that includes several components that parents should focus on: the desire for discoveries; the ability to know; activity; fantasy; initiative; desire for knowledge; the ability to find non-standard in familiar phenomena and things; mental alertness; the ability to invent and discover; freedom of imagination; intuition; the ability to put into practice the acquired knowledge and experience; discoveries and inventions.
The upbringing of a creative attitude to work (the ability to see beauty in everyday things, to experience a sense of joy from the labor process, the desire to know the secrets and laws of the universe, the ability to find a way out of difficult life situations) is one of the most complex and interesting tasks of modern pedagogy. It is very important not to miss that period in a child's life when the basic skills and abilities are formed, among which the central place is given to imagination, fantasy, and interest in the new. If these qualities are not developed in the preschool period, then in the future there is a rapid decrease in the activity of this function, which means that the personality becomes impoverished, the possibilities of creative thinking decrease, and interest in art and creative activity fades.
Some authors believe that learning abilities are, first of all, general abilities, and creative ones are special ones that determine the success of creativity.
Candidates of Psychological Sciences V.T. Kudryavtsev and V. Sinelnikov identified the following universal creative abilities:
1. Imagination realism - a figurative grasp of some essential, general trend or pattern of development of an integral object, before a person has a clear idea about it and can enter it into a system of strict logical categories.
2. The ability to see the whole before the parts.
3. Supra-situational - transformative nature of creative solutions - the ability, when solving a problem, not just to choose from alternatives imposed from the outside, but to independently create an alternative.
Thus, creative abilities are the individual characteristics of a person's quality, which determine the success of his performance of various creative activities.

2.2 The value of creativity in the development of children of senior preschool age
The development and upbringing of a child's abilities is a very responsible and difficult task, it can be done only with an attentive attitude towards children, only knowing their needs, interests, hobbies. The natural prerequisites for the development of abilities are inclinations, that is, genetically fixed anatomical and physiological features of the body.
Already at an early age in children, one can notice the very first manifestation of abilities - a tendency to any type of activity. Performing it, the child experiences joy, pleasure. The more the baby is engaged in this type of activity, the more he wants to do it, he is interested not in the result, but in the process itself. The child likes not to draw a picture, but to draw; not to build a house, but to build it. The abilities begin to develop most intensively and vividly from the age of 3-4, and in early childhood the general prerequisites for their formation are laid. During the first three years of life, the child masters the basic movements and objective actions, he develops active speech. The listed achievements of early childhood continue to develop in preschool age. General abilities are divided into two groups - cognitive and practical. The formation of cognitive ones is included in the formation of figurative forms of cognition of reality: perception, figurative memory, visual-figurative thinking, imagination, i.e. in the creation of a figurative foundation of intellect.
The central place in the structure of cognitive abilities is occupied by the ability to create images that reflect the properties of objects, their general structure, the ratio of the main features or parts and situations. Cognitive abilities include sensory, intellectual and creative. Sensory abilities are associated with the child's perception of objects and their qualities; they form the basis of mental development. Sensory abilities are intensively formed from 3-4 years. The assimilation of standards by a preschooler leads to the emergence of ideal samples of the properties of an object, which are indicated in the word. Children get acquainted with the varieties of each property and systematize them when, for example, they master the ideas about the colors of the spectrum, the phonemes of their native language, and the standards of geometric shapes.
The basis for the development of intellectual abilities is the actions of visual modeling: substitution, the use of ready-made models and the construction of a model based on establishing relationships between a substitute and a replaced object. So, as a finished model, a plan of a playroom or a site can be used, according to which children learn to navigate. Then they themselves begin to build such a plan, designating objects in the room with some conventional icons, for example, a table with a circle, and a closet with a rectangle.
Creativity is associated with imagination and allows the child to find original ways and means of solving problems, come up with a fairy tale or story, create an idea for a game or drawing.
A preschooler is included in a variety of activities - play, design, work, and others. All of them have a joint, collective character, which means that they create conditions for the manifestation and development of practical abilities, primarily organizational ones. In order to successfully interact with each other, children need a number of skills: setting a goal, planning content, choosing means to achieve a goal, correlating the result with the intended result, taking into account the opinions of partners, distributing responsibilities in accordance with the capabilities and interests of each, monitoring compliance rules, order, the ability to resolve controversial issues and conflicts without the intervention of an adult, evaluate the relationship of partners to the task assigned.
The practical abilities of preschoolers also include constructive and technical ones: spatial vision, spatial imagination, the ability to represent an object as a whole and its parts according to a plan, drawing, diagram, description, as well as the ability to independently formulate an original idea. These abilities are the basis, and later with their help, children learn such school subjects as drawing, geometry, physics, chemistry, where the ability to imagine the essence of the process, the structure of the mechanism is required. Rich opportunities for the development of constructive and technical abilities in preschool age are created by designing from different materials, constructors, and the use of technical toys.
At preschool age, special abilities, especially artistic ones, are actively developed. Preschool childhood, like no other age period, creates favorable conditions for their formation. The preschooler is included in all the variety of artistic activities. He sings, dances, sculpts, draws. A child of preschool age manifests such abilities as pictorial, arts and crafts, including a sense of composition, color, shape; musical, which make up melodic and rhythmic hearing, a sense of harmony; theatrical and speech, which include poetic ear, expressive intonation and facial expressions. Any special ability includes the main components: a certain level of development of cognitive processes, technical skills, as well as emotional susceptibility.
So, the older preschool age is favorable for the development of creativity, since it is at this time that the psychological basis for creative activity is laid. A child of this age is capable of creating a new pattern, design, image, fantasy, which are distinguished by originality, variability, flexibility and mobility. An older preschooler is characterized by an active activity position, curiosity, constant questions to an adult, the ability to verbally comment on the process and result of one's own activity, persistent motivation, a fairly developed imagination, and perseverance. Initiative is associated with curiosity, ability, inquisitiveness of the mind, ingenuity, the ability to volitional regulation of behavior, the ability to overcome difficulties.

2.3. Conditions for the development of creative abilities of children of senior preschool age
An important condition for the development of creative abilities of a preschooler is the organization of purposeful leisure activities of older preschoolers in a preschool institution and family: enriching it with vivid impressions, providing emotional and intellectual experience that will serve as the basis for the emergence of ideas and will be the material necessary for the work of the imagination. The unified position of teachers, understanding the prospects for the development of the child and the interaction between them is one of the important conditions for the development of children's creativity. The development of creative activity is unthinkable without communication with art. With the right wagging of adults, the child understands the meaning, the essence of art, visual and expressive means
The next important condition for the development of creative abilities is taking into account the individual characteristics of the child. It is important to take into account the temperament, and character, and the characteristics of some mental functions, and even the mood of the child on the day when the work is to be done. An indispensable condition for creative activity organized by adults should be an atmosphere of creativity: “I mean the stimulation by adults of such a state of children when their feelings, imagination are “awakened”, when the child is passionate about what he is doing. Therefore, he feels free, comfortable. This is not possible if an atmosphere of confidential communication, cooperation, empathy, faith in the child, support for his failures reigns in the classroom or in independent artistic activity.
Also, a condition for the development of creative abilities is training, in the process of which knowledge, methods of action, and abilities are formed that allow the child to realize his plan. For this knowledge, skills must be flexible, variable, skills - generalized, that is, applicable in different conditions. Otherwise, at the senior preschool age, the so-called "decline" of creative activity appears in children. So, a child, realizing the imperfection of his drawings and crafts, loses interest in visual activity, which affects the development of the creative activity of a preschooler as a whole.
The most important condition for the development and stimulation of creative abilities is the complex and systematic use of methods and techniques. Task motivation is not just motivation, but a suggestion of effective motives and behavior of children, if not for independent setting, then for accepting the task set by adults.
To optimize the creative process, it is necessary to form an individual zone for each child - a situation of creative development. The zone of creative development is the basis on which the pedagogical process is built. L.S. Vygodsky noted that "creativity exists not only where it creates great works, but also wherever a child imagines, changes, creates something new." Any child is capable of such activities. Therefore, it needs to be organized. The educator here acts not just as a teacher who teaches, but as a sincerely enthusiastic creative person who attracts his younger colleague to work.
The environment plays a huge role in the development of a child's creative abilities. Until now, the decisive role is assigned to the special microenvironment in which the child is formed, and, first of all, the influence of family relations. Most researchers identify the following parameters when analyzing family relations: 1) harmony - not harmony in relations between parents, as well as between parents and children; 2) creative - non-creative personality as a role model and subject of identification; 3) community of intellectual interests of family members or its absence; 4) expectation of parents in relation to the child: expectation of "achievement or independence".
All these conditions are not enough for raising children with highly developed creative abilities. Directed work is needed to develop the creative potential of children. The system of education in our country does not contain measures aimed at the consistent creative development of children's abilities. Therefore, abilities develop mostly unexpectedly and as a result, do not reach a high level of development of children. Qualities are of great importance: memory, imagination, attention for the development of creative abilities. It is these qualities that are the basis for the development of productive thinking, the creative abilities of children and increases creative search activity.
Thus, the upbringing of the creative abilities of children will be achieved only if it is a rapid and purposeful process, in the course of which a number of particular pedagogical tasks are solved, aimed at achieving the set task.

2.4 Features of work on the development of creative abilities with older preschoolers in fine arts
All teachers know how important it is to make art classes interesting. An analysis of the literature and pedagogical experience shows that one of the most important conditions for the successful development of creative skills through visual activity is the diversity and variability of working with children in the classroom. The novelty of the environment, the unusual beginning of work, beautiful and diverse materials, non-repetitive tasks that are interesting for children, the possibility of choice and many other factors - this is what helps to prevent monotony and boredom in the formation of creative skills through visual activity, ensures the liveliness and immediacy of children's perception and activity . It is important that the teacher every time creates a new situation so that children, on the one hand, can apply the previously acquired knowledge, skills, abilities, and on the other hand, look for new solutions, creative approaches. This is what causes positive emotions in children, joyful surprise, a desire to work creatively. However, it is often difficult for educators to bring variety to all moments of work and to free children's activities, to come up with many options for classes on topics. When managing visual activity, it is necessary to remember its specifics - this is not an ordinary training session in which children just learn something, learn something, this is an artistic and creative activity that requires a positive emotional attitude from the child, the desire to create an image, a picture , applying the efforts of thought and physical conditions. It is necessary to purposefully teach children about artistic creativity; for most preschoolers, creativity itself does not develop and does not manifest itself.
For the full aesthetic development and the formation of the artistic and creative abilities of children, certain conditions are necessary, namely:
- priority attention should be given to playing, drawing, constructive, theatrical and musical activities, which contribute to the comprehensive development of the child's personality, allows you to create an atmosphere of emotional well-being, fill the life of children with interesting content;
- use of various methods and techniques;
- it is necessary to create an artistic and aesthetic environment in the kindergarten, while children take an active part in the design, systematically organize exhibitions;
Everything should have variability. (it is necessary to diversify the forms, means and methods of teaching, materials for work presented to children).
- the teacher must exclude from the classes excessive didacticism, the imposition of his own idea of ​​solving the image, the plot.
- every child deserves an attentive, tactful attitude, respect for his creativity and for the results of his activity. Create a creative and friendly atmosphere.
- the educator must demonstrate trust in the child, exclude excessive guardianship.
The pedagogical process also includes individual lessons with lagging behind children and classes with gifted children. Group work can be carried out with gifted children twice a week. In circle classes, gifted children receive additional, deeper information about the visual program, and most importantly, they acquire the possibility of unlimited creativity. In the classroom, close links are established between all types of visual activity - drawing, modeling, appliqué, as well as arts and crafts.
Usually classes are held according to the structure that helps to complete all tasks as much as possible.
At the beginning of the lesson, a psychological entry is mandatory. It can be musical in the form of listening to music or singing a song, or children silently look at a picture, in the form of a game, or telling a fairy tale.
At the next stage, the topic of the lesson is revealed in a playful way, a learning task is set or a problem situation is created. During the explanation or repetition of the past, models and algorithms, schemes and designs are used, educational games and exercises are offered, which not only helps to remember the process of the image, but also brings children into a state of creative upsurge and desire to create.
At the end of the lesson, a game is played, or a fairy tale ends at the beginning of the lesson, illustrating it with the work of children. There is a logical conclusion of the problem created at the beginning of the lesson. You can carry out psychological unloading by monitoring the mood of children. For example, singing a cheerful song, listening to a cheerful or calm melody while looking at finished works.
Each work is evaluated only positively, correct comments are possible only during work, sometimes coming from the game character. An important point at the end of the lesson is the mood of the child, his emotional state. To find out if the child liked the lesson, whether he is satisfied with his creativity, his work. He slips a mood card into the mood pocket. And the teacher must analyze the emotional state of the children and draw conclusions.
An important point in the structure of classes is the use of finger gymnastics, relaxation to relax muscles, physical education minutes, games for the development of fine motor skills of the hands and imitative motor exercises that resonate with the theme of the lesson, which contribute not only to physical unloading, but also to the maximum assimilation of the material and the development of creativity.
Thus, the necessary conditions for the development of artistic creativity in children is a creative approach to the organization of classes with children and the use of various methods and techniques of work in this direction.
So, the inclusion of various games, game techniques or game situations in the pedagogical process, maximally contributes to the creation of personally significant learning motivation for the child, the assimilation of knowledge, mastery of skills and abilities, and the development of creativity. The following will help to form creative skills through visual activity: variability in the organization of the situation (its novelty and diversity), the choice of topics, forms, means, methods of work, materials presented to children, careful tactful attitude towards each child, respect for the creative process and the results of his creative activity , creating a friendly atmosphere at each lesson, the formation of the same relationship on the part of parents.

CONCLUSION
Visual activity, provided it is led by adults (teachers, parents), is invaluable for the comprehensive development of preschoolers. The main task is to form in children an interest in artistic and creative activities, the ability to draw, sculpt, and apply. When directing visual activity, the educator must remember the conditions common to all age groups that are necessary for the successful mastery of it and the development of children's creativity.
The formation of children's creativity is not possible without the development of aesthetic perception, figurative representations, and imagination. This is based on the formation of sensory processes and the constant enrichment of the sensory experience of children. A necessary condition for the formation of artistic creativity is the integration of the various content of upbringing and educational activities, which is based on the knowledge of reality. Successful work with children requires a creative approach of teachers to the selection of the content of education built on the basis of integration, as well as to the organization of classes for children, to the use of various methods and techniques of work, especially games.
Thus, the inclusion of a variety of games, game techniques or game situations in the pedagogical process contributes to the maximum creation of personally significant learning motivation for the child, the assimilation of knowledge, mastery of skills and abilities, and the development of creativity. The following will help to form creative skills through visual activity: variability in the organization of the situation (its novelty and diversity), the choice of topics, forms, means, methods of work, materials presented to children, careful tactful attitude towards each child, respect for the creative process and the results of his creative activity , creating a friendly atmosphere at each lesson, the formation of the same relationship on the part of parents.
In creative activity, the task of adults is not so much in teaching children the fine arts, but in providing the foundations for the development of each child into a competent person capable of adequately thinking, feeling and acting in a cultural society.
The purpose and objectives of the course work are fulfilled.

BIBLIOGRAPHY
1. Bogoyavlenskaya D.B. Psychology of creative abilities: Proc. allowance for students. higher textbook institutions / D.B. Epiphany. - M.: Academy, 2002. - 320s.
2. Vaynerman S.M. Sensorimotor development of preschoolers in the classroom for fine arts / S.M. Weinerman. - M., 2001.
3. Gribovskaya A.A. Folk art and children's creativity / A.A. Gribovskaya. - M.: Enlightenment, 2004.
4. Doronova T.N. The development of children from 3 to 5 years in visual activity / T.N. Doronova. - St. Petersburg: Childhood-PRESS, 2002.
5. Doronova T.N. Nature, art and visual activity of children. / T.N. Doronova. - M.: Education, 2007.
6. Dubrovskaya A.V. An invitation to creativity / A.V. Dubrovskaya. - St. Petersburg: Detstvo-Press, 2002.
7. Karachunskaya O.P. Museum Pedagogy and Fine Arts in Preschool Educational Institutions / O.P. Karachunskaya. - M.: Creative Center, 2005.
8. Komarova T.S. Children's art work / T. S. Komarova. – Mosaic-Synthesis, 2005
9. Komarova T. S. Visual activity in kindergarten: learning and creativity / T. S. Komarova. - M.: Pedagogical Society of Russia, 2005. - 176 p.
10. Komarova T.S. Teaching drawing techniques / T. S. Komarova. - M .: Pedagogical Society of Russia, 2005
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12. Mezhieva, M.V. Developing creative abilities in children aged 5-9 / M.V. Mezhiev. - Yaroslavl, 2002.
13. Pogodina S.V. Theory and methodology for the development of children's fine arts: textbook. allowance for students. medium institutions. prof. education / S. V. Pogodina. - 4th ed., erased. - M.: Publishing Center "Academy", 2013. - 352 p.
14. Simanovsky, A.E. Development of creative thinking in children / A.E. Simanovsky. - Yaroslavl: Academy of Development, 2002.
15. Shvaiko G.S. Classes in visual activity in kindergarten / G. S. Shvaiko - M .: Vlados, 2006

Annex 1

Types and genres of art in kindergarten:
sculpture portrait
animalism still life Domestic genre
Painting portrait household
Still life
animalism landscape
Decorative and applied art

Annex 2

ENTERTAINMENT IN THE SENIOR GROUP "JOURNEY TO THE LAND OF ART"
Purpose: To form the knowledge and skills of children in the field of fine arts. Give children joy and pleasure. Maintain interest in visual activities, the desire to play games with visual content. Learn to draw with stamps.
Material and equipment:
Parcel (cut portrait of the King of the Palette, pictures of riddles), colored arcs, umbrellas, easel - 2 pcs., flannelograph, sun with colored rays, panels with palettes and girl-paints, stamps 2 pcs. for each child, carved houses for each child, costumes for Izoychik, Klyaksich and the King of the Palette., audio recording "Rain Noise" and the song "Rain" and Mozart's music for children.
Stroke:
An envelope containing an image of Izoychik cut into 4 parts and a letter is brought to the hall, in which it is written: “Dear guys, we invite you to make an exciting journey through an extraordinary country.
Teacher: From whom is this letter? Who invites us and where? There are some colored pieces in the envelope here. What to do with them? (children collect the picture on their own). Now we know who sent the letter! But I wonder what country Izoychik invites us to? The name is hidden in these pictures. (Children need to make the word FINE from 3 pictures of Chineward).
What does the word ISO mean? What words are hidden in it? Correct fine art - from the word depict, it means to draw. Well, do you agree? So on the road?

We need to take the necessary items to the country of fine arts. But first, guess the riddles, and the riddles on the table are various necessary things for drawing.
1. If you sharpen it,
Draw whatever you want!
Sun, sea, mountains, beach.
What is this? (Pencil)
2. Huddling in a narrow house
colorful kids
Just release it -
Decorate a clean field
Where was the void
There you look - beauty! (Colour pencils)
3. If you give her a job,
The pencil worked in vain. (Rubber)
4. The white stone has melted,
Left footprints on the board. (Chalk)
5. Your pigtail without fear
She dips herself in paint. (Tassel)
6. Multi-colored sisters
Were bored without water. (Paints)
Well done, you guessed it. So you can hit the road!
Pay attention to the arcs.
Let's go across the rainbow bridge.
Children collect rainbows.
- Hello, rainbow-arc,
Taking us for a visit.
We ran barefoot along the rainbow,
Through the rainbow - we will jump over the arc on the run
And again run, run, ran barefoot.

They go to the center of the room.
- It's dark in here!
The sound of rain sounds. And music with the song "Umbrellas".
Children dance with umbrellas.
Isoychik comes out.
- Hello, Isoychik! Why are you so sad?
Izoychik: It has always been raining in our country lately.
Educator: Why? Where is the sun?
Izoychik: This is Klyaksa. Klyaksich mixed all the colors on the palette and they became dirty, gray. The sun has lost its brightness, its multi-colored rays have gone out. Help light the sun!
Music sounds and Klyaksich runs in.
Klyaksa: Who here wants to light the sun? You, guys? Don't you like rain? Don't you like mixing colors? Love? Well, and I love it! Here, look how easy it is!
Approaches the easel, mixes paints red + blue + black + brown + yellow.
Klyaksa: That's what happened!
Izoychik: It turned out to be mud! Do you kids like it? How should paints be mixed?
Children: You need to take only 2 paints.
The teacher shows examples, the children verbally solve them for her.
Educator: Well done, now come and help light the sun.
Children remember the magic phrase: "Every Hunter Wants to Know Where the Pheasant Sits."
As soon as the children collect the sun, it smiles and the light flashes.
Blot: Well, the sun is shining, the rain has stopped, I'll go from here! (leaves)
(Children sing a song 1 purchase.)
Izoychik: I know that children in your garden love to draw. I want you to become real artists.

Teacher: And what is needed for this?
Izoychik: Colors and the desire to draw!
Educator: Well, let's check, you draw, and we will give you tasks. First, draw a bagel.
Izoichik pretends to draw.
Educator: Where is the bagel?
And I ate it.
Educator: Okay, now draw a glass.
Izoychik draws with milk! Here!
Teacher: Again, nothing. Well, suppose you drank milk, but where is the glass?
Izoychik: The glass is transparent, you can't see it!
Educator: Then draw a red dog!
Isoychik draws. All!
Educator (brings to the eyes). Dot on sheet. This is a dog?
Isoychik: Yes. At first I imagined a big dog, then I got scared and climbed a tree, and from there the dog seems small!
Educator: Well, you have a fantasy! But you, Izoichik, have not yet introduced us to the inhabitants of the country of fine arts.
Izoychik: Please. Colors live in our country. There are with cold shades, and with warm ones, and each has its own house. And our country is ruled by King Palette!
Educator: Something your paints all ran away, how can our children draw? Help the guys put the paints in their place. To your houses. Warm colors - to warm, cold - to houses of cold tones.
(Children do the task).
- And where do we define green?
Children answer:

The Palette King appears!
Palette King: Hello guys! They say that you are good at drawing? Then please paint the houses for the rest of the inhabitants of the country of fine arts.
Educator: Paint the houses with the help of stamps.
What paints do you think you will paint with if cold paint lives in the house, for example, blue or green?
And if warm red or yellow?
Children answer questions. Then, with the help of stamps, the houses are painted to the music.
At the end of the lesson, Izoichik examines children's work, praises them, and gives beautiful pictures as a keepsake.

Table of contents

Introduction

Chapter 1. Features of the development of creativity in children

1.1 Specificity of creative activity

1.2 Creativity in childhood

1.3 Psychological mechanism of creative imagination

Chapter 2. Development of children's creativity in the classroom for fine arts

2.1 Tasks for the development of children's creativity in kindergarten

2.2 Arts and crafts programs

2.3 Methods of introducing children to arts and crafts

Chapter 3

3.1 Study of the creative abilities of preschoolers preschool educational institution No. 40

Conclusion

The different goals facing the academic subjects "fine art" and "artistic work" also determine different approaches in the aesthetic understanding of folk art materials. Thus, acquaintance with arts and crafts in kindergartens located in places of traditional arts and crafts is aimed at mastering the basics of arts and crafts by children. In the practice of dating in kindergartens of this type, there are excellent examples of solving the indicated goals. For example, the experience of a kindergarten in the village of Kubachi in the implementation of a system of educational and creative work in the classroom for artistic work in mastering the skill of artistic metal processing. The team of educators in their work relies on a set of methodological materials: a proven program of artistic work, albums, books, tables dedicated to the history of Kubachi art. Educational work is not limited to the classroom. Appreciate and respect the work of a folk master is taught here in everyday life. The experience of folk pedagogy of the Kubachins, when for many centuries in every family the father passed on the secrets of processing expensive materials to his son, found a modern transformation in the aesthetic and labor education of preschool children.

An active search for the program content of art work lessons is conducted by kindergarten teachers on the basis of art craft enterprises in the Gorky region. Thanks to the joint efforts of workers in the system of preschool education in kindergartens of the region, the study of the basics of folk art painting on wood is carried out with the help of folk craftsmen from the factories "Khokhloma Artist" (Semino village) and "Khokhloma Painting" (Semenov), craftsmen of wood painting in Polkhov-Maidan and Gorodets.

In understanding the aesthetic content of education in labor classes in kindergartens on the basis of folk art craft enterprises, the work of employees of the All-Russian Research Institute of the Art Industry is of great help to educators. For example, the two-volume book "Fundamentals of Artistic Craft". Employees of the Institute of the Art Industry are developing a series of programs for the lessons of artistic work, taking into account the specifics of the traditional technique of folk art, the established art schools of excellence.

The involvement of folk decorative art as an active means of aesthetic education in the system of decorative drawing lessons in kindergarten has its own advantages. The main ones are the wide horizons of aesthetic knowledge and the diverse aspects of the educational impact of folk art in the process of harmonious education of the personality of a preschooler.

Acquaintance with the advanced pedagogical experience of aesthetic education by means of folk decorative art in kindergartens Russian Federation allows us to talk about numerous examples of the implementation by educators of effective methods and techniques that reveal the features of the style of different art schools of folk art in order to more fully use the educational functions of the works of folk masters. For example, teachers of senior groups in Kostroma and the region are enthusiastically working with children on topics related to folk art painting and woodcarving. For this purpose, they get acquainted not only with the monuments of wooden architecture of their native land, but also the art of folk craftsmen from neighboring regions: Yaroslavl, Ivanovo, Vladimir, Gorky. Thanks to pedagogical skill, small conversations in the classroom of decorative drawing turn into a series of exciting journeys to the country of beauty and goodness, created by the hands of folk craftsmen.

In kindergartens in Zagorsk, Moscow Region, a center for the production of traditional Russian wooden toys, teachers conduct classes in a variety of ways based on the art of Russian toys. Many educational opportunities open up before the kindergarten to promote Russian folk art in collaboration with the staff of the Zagorsk State Museum-Reserve.

An inexhaustible wealth of artistic ideas is fraught with the study of folk costume, and, as practice shows, two directions in the development of this theme are especially promising. The study of the history of the folk costume of the native land and the interpretation of motifs in the illustration of legends, historical events of the region, the creation of souvenirs. This approach is reflected in the work of kindergarten teachers in the city of Pavlovo, Gorky region. Another interpretation of the topic is related to the study of the current center of folk art crafts, the production of which is associated with the use of folk aesthetic traditions in modern costume. Such work is carried out by specialist educators in the city of Pavlovsky Posad, Moscow Region, where the famous printed Pavlovian shawls, shawls, and printed woolen shawls are produced.

Chapter 3

3.1 Research of creative abilities of preschoolers

preschool № 40

The study involved 15 children of both sexes from the senior group of preschool educational institution No. 40 in Tomsk. The age of the subjects - 5 - 6 years. A group of children passed the initial testing, and then studied according to the program we developed. At the end, re-testing was carried out.

We used the following method to determine the creative development of children.

The children were read the Russian folk tale "Hare Hut". Then the children were asked to make drawings for this tale, followed by the child's story based on this drawing.

Procedure

Instruction:“Now I will read you an interesting story. It's called "The Bunny Hut". Listen carefully, and then you will have to become artists and draw pictures for this fairy tale.

Technique: Each child has all the necessary materials to complete the task. After reading the fairy tale and analyzing the episodes, the children get to work. Working time 30 minutes.

The fairy tale is read to children twice with intonation highlighting significant parts. After that (if necessary), together with the children, they clarify the sequence of events and the semantic parts that need to be conveyed in the drawing.

Criteria for evaluation

Evaluation of children's drawings takes place according to criteria developed by leading experts, such as O.M. Dyachenko, E.A. Medvedev, M.F. Rau, E.A. Soshina, L.I. Fomichev and others who studied imagination. The following indicators were taken as a basis:

Compliance of the recreated images (in drawings, in the story) with the images of the work;

The completeness of the reconstruction of the text (individual objects, characters, fragments of the plot, all the main semantic parts);

The correctness of the sequence of episodes (in the drawings, in the story);

The adequacy of the additions made, the presence of elements of creativity;

Emotional saturation of the recreated images.

In accordance with these criteria, experts have identified the qualitative levels of the state of creative imagination, which characterize the disclosure of the content of the text in the drawings.

Level 0 (very low) - the recreated images do not correspond to the images of the work;

Level 1 (low) - individual objects or characters are depicted without interconnection;

Level 2 (medium) - a single episode was recreated;

Level 3 (high) - an incomplete composition is recreated (links are missing);

Level 4 (very high) - the full composition of the plot is recreated, there are elements of creativity.

All children in this group were tested according to this method. As a result, the level of the state of creative imagination in children at the initial stage of the experiment was revealed. All results were systematized and presented in the form of table 1.

Table 1

The level of the state of creative imagination at the beginning of the experiment

№	Child's name
1	Light G.	short
2	Glory Z.	short
3	Masha L.	high
4	Katya B.	short
5	Vasya S.	very low
6	Dima P.	average
7	Lena J.	average
8	Vova Sh.	average
9	Zhenya E.	high
10	Timur T.	short
11	Ela L.	average
12	Dasha L.	very low
13	Igor P.	short
14	Lena K.	short
15	Grisha G.	very low

3.2 The program for the development of creative abilities of preschoolers in the classroom for fine arts

We consider the construction of a new system of educational and creative tasks based on folk decorative art as the construction of a part of the system of classes in fine arts in kindergarten as a whole. The system of studying fine arts, like any methodological system, is characterized by the leading idea (goal) and didactic principles that determine the selection of the content of the program, the originality of teaching methods.

The leading goal set by society in front of our subject is to achieve a close unity of labor, moral and aesthetic education for the comprehensive development of the personality of each child. In the educational process in the classroom for decorative drawing, we see the solution to such an important state task in the implementation of a system of educational and creative tasks based on the material of folk decorative art. Such a system should serve to reveal the spiritual powers of the child, be effective for the aesthetic development of the personality of the preschooler, and activate the children's decorative creativity.

The social order of modern society should be reflected in the content of teaching decorative drawing by means of folk arts and crafts. To this end, we took into account the unity of the content and procedural aspects of education from the point of view of didactics, the development of the current state of teaching fine arts in kindergarten. This gave us the basis to determine the following leading factors for building a system of educational and creative tasks:

Systematic and integrated planning of educational goals and objectives in the classroom of decorative drawing;

Systematic selection of works of folk arts and crafts, objects of reality for aesthetic knowledge and decorative work of children;

Differentiation of methods, techniques of pedagogical guidance, methods of stimulation both by the process of aesthetic knowledge and by the decorative work of children;

Accounting for the assessment of the levels of aesthetic education based on the results achieved by children in decorative work.

Taking into account the named methodological prerequisites in the construction of a system of educational and creative tasks allowed us to highlight the essential aspects of the educational process at the level: types of decorative work of children; leading aesthetic knowledge and forms of aesthetic knowledge; intersubject and intrasubject communications; volume of graphic skills and abilities.

Based in the study of folk art on the implementation of the most important didactic principles, we sought to generalize methodological techniques, determine the place and significance of artistic analysis of works of folk art in the classroom of decorative drawing, as well as to develop criteria for the levels of aesthetic education of children, keeping in mind the ultimate goal of effective creative development preschooler personality.

Fundamentally important in this system is the unity of aesthetic knowledge and the content of decorative work (labor activity) of children on the basis of folk arts and crafts, and such methodological techniques are developed that stimulate the creative creation of independent compositions by children, and not a simple imitation of the methods of folk art. For this purpose, folk painting of Gorodets, Polkhovsky Maidan, Khostov, Khokhloma, clay Dymkovo and Filimonovo toys, wooden folk toys, household products of the masters of the North, embroidered products from Ryazan, Vladimir, Torzhok, works of masters of artistic varnishes Palekh are involved in decorative drawing classes. In working with children, the aesthetic knowledge of preschoolers is deepened and systematized on the basis of acquaintance with folk ceramics Gzhel, Skopin, with folk prints, folk engraving - popular prints.

The concretization of the essential aspects of the educational process in the classroom for decorative drawing, conducted on the basis of a system of educational and creative tasks, can be seen in the dynamics of the forms of aesthetic knowledge and types of decorative work of children (Table 2).

table 2

Approximate forms of aesthetic knowledge of children	Examples of decorative work
1. Familiarization with the floral pattern in the products of the masters of modern Gorodets and Polkhovsky Maidan. 2. The concept of pattern, rhythm. 3. The simplest techniques of folk hand painting (berry by poking; a leaf by applying a brush; decorative flower "rosan"). 4. Interpretation of techniques.	Independent execution of the design of sketches of objects, in the decoration of which the simplest ornamental compositions are possible: alternation of elements in a strip (for decorating the back of a children's high chair, window casing of a fairy-tale house, an ornamented frieze strip for decorating a room, etc.).
1. Acquaintance with Russian matryoshka, with Russian wooden and clay toys. 2. Elementary concepts about the unity of practical purpose, design and pattern (ornamental composition). 3. Elementary concepts about creating a decorative image based on the processing and generalization of objects of reality. 4. The simplest techniques of folk brush painting. 5. Interpretation of techniques.	Independent implementation of sketches of toys. Painting toys made in labor classes, according to sketches.
1. Familiarization with the plot-decorative painting in the household items of the masters of the North, in the lacquer miniature of Palekh. 2. Aesthetic, assessment of the phenomena of reality in a decorative way. 3. Techniques of folk painting, the significance of the silhouette as a means of decorative composition.	Independent execution of sketches of artistic items, in the decoration of which the simplest plot-decorative compositions are possible: painting a kitchen cutting board, painting a commemorative cup, painting a souvenir box for Russian gingerbread, etc.
1. Acquaintance with the works of the masters of folk ceramics Gzhel, Skopin. 2. The concept of the connection between the practical purpose of ceramic products and pictorial elements in the form of an artistic thing as a whole. 3. Further insight into the creation of a decorative image based on the processing of the forms of real animals and birds.	Independent execution of sketches of artistic items based on the unity of the decorative image and the practical purpose of the subject: a sketch of a figurative vessel, butter dish, teapot, candlestick, figurine for a fountain in a children's park, etc.

In addition, special classes were held with children aimed at developing creative abilities (See Appendix).

3.3 Evaluation of the effectiveness of the program for the development of creative abilities of preschoolers

After the classes, the children were re-tested using the same method. The results are presented in table 3

Table 3

The level of the state of creative imagination at the end of the experiment

№	Child's name	Creative Imagination State Level
1	Light G.	high
2	Glory Z.	average
3	Masha L.	average
4	Katya B.	very tall
5	Vasya S.	high
6	Dima P.	very tall
7	Lena J.	average
8	Vova Sh.	high
9	Zhenya E.	average
10	Timur T.	average
11	Ela L.	very tall
12	Dasha L.	very tall
13	Igor P.	average
14	Lena K.	high
15	Grisha G.	very tall

The results of the experiment are presented in the form of diagrams (Fig. 1, 2).

Rice. 1. The level of the state of creative imagination at the beginning of the experiment

Rice. 2. The level of the state of creative imagination at the end of the experiment

As a result of the experiment, it can be seen that in children, as a result of classes according to a special program, the indicators of the level of creative imagination are much higher than they were at the beginning of the experiment. So, at the end of the experiment, there are no children with a low and very low level of development of creative imagination, while at the beginning 20% ​​of children had a very low level of development and 40% of children had a low level of development of creative imagination, which in total is more than half of the group (60%). Indicators of the average level of development of creative imagination at the end of the experiment are also higher than at the beginning. So at the end of the experiment there were 40% of such children, while at the beginning - only 27%. This suggests that the children who studied according to the experimental method became more creatively developed.

And, of course, at the end of the experiment, a larger percentage of children with a high level of development of creative imagination is 27%, while at the beginning of such children there are only 13%. Not to mention the fact that at the end of the experiment, 33% of children showed a very high level of development of creative imagination, and at the beginning there are no such children at all.

Summing up the results of the experiment, we can say that after learning according to a special method of development in the classroom for visual activity, 60% of children, which is more than half of the group, showed a high and very high level of development of creative imagination, while at the beginning exactly the same the percentage of children (60%) had a low and very low level of development of creative imagination.

All this speaks to the advantages of our program of teaching visual activities in kindergarten over the usual program. The experimental program is aimed at the creative development of children, while the regular program gives children only the basics of visual activity.

Conclusion

Playing an important role in the mental activity of people, creativity is one of the universal abilities inherent in man. The first experimental studies on creative imagination date back to the late 19th and early 20th centuries. Our analysis of a significant amount of psychological and pedagogical literature, as well as philosophical works, shows the existence of different points of view both on the very concept of creativity, its essence, and on its connection with other mental processes, on its role in cognitive and transformative human activity. Despite the variety of characteristics, most modern researchers attribute creative imagination to higher mental processes. The formation of creative imagination includes the mandatory development of perception, memory, thinking, speech, emotions. It is closely connected with sensory and mediated cognition, but is not limited to them. Imagination is practically woven into all cognitive processes and largely depends on the needs and desires of the individual, his motives.

Creativity is the process of mentally creating new images based on elements of past experience. Ensures the creation of a program of action in cases where the problem situation is uncertain. Imagination is passive and active, the latter is recreative and creative. Creative imagination underlies most types of compositions and other speech exercises of students: stories based on plot pictures, according to a given beginning or end, essays about the future, such as the development of the plot of a story, creative retellings and presentations, oral drawing, drawing up a picture plan, etc. d. Therefore, the development of imagination, primarily creative, is necessary for the successful development of children.

Imagination plays a significant role in teaching other language skills: reading, listening, spelling and punctuation. The mechanism of imagination is based on anticipation when writing and reading, guessing (anticipation) when perceiving the text - oral and written, "premonition" of punctuation marks at the moment when the sentence has not yet been composed (or not perceived - if it is a dictation).

Thus, creativity is one of the central processes in the mental life of children. Despite the fact that when studying at school, children generally need to master other skills, such as abstract logical thinking, arbitrary memorization, etc. The basis for the development of these skills is provided by the imagination, the role of which remains very significant. In the process of further learning, imagination turns into such forms of thinking as figurative thinking, which forms the basis of the subject's creative activity.

The experimental program of classes in visual activity develops creative imagination in children, which will then be required in literature lessons at school when writing essays and other creative works.

The study found that as a result of an experimental program for teaching children, the percentage of children with a low level of development of creative imagination decreased to zero, the percentage of children with an average level of development of creative imagination increased to 40%, with a high level to 60%. There were children with a very high level of development of this ability. Thus, the proposed method has shown its effectiveness.

List of used literature

1. Aidarova L.I. The child and the word // World of childhood. Junior student. - M., 1981. - S. 109 - 145.

2. Aidarova L.I., Tsukerman G.A. The psychological necessity of studying "poetics" in the course of the native language // Questions of Psychology. - 1977. - No. 1. - S. 17 - 29.

3. Bogoslovsky V.V. General psychology. - M., 1981. - 635 p.

4. Borovik O.V. Using tasks for imagination as a method of correctional work // Defectology. - 1999. - No. 2. - S. 18 - 25.

5. Borovik O.V. The development of the imagination. - M., 2002. - 235 p.

6. Borovik O.V. The role of drawing in the study of children // Personality-oriented approach in developing and correctional education. - Birobidzhan, 1998. - S. 45 - 56.

7. Age and individual characteristics of younger adolescents / Ed. D.B. Elkonina, T.V. Dragunova. - M., 1967. - 278 p.

8. Vygotsky L.S. Imagination and creativity in childhood. - M., 1967. - 74 p.

9. Vygotsky L.S. Development of higher mental functions. - M., 1960. - 378 p.

10. Gavrilushkina O.P. Features of the formation of visual activity of mentally retarded children. - M., 1976. - 167 p.

11. Glotser V.V. Children write poetry. - M., 1964. - 265 p.

12. Davydov V.V. Problems of developing education. - M., 1986. - 274 p.

13. Dyachenko O.M. On the main directions of the development of imagination in children // Questions of psychology. - 1988. - No. 6. - S. 18 - 25.

14. Dyachenko O.M. The development of the imagination of a preschooler. - M., 1996. - 275p.

15. Zabramnaya S.D. The development of the child is in your hands. - M., 2000. - 189 p.

16. Zaika E.V. A complex of games for the development of the imagination // Questions of psychology. - 1993. - No. 2. - S. 21 - 29.

17. Zankov L.V. Selected pedagogical works. - M., 1990. - 424 p.

18. Zankov L.V. About primary education. - M., 1963. - 427 p.

19. Komarova T.S. Children in the world of creativity. - M., 1995. - 190 p.

20. Levin V.A. School of childhood // Primary education in Russia. Innovation and practice. - M., 1994. - S. 65 - 85.

21. Moran A. History of arts and crafts. - M., 1986.

22. Mukhina V.S. Age-related psychology. - M., 1997. - 483 p.

23. Mukhina V.S. Visual activity of the child as a form of assimilation of social experience. - M., 1981. - 154 p.

24. Novlyanskaya Z.N. Why do children fantasize? - M., 1978. - 153 p.

25. About creative work in high school. - M., 1962. - 265 p.

26. Education and development / Ed. L.V. Zankov. - M., 1975. - 379 p.

27. Basics of decorative art at school. - M., 1981.

28. Petrovsky A.V. Imagination // General psychology. - M., 1997. - S. 127 - 145.

29. Rechitskaya E.G., Soshina V.A. Development of creative imagination of younger schoolchildren. - M., 2000. - 250 p.

30. Subbotina L.Yu. The development of imagination in children. - Yaroslavl, 1996. - 143 p.

31. Sukhomlinsky V.A. I give my heart to children // Selected pedagogical works: In 3 vols. - M., 1979. - T. 3. - 375 p.

32. Tambovkina T.I. Development of creative activity of students in Russian language lessons. - Kaliningrad, 1974. - 187 p.

33. Tolstoy L.N. Pedagogical essays. - M.: Uchpedgiz, 1953. - 469 p.

34. Elkonin D.B. Child psychology. - M., 1960. - 379 p.

Application

Visual activity lesson plans

1. Subject: "Bouquet of flowers"

Materials, tools: gouache, brush, scissors, glue.

Course progress. The teacher, together with the children, admires the beauty of fresh flowers, the variety of their shapes and colors. A comparison is made of natural flowers and their images in the paintings of artists, attention is drawn to the fact that the artists depict flowers in a bouquet. Making bouquets is a special art, which is taught specially. But each person should be able to collect flowers in a bouquet so that the beauty of flowers does not fade in it, but on the contrary, it manifests itself.

Flowers for a bouquet are usually selected in such a way that they form a harmony of color spots and the rhythm of shapes. From this, the bouquet can be joyful, restrained solemn, gently lyrical. The teacher, with the help of applicative material, draws up several schemes for compositions of flower bouquets on a flannelograph, drawing the attention of children not only to the rhythm of color spots, but also to the color combination. Children get an idea about warm and cold colors, about colors that are close and contrasting.

Having considered what flowers are in shape and color, each of the children draws the most beautiful flower, in his opinion, and cuts out his image.

10 minutes before the end of the lesson, the teacher hangs on the board three large sheets with the image of a blue, red and white vase. Each child, before sticking his image of a flower, should think about the correspondence of its color to the chosen vase, and later to the group of already pasted flowers that make up the bouquet. Children, passing a brush with glue like a baton, take turns approaching one of the sheets on the board and sticking their flower to it. At the end of a fun relay race, three beautiful bouquets are obtained, which can be compared and appreciated for the colorfulness, composition and accuracy in the image of each bouquet.

Note."Bouquets" can be arranged and decorated with children's work in the dining room of the kindergarten.

2. Topic of the lesson: "Warm and Cool Colors"

Materials, tools: templates, gouache, brush, glue.

Course progress. The teacher tells the children about fairy tales, the heroes of which dreamed of meeting the fabulous bird of Happiness. In some fairy tales, the Firebird was the bird of happiness, in others it was the Blue Bird. Many hoped that the feather of such a bird could make them happy for life. There are no such birds in the real world, but one can imagine what the birds of happiness were like in the dreams of those heroes who devoted their whole lives to finding them.

The teacher hangs on the board an image of the silhouettes of two birds, one of which is made in blue and the other in orange. In the hands of the teacher, white silhouettes of wing feathers and tails of birds. Before distributing the "feathers" of birds to children, the teacher analyzes the task, for which it is not enough to show imagination and draw a beautiful feather, you need not confuse the feathers of birds. One bird is warm in color and the other is cold. The teacher introduces children to warm and cold colors, their shades and the process of obtaining a range of warm and cold colors.

Preschoolers perform a simple warm-up exercise aimed at getting a palette of warm colors from mixing different colors with yellow and red paint and a cold palette from mixing paints with blue paint.

Then the group is divided into two groups: the first group must return the plumage to the Firebird, and the second - to the Blue Bird.

Children receive templates-silhouettes of feathers and, mixing paints, cover them with unusual patterns. Having finished the work, they pass the “feathers” to the teacher or his assistants, who stick them on a poster with the image of the Firebird and the Blue Bird.

At the end of the lesson, two completed options are compared, the colors and their shades are called, which the children received when mixing colors, depicting the feathers of fabulous birds of happiness.

Note. In this lesson, the assignments for the two groups may be more "contrasting" in subject matter. For example, the creation of two images that are opposite not only in color, but also in the emotional sound and language of the depiction of details: the Firebird, which brings light, warmth, goodness, joy, or the Snow Queen's castle, personifying the image of cold, sadness, evil.

3. Topic of the lesson: "Autumn leaves"

Materials, tools: gouache, brush, palette sheet, scissors, glue.

Course progress. The teacher prepares in advance a drawing of a naked tree on a large sheet of paper.

At the lesson, children are invited to become wizards and return the lost autumn outfit to the frozen tree. To do this, you need to remember what color the autumn leaves are, what shape they are.

Children on a palette sheet dilute paints, when mixed, they get all the shades of the color of autumn foliage. While the palettes are drying, you can practice drawing leaves of various shapes. Then, directly on the palettes, the contours of the leaves, large and small, are drawn. The cut out leaves are handed over to the teacher's assistants, who collect the leaves from their subgroups and stick them on the sheet with the image of a tree.

By the end of the lesson, the tree regains its colorful outfit, and the children see not only all the variety of colors of autumn foliage, but also how many different color shades can be obtained by mixing paints of three primary colors.

4. Topic of the lesson: “Decoration and reality. The inhabitants of the underwater peace"

Materials, tools: colored paper, scissors, glue, felt-tip pens.

Course progress. The teacher summarizes the knowledge of children about the inhabitants of the underwater world. He draws the children's attention to the boundless fantasy of nature, which has created such a variety of shapes and colors of fish.

Children are divided into two groups, as they have to perform different tasks. Children of the first group make images of sea fish on separate sheets of paper using the application technique, drawing small details with felt-tip pens. The second group depicts the silhouettes of algae on colored paper and cuts them out.

At the end of the lesson, children from the first group collect their works in a panel according to the “fold the picture” principle, the joint composition is generalized by images of algae, which children from the second group stick on the panel.

5. Topic of the lesson: Construction and reality. Inhabitants of the underwater world»

Materials, tools: gouache, brush, colored paper, scissors, glue, thread, needle.

Course progress. The teacher generalizes and supplements the knowledge of children about the inhabitants of the underwater world, pays special attention to the plastic forms of its inhabitants. Since the children will have to depict the inhabitants of the sea using the paper construction technique, the teacher compares natural forms with simple geometric shapes and forms: a cylinder, a cone, a triangle, a circle, etc. The teacher demonstrates techniques for working with paper and scissors, with which you can not only achieve maximum resemblance to the natural form of the fauna, but also successfully convey the character of the image of the sea dweller.

To create a collective volume-spatial composition, children are divided into two thematic groups: flora and fauna of the underwater world. The children of the first group (1/4 of the group), who perform the background for the spatial composition, are divided into two small groups, since some depict water, the seabed directly on a large sheet, while others cut out the silhouettes of algae from colored paper.

The children of the second group are also divided into two groups - experts on fish, jellyfish, octopuses, crabs - and perform three-dimensional images of the inhabitants of the underwater world in the paper plastic technique, using colored paper. (The work of these groups is carried out according to technological cards).

10 minutes before the end of the lesson, the assembly of the collective spatial composition begins:

A background is attached to the board;

2 - 3 cords are attached horizontally to the wings of the swing board;

Silhouettes of algae, fish and figures of octopuses, crabs, jellyfish and other inhabitants of the sea are hung on horizontal cords with the help of thin threads.

Note. If it is not possible to hang images of the inhabitants of the sea to the wings of the board, then they are attached with glue to the background of the collective panel. You can make a mobile out of volumetric figures of marine fauna by hanging it on three thin rails fastened in the form of a triangle.

6. Topic of the lesson: "Graphic image of a tree"

Materials, tools: tinted paper (wallpaper roll), ink, stick, chalk.

Course progress. After an introductory conversation about the visual language of graphics and its possibilities in conveying the image of a tree without leaves, the teacher gives the task to draw a tree with ink or a stick. The drawing should show not only the breed and age of the tree, but also its character, revealing the image.

At the beginning of practical work on a strip of tinted paper, the teacher draws a line of the earth. While the teacher cuts the strip into fragments of different sizes, the children master a new technique of drawing with ink and stick. Then they draw one large or a group of small trees on tinted paper.

10 minutes before the end of the lesson, the teacher collects individual drawings into a frieze composition, fixing them on the board, and begins to draw falling snow with chalk. Several children, at will, go to the blackboard and draw with chalk snow falling and lying on the surface of the earth. So the dull landscape of late autumn is replaced by an elegant and cheerful winter landscape.

Note. During the compilation of the collective frieze, the music of P.I. Tchaikovsky "October. Autumn Song" from the album "Seasons", which during the image of the first snow is replaced by a cheerful play "November. On the troika" from the same album.

7. Lesson topic:"Images of Pets in Russian Folk Clay Toy"

Materials, tools: gouache, brush, scissors.

Course progress. The teacher talks about the images of animals in a clay folk toy, their symbolism. Further, the teacher introduces the children to the features of the image of animals (form and decor) in different centers of folk crafts in Russia: Kargopol, Filimonovo, Dymka, Abashevo.

The group is divided into four subgroups, each draws toy domestic animals: cows, horses, rams, goats in the tradition of one of the four centers of artistic craft. Images are cut out and placed in the horizontal pockets of the green meadow-background.

Then, analyzing the completed images, the children must determine from which region, the village, the cow or horse wandered into the meadow. If the village is called correctly, then the child must say how he guessed about it.

Note. Similarly, you can organize the joint work "Birdyard".

8. Topic of the lesson: "Fabulous colors. Variation and improvisation on the theme of folk paintings»

Materials, tools: gouache, brush, scissors.

Course progress. At the beginning of the lesson, the teacher tells the children the story of the weeping princess. Having carefully examined the image on the dynamic table, the children find out the reason for the tears of Princess Nesmeyana: flowers do not grow in her garden. Slightly appearing above the ground, they wither and turn black. How to cheer Nesmeyana? We need to help her grow beautiful flowers, but for this you need to know and be able to do a lot. First, know what flowers are in nature. Secondly, the flowers should be unusual, fabulously beautiful. The first problem is solved after viewing slides depicting flowers. The second is more complicated, but it can also be solved by remembering the fabulous beauty of the flowers of Russian folk crafts - Gorodets, Polkhovsky Maidan, Northern Dvina, etc.

In the course of a kind of game, each child is instructed to "grow" a fabulous flower that can be transplanted into the princess's garden. In order for the “transplantation” to be painless for the flowers, they must be carefully cut out, keeping the leaves and stem with soil on the roots (part of a sheet of paper that is inserted into the pocket of the princess’s front garden).

During independent work, cheerful music contributes to the creative success of children. After the children have depicted the flowers and prepared them for the "transplant", the teacher's assistants collect them from the desks and transfer them to the princess's garden. The teacher removes old, withered and blackened flowers and "plants" fabulous ones in the garden (inserts images of flowers into the pockets of the table). Then, imperceptibly for the children, he spreads the hands of the princess, and the children see that a miracle has happened - the princess smiled, as she was very happy with the beauty that the children together created in her garden.

Identification of abilities in children and their correct development is one of the most important pedagogical tasks, and it should be solved taking into account the age of children, their psychophysical development, educational conditions and other factors.

The development of the ability to depict, first of all, depends on the cultivation of observation, the ability to see the features of surrounding objects and phenomena, compare them, and highlight the characteristic. Teaching drawing should be carried out by the teacher systematically and systematically. Otherwise, the development of children's abilities for the visual arts will go in random ways, and the visual abilities of the child may remain in their infancy.

V.B. Kosminskaya in her works singled out and revealed 2 stages in the development of visual abilities:

1) Pre-figurative period in the development of abilities.

The first stage in the development of artistic abilities begins from the moment when visual material - paper, pencil, etc. - falls into the hands of the child for the first time. In pedagogical literature, this period is called “pre-figurative”, since there is still no image of the subject and there is not even a plan and desire to depict something. This period plays a significant role: the child gets acquainted with the properties of materials, masters the various hand movements necessary to create pictorial forms.

On their own, few children can master all the movements available to them and the necessary forms. The educator must lead the child from involuntary movements to limiting them, to visual control, to a variety of forms of movement, then to the conscious use of the acquired experience in the drawing. Gradually, the child develops the ability to depict objects, conveying their expressive character. This indicates the further development of abilities. Children through associations learn to find similarities in the simplest forms and lines with any object. Such associations may occur involuntarily when the child notices that his strokes resemble a familiar object.

Usually, the child's associations are unstable: in the same drawing, he can see different objects. In his mind, when drawing, there is still no solid trace, which is formed by the common work of representation, memory, thinking, imagination. A simple drawn shape can resemble many objects approaching it.

Associations help to move on to work on ideas. One of the ways of such a transition is the repetition of the form that he obtained by chance. Sometimes such initial drawings, by design, have less resemblance to the object than the associated form, since the association turned out by chance, the child did not remember what hand movements it resulted from, and again makes any movements, thinking that it depicts the same object. Nevertheless, the second figure speaks of a new, higher stage in the development of visual abilities, as it appeared as a result of the plan.

A large role in this process belongs to the educator, who, by asking questions, helps the child to understand the image.

2) Fine period in the development of abilities.

With the appearance of a conscious image of an object, a visual period begins in the development of abilities. The activity becomes creative. Here the tasks of systematic education of children can be set.

The first images of objects in the drawing are very simple, they lack not only details, but also some of the main features. This is explained by the fact that a small child still lacks analytical-synthetic thinking, and, consequently, the clarity of recreating a visual image, coordination of hand movements is poorly developed, there are still no technical skills.

At an older age, with properly organized upbringing and educational work, the child acquires the ability to convey the main features of the subject, observing the form characteristic of them.

Gradually, under the influence of learning and general development, the child acquires the ability to relatively correctly convey the proportional relationships between objects and their parts.

A more difficult pictorial task is to convey movement. The static posture of a pictorial object is caused by the rhythmic arrangement of parts, which facilitates the process of depiction.

But it is difficult to create a truly dynamic image, since the perceptions of children are not yet developed.

It is difficult for them to see and realize the deformation of the appearance of a moving object, and even more so to fix it on paper. Only gradually does the ability to see these changes develop, to depict them, verbal and game methods of conveying movement are replaced by pictorial ones.

One of the most difficult tasks for children in drawing is the ability to convey spatial relationships through visual means.

In drawing, where the image is given on a plane, space is conveyed by special techniques. To understand their conventionality, which creates a real impression of a large space, is difficult for a child at first. At the first stages of development of visual abilities, the child does not think about the arrangement of objects. He places them on the entire space of the sheet, regardless of logical interconnection, and the sheet can be rotated for ease of drawing, and the object is depicted sideways or upside down in relation to others.

All objects acquire a certain arrangement when their connection is predetermined by the content. To unite objects, the earth appears in the form of a single line. This arrangement is called a frieze.

Children cannot transmit perspective changes during spatial movements of objects, as this is associated with the mastery of complex visual skills. Sometimes they themselves try to convey these changes by assimilating them from life. If the child is aware of a decrease in objects with their removal and an increase in their approach, you can offer him to place objects above and below on a wide space of a sheet depicting the earth.

Wishing to depict everything as truthfully and fully as possible, the child also draws what cannot be seen in the given position of the object. Not only the visible parts of the object are drawn, but also those that cannot be seen at the moment; the object, as it were, unfolds, and the rest are painted on to the visible parts.

Such features are not a necessary step in the development of children's ability to depict spatial relationships. With the right training, they are usually absent.

Summing up, we can state the following that the development of visual abilities goes through two periods, which include the entire preschool age, and the issues of their development are closely related to the problem of children's creativity.

In his works, T.S. Komarova characterized the development of an idea - a conceived plan of action, activity (according to the pedagogical dictionary) - among preschoolers. She noted that in children (2-4 years old) the idea does not develop immediately. Their first drawings are actions with a pencil and a brush, not pursuing the goal of creating an image. Over time, the child begins to name what he drew, already at the end of the process. We can say that the idea arises later, when the finished image is perceived. At 3-4 years old, in some cases, the idea arises before the creation of the drawing, and some children do not change their idea in the process of drawing.

The ability to conceive the content of the upcoming image and embody the idea that has arisen in the drawing is formed on the basis of the ideas about various objects and phenomena formed in the process of perception, as well as on the basis of mastering at least the basic visual movements of the hand. This indicates the growth of a conscious attitude to visual activity, the formation of the ability to correlate desire with the means (methods of action) that allow you to fulfill your plan. And this, in turn, leads to the further development of imagination, creativity and visual activity in general.

It becomes obvious that children of 3-3.5 years old, as a result of systematic studies, who have mastered some form-building movements, independently conceive the content of the image in accordance with their skills and impressions of the surrounding life. As a rule, children bring their plans to the end; the majority willingly repeat the images on their own or at the suggestion of the educator, which indicates the awareness and arbitrariness of the image process.

By the age of 6, the sensory experience of children is enriched. Ideas about the objects and phenomena of the environment become richer, more diverse and more accurate, the work of the imagination intensifies. Designs are characterized by great diversity, stability.

Children of senior preschool age approach the creation of an image with an established concept, which the child correlates with the methods of image available in his experience and the means of its expressive solution.

Thus, we conclude that the task of the teacher is to help in the development of these processes at each stage, to find such methods and means that would allow educating a creative person. That is why it is so important to understand the problem of the relationship between education and creativity, to find such content of children's visual activity and such methods and techniques for teaching children that would allow the formation of creative manifestations already at preschool age in all pupils of children's institutions.

N.P. Sakulina show that learning does not hinder the development of creativity. It contributes to its formation and development. Having not mastered the knowledge, skills and abilities necessary for depicting in the classroom under the guidance of teachers, having not received sufficiently clear ideas about what is depicted, the child feels helpless, forced to draw not what he intended, but what turns out. This causes stiffness, dissatisfaction. Education and independent artistic and creative activity of children are organically interconnected with each other, influence each other and support one another.

But do not forget that creativity should not be limited to learning the necessary skills. E.A. Flerina at one time gave a very precise formulation of the relationship between learning and creativity. She said that in every lesson of a teaching nature there should be a place for creativity, and in every creative lesson there must be elements of learning. The point is the teacher's ability to purposefully organize cognitive activity, complicate its nature, encouraging the child to independence and creativity. Therefore, one should not reduce the understanding of learning to a method for solving a narrow range of problems (the formation of knowledge and skills).

On the basis of the studied literature, we found that the process of development of visual abilities and the process of development of children's ideas go through certain stages of formation in preschool age. The teacher should help in the development of abilities and ideas in accordance with the necessary conditions for the development of children's creativity, without limiting the activity of the child's imagination, that is, he must find the optimal balance of creativity and learning in the classroom. Knowledge and skills should become a means of manifestation of creativity.