Aesthetic perception of art. Aesthetic perception is: definition, features and essence. "Aesthetic perception" in books

In this paragraph, the subject of consideration will be those age features that are inherent in the younger schoolboy and which should be taken into account when developing his aesthetic perception.

Nowadays, the problem of aesthetic perception, personality development, formation, its aesthetic culture is one of the most important tasks facing the school. This problem was developed quite fully in the works of domestic and foreign educators and psychologists. Among them, B. T. Likhachev, A. S. Makarenko, B. M. Nemensky, V. A. Sukhomlinsky, V. N. Shatskaya, I. F. Smolyaninov, O. P. Kotikova and others.

We have already noted that it is very difficult to form aesthetic ideals, an artistic taste, when the human person has already developed. The aesthetic development of the person begins in early childhood. In order for an adult to become spiritually rich, it is necessary to pay special attention to the aesthetic education of children of younger school age. B.T. Likhachev writes: "The period of younger school childhood is almost the most decisive from the point of view of aesthetic education and the formation of moral and aesthetic attitudes towards life." The author emphasizes that it is at this age that the most intensive formation of relations to the world, which gradually turn into the property properties is carried out. Essential moral and aesthetic qualities of personality are laid in the early period of childhood and are stored in a more or less consistent form for life. And in this regard, this is the most appropriate time for the development of aesthetic perception.

There are many definitions of the concept of "aesthetic perception", but considered only some of them, it is already possible to distinguish the main provisions speaking of its essence.

First, this is the process of targeted impact. Secondly, this is the formation of the ability to perceive and see beauty in art and life, evaluate it. Thirdly, the task of aesthetic perception is the formation of aesthetic tastes and identity ideals. And finally, fourthly, - the development of the ability to independently and create a beautiful.

A peculiar understanding of the essence of aesthetic perception determines various approaches to its goals. Therefore, the problem of the goals and objectives of aesthetic education in order to develop perception requires special attention.

It is impossible or, at least, it is extremely difficult to teach the young man, an adult confidence in people, if he was often cheated in childhood. It is difficult to be kind to someone who in childhood did not join the sympathy, did not survive the children's direct and therefore indelible strong joy from kindness to another person. It is not suddenly in adulthood to become courageous if in preschool and younger school age So I did not learn to resolutely express my opinion, and boldly do.

The course of life changes and makes its own adjustments. But it is in preschool and younger school age that the development of aesthetic perception is the basis of all further pedagogical work.

One of the features of younger school age is the advent of a child to school. He appears a new leading activity - study. The main person for the child is the teacher. "For guys in primary school Teacher - very main man. Everything for them begins with a teacher who helped overcome the first difficult steps in life ... "Through it, children will know the world, norms social behavior. The views of the teacher, his tastes, preferences become their own. From the pedagogical experience A.S. Makarenko knows that a socially significant goal, the prospect of movement towards it, with an inept setting before children, leave them indifferent. And vice versa. A vivid example of the consistent and convinced work of the teacher himself, his sincere interest and enthusiasm easily raise children to affairs.

The following feature of the development of aesthetic perception in the younger school age is related to the changes occurring in the field of cognitive processes of a schoolboy. For example, the formation of aesthetic ideals in children, as part of their worldview, complex and long-term process. This is noted by all teachers and psychologists mentioned above. During the upbringing of life relations, ideals undergo changes. In certain conditions, under the influence of comrades, adults, works of art, nature, vital shocks, ideals can undergo indigenous changes. "The pedagogical essence of the process of forming aesthetic ideals in children, taking into account their age characteristics, is to form the sustainable meaningful ideal ideas about society from the very beginning, from early childhood, about the person, about the relationship between people, making it in a variety of changing on every stage of a new and fascinating form, "- notes in his work B.T. Likhachev.

For pre-school and younger school age, a leading form of dating with aesthetic ideal is children's literature, animated films, movies and photos in books. Changes in the motivational sphere occur with younger school age. The motives of the relationship of children to art, the beauty of reality is recognized and differentiated. D.B. Likhachev notes in his work, that a new, conscious motive is added to the informative incentive at this age. This manifests itself in the fact that "the guys are appropriate to art and reality is aesthetically. They enjoy reading books, viewing illustrations in them, listening to music, drawing a movie watching. They still do not know that this is aesthetic attitude. But They formed an aesthetic attitude to art and life. The thrust for spiritual communication with art gradually turns into need.

Changes in the motivational sphere occur with younger school age. The motives of the relationship of children to art, the beauty of reality is recognized and differentiated. D.B. Likhachev notes in his work, that a new, conscious motive is added to the informative incentive at this age. This manifests itself in the fact that "the guys are about art and reality is aesthetically. They enjoy reading books, listening to music, drawing a movie viewing. They still do not know that this is aesthetic attitude. But they have formed aesthetic attitude. To art and life. The thrust for spiritual communication with art is gradually turning into need for them.

Other children communicate with art outside the aesthetic relationship. They approach the work rationalist: Having received a recommendation to read the book or watch a movie, they read and look at them without deep comprehension of the essence, only to have a general idea about it. "And it happens that they read, watch or listen from prestigious considerations. Knowledge The teacher of the true motives of the relationship of children to art helps focus on the formation of a truly aesthetic relationship.

The feeling of the beauty of nature surrounding people, things creates special emotional-mental states in the child, excites direct interest in life, exacerbates curiosity, thinking, memory. In early childhood, the guys live immediately, deeply emotional life. Strong emotional experiences are maintained for a long time in memory, often turn into motives and incentives of behavior, facilitate the process of developing beliefs, skills and habits of behavior. In the work of N.I. Kiyashchenko is quite clearly emphasized that the "pedagogical use of the child's emotional relationship to the world is one of the most important ways to penetrate children's consciousness, its expansion, deepening, strengthening, designing." It also notes that the emotional reactions and states of the child are the criterion for the effectiveness of aesthetic education. "In the emotional attitude of a person to one or another phenomenon, the degree and nature of the development of his feelings, tastes, views, beliefs and will" are expressed.

Any goal cannot be considered without tasks. Most of the teachers (GS Labkovskaya, D. B. Likhachev, N.I. Kiyashchenko and others) allocate three leading tasks that have their own options and from other scientists, but at the same time do not lose the main essence.

So, firstly, this is "the creation of a certain stock of elementary aesthetic knowledge and impressions, without which the tendency, thrust, interest in aesthetically significant subjects and phenomena cannot arise.

The essence of this task is to accumulate a variety of sound, color and plastic impressions. The teacher should be able to choose the objects and phenomena on the specified parameters that will meet our ideas about beauty. Thus, a sensual emotional experience will be formed. Specific knowledge of nature, the world of artistic values \u200b\u200bis also needed. "The versatility and wealth of knowledge - the basis of the formation of broad interests, needs and abilities that are manifested in the fact that their owner in all ways of life behaves behaves like aesthetically creating personality," said G.S. Labkovskaya.

The second task of aesthetic perception consists in "formation based on the knowledge of such socio-psychological qualities of a person, who provide an opportunity to emotionally worry and evaluate aesthetically significant objects and phenomena, enjoy them."

This task suggests that children are interested in, such as painting, only at the general education level. They are hastily watch the picture, try to remember the name, artist, then turn to a new canvase. Nothing causes astonishment in them, does not force and enjoy the perfection of the work.

B.T. Likhachev notes that "... such a quick acquaintance with the masterpieces of art eliminates one of the main elements of aesthetic relationship - admiring." With aesthetic love, the overall ability to deep experience is closely connected. "The emergence of the gamma of sublime feelings and deep spiritual pleasure from communication with the beautiful; feelings of disgust when meeting with ugly; sense of humor, sarcasm at the time of contemplating comic; Emotional shocks, anger, fear, compassion leading to emotional and spiritual cleansing arising from the experience of tragic - all these signs of genuine aesthetic pupils, "the same author notes.

Deep experience of aesthetic feeling inextricably with the ability of aesthetic judgment, i.e. With aesthetic assessment of art and life phenomena. A.K. Dremov aesthetic assessment determines as an assessment, "based on certain aesthetic principles, on a deep understanding of the essence of aesthetic, which involves the analysis, the possibility of evidence, argument." Compare with the definition of DB Likhacheva. "Aesthetic judgment is an evidence, reasonable assessment of phenomena of public life, art, nature." In our opinion, these definitions are similar. Thus, one of the components of this task is to form such qualities of a child who would allow him to give independent, taking into account age possibilities, a critical assessment to any work, to express a judgment about him and its own mental state.

The third task of aesthetic perception is associated with the formation of creative ability. The main thing is to "develop such qualities as the needs and ability of the personality, which turn the individual in the active creator, the creator of aesthetic values, allow him not only to enjoy the beauty of the world, but also convert it" according to the laws of beauty. "

The essence of this task is that the child should not only know the wonderful, be able to admire and evaluate, and he still must actively participate in creating beautiful in art, life, labor, behavior, relationships. A.V. Lunacharsky emphasized that a person learns to comprehensively understand beauty only when he himself takes part in its creative creation in art, labor, public life.

The tasks considered by us partially reflect the essence of aesthetic perception, however, we considered only pedagogical approaches to this problem.

Every child's thought develops peculiar ways, everyone is clever and talented in their own way. There is not a single child of unable, mediocre. It is important that this mind, this talent is the basis of success in teaching so that no student has learned below its capabilities. Children should live in the world of beauty, games, fairy tales, music, drawing, fantasy, creativity. It is very important that before children did not make a mandatory task to learn letters, learn to read. The first step of knowledge of the child should be raised by their mental life, which would be spiritualized by beauty, fantasy, the game of imagination. Children deeply remember what excited their feeling, fascinated by beauty.

The life experience of the child at various stages of its development is so limited that children will not immediately learn to allocate actually aesthetic phenomena from the total mass. The task of the teacher is to raise the child with the ability to enjoy life, develop aesthetic needs, interests, bring them to the degree of aesthetic taste, and then ideal.

Aesthetic education is important for the subsequent full-fledged development of the student of a schoolboy, which makes the first steps on a huge staircase of education. It is designed to develop art tastes, engraves a person. Through the aesthetic education, one of the ways to the harmonious, comprehensive development of the personality, to the formation of the ability to perceive, rule to evaluate and create beautiful in life and in art. It is much easier to move a person with one specialty to another, than to achieve changes in the system of ideas about poor and good, about beautiful and ugly.

The younger school age is called the peak of childhood. The child begins to lose the children's immediacy in behavior, he appears another logic of thinking. The teaching for it is a significant activity. In school, he acquires not only new knowledge and skills, but also a certain social status. The interests of the child's value are changing. This is a period of positive changes and transformations. Therefore, the level of achievements carried out by each child at the age stage is so important. If at this age, the child will not feel the joy of knowledge, will not acquire the ability to learn, will not learn to be friends, will not gain confidence in himself, his abilities and opportunities, to do this in the future will be much more difficult and will require immeasurably higher mental and physical costs.

Development in children's perception ability, to understand the feelings of human spiritual moral beauty simultaneously with the formation, their own aesthetic spirituality is a complex, peculiar, uneven flowing, dialectical contradictory, depending on the specific conditions of the process. Children of younger school age more about perception and evaluation of the external form, striking harmony.

Thus, the youngest school age is a special age for the development of aesthetic perception, where the major role is played by the teacher. Using this, skillful teachers are capable not only to establish a solid foundation for aesthetically developed personality, but also through development in the schoolchildren of aesthetic perception to lay true human worldview, because at this age, the child's attitude to the world is formed and the development of the essential aesthetic qualities of the future person.

Germanov Elizabeth Nikolaevna

student Smolensky state University, 5 courses, artistic faculty, departments design of architectural environment and technical graphics, RF, Smolensk

Jahova Irina Gennadievna

cand. Ped. Sciences, Associate Professor of the Department of Design of the Architectural Environment and Technical Schedule of Smolensk State University, RF, Smolensk

"There is no true creativity without skill, without high demanding, perseverance and performance, without talent, which is nine tenths consists of difficulty. However, all these essential and necessary qualities are not worth anything without the artistic concept of the world, without a worldview, out of the holistic system of aesthetic perception of reality. "

Yu.B. Borev

Aesthetics is considered to be a science of human sensuality. Its subject is the person surrounding the reality, form and norms of aesthetic feeling. Aesthetics studies the origin of this feeling, attitude to the environment, art objects, another person. In some way, aesthetics can be called philosophical teaching about the concept and form of beautiful in art, nature and human life. A.F. Losev believed that any side of public life could be a source of aesthetic feelings. It develops and varies under the influence ambient and society. Aesthetic feelings are considered a person's reaction on the aesthetic side of reality. A subjective judgment that estimates the beauty of any subjects, which equally reacts to works of art and in nature, and on the people themselves. Aesthetic perception helps us feel the beauty, empathize art objects, having fun or radiating negative emotions . Perceiving the aesthetic component of the environment, a person comes into contact with the society, taking an active part in it. Each work of art uniquely affects the personality of a person and becomes his property. This is the process of aesthetic effects of the object of culture per person.

The perception by a person of the objects of the surrounding reality occurs according to the laws long ago identified humanity and bearing objective. Art objects are perceived according to the principles that are unshakable for many generations. They pass many styles and directions, remaining unchanged. The changes as little affect the foundations of the perception of the individual, because the base of taste is adapted to a new time and is given to the new generation almost unchanged. The architecture is a complex and multi-level process, which generates aesthetic perception of the space around us. Each architect seeks to create, something is great, fascinating with its uniqueness and uniqueness, something that will affect the life of the city around us to improve the appearance of the city and creating the optimal medium of the society.

The urban environment has a direct impact on the aesthetic perception of a person, that is why modern cities need to be improved the aesthetic components of forms and objects. The person's eye enjoying an aesthetic spectacle perceives not the simplicity or complexity of the structure, it evaluates the expressiveness and wealth of the forms, the completeness and clearly pronounced semantic load of the elements. The artistic work made with the knowledge of the order and the methods of exposure to the viewer may have a positive or negative impact on the direction of human activity. In other words, some artwork works are able to inspire and encourage active life position and positive environmental perception, on the contrary, others can cause a feeling of oppression and lost. The architectural appearance of any city is formed during a certain time period covering various historical stages. Each time is characteristic of its own style with its aesthetic principles. Architects paid considerable attention to the aesthetic component of the city's appearance. Historically, established styles created a harmonious urban environmentwhich has a beneficial effect on the emotional nature of man. Synthesis of styles that were combined in one city in the same city, gives him their own expressiveness and uniqueness.

In the XX century, due to the rapid development of industry and production, another problem was designated. Buildings, which are functional blocks, negatively affect the aesthetic perception of residents of the city. Their creators did not care about the aesthetic component of urban development: industrial architecture is utilitarian and completely depends on the functional component of the building. This means that when designing industrial facilities about the aesthetic side, I thought last. Modern city requires not just a revision of individual elements of the architectural ensembles of the city, but also changes in the structure of buildings and structures. It is now important to solve not only the problemality of the functionality of objects, but also take into account the degree of influence of the architectural environment per person, which currently causes only negative associations. If you pay attention to industrial buildings created in the 21st century, you can see attempts to create an aesthetic type of structures. This can be explained by the fact that industrial blocks began to demand a smaller construction volume, which had a positive effect on appearance.

A high aesthetic level of development has a positive effect on the appearance of the city, which in turn develops the aesthetic perception of society and increases the efficiency of each person.

That is why the architect, when developing a project, should take into account not only the technical side of the structure, which will affect the cost and building structures of the building, but not to forget about the aesthetic component of the external appearance of the designed object. In art, there are problems that need to be addressed. Such are the problems of form, space, compositions. Since a person does not perceive the architectural ensemble as a whole, and the path of perception is gradually, revealing new levels, one by one, then the architect must solve the above problems in their interaction, using the laws of proportions, dynamics and rhythm, giving the finished type of architectural composition, considering The sequence of environmental perception.

The main task of modern aesthetics is the development in people is not the thoughtless ability of contemplation and admirement of art objects, but the organization of space that could awaken energy aimed at improving the quality of surrounding reality. Modern aesthetics can and should make practically necessary solutions and give an answer to the need for a person to live and move in space, to live, which means to fully feel, understand and improve. The architecture of its active force, the system of organization and design of the real forms and visible space should contribute to this in order to be not only "useful" in a narrow utilitarian sense, but deeply socially useful as a cultural, organizing and pleasing vitality.

Bibliography:

1. Borev Yu.B. M ,: Higher. Sk., 2002 - 511 p.
2. Says Moscow. First sources. K. Zelinsky. Idyialogia and tasks of Soviet architecture. - [Electronic resource] - Access mode. - URL: www.ruThonia.ru (reference date 09/09/2014).
3. Gofman V.L. Factory architecture. Ed. 2 additional, cubic, type. "Leningr. Truth". 1935.
4. Jenks, Charles "Language of postmodernism architecture" / lane. from English D. architecture A.V. Ryabushin, to. Lawsuit. V.L. Heita. M.: Stroyzdat, 1985, - 137 p.
5. Fine and decorative art. Architecture: Terminological dictionary. / Under total. ed. A.M. Cantor. M.: Ellis Lak, 1997. - 736 p.
6. Kovalev A.Ya., Kovalev V.A. Industrial architecture of Soviet Russia. M.: Stroyzdat, 1980. - 159 p.
7. Modern Russian architecture and western parallels. - [Electronic resource] - Access mode. - URL: THEORY.TOTYLARCH.COM (CHANGE DATE 09/09/2014).
8. Cold L.P. The history of the architecture of the Metallurgical Plants of the Urals Second halves XIX. - early twentieth century: study guide. M.: 1986. - 96 p.

"There is no true creativity without skill, without high demanding, perseverance and performance, without talent, which is nine tenths consists of difficulty. However, all these essential and necessary qualities are not worth anything without the artistic concept of the world, without a worldview, out of the holistic system of aesthetic perception of reality. "(Yu.B. Borev). http://literaturologiya.academic.ru/

Terminological Dictionary-Thesaurus for Literary says that the aesthetic perception of man is nothing more than: "The process of receiving and transforming aesthetic information, which involves the ability of a person to feel the beauty of surrounding items, distinguish between the beautiful and ugly, tragic and comic, elevated and low-lying features in real validity and in works of art and experience This feeling of pleasure, pleasure or displeasure. http://literaturologiya.academic.ru.

In this regard, it should be noted that the relationship of aesthetic perception with aesthetic feelings is enormous and generally accepted. From perception in the process of ordinary labor, educational or scientific activity as a whole, they are characterized by special features.

A person, as a rule, is experiencing aesthetic pleasure, watching the majestic paintings of nature, listening to music and singing, reading artwork, watching dances and gymnastic exercises, perceiving works of painting and architecture.

Aesthetic perception causes us homemade utensils, furniture, clothes, wallpapers, which is saved by our room. We consider the actions of people with beautiful or ugly, considering them from the point of view of generally accepted public requirements.

Aesthetic perception may have both "contemplative" and "incomplete" character. We can experience aesthetic feeling not only when we look at the ballet or listen to music, but also when you yourself dance and sing.

A distinctive feature of aesthetic perception is its "disinterested" character. It is not directly related to the satisfaction of our material needs, is not aimed at thickening of hunger or the preservation of life: when we admire the picture depicting fruit, we do not have the desire to eat them, aesthetic feeling in the perception of this picture is not associated with the taste and nutability of the pictures on it items.

The basis of aesthetic perception is a special, peculiar to man, the need is the need for aesthetic experience. This need has already been distinguished by a primitive person: manufacturing homemade utensils from clay, pulling out the tips from the stone for arrows and copies, a primitive person was already attached to them for aesthetic forms, although it did not increase the quality of the items made to them, did not make them more suitable for those The functions for which they were intended.

In the process of the historical development of the human society, the need for aesthetic pleasure was greatly developed and found their expression in the various kinds of art created by a person - music, painting, poetry, architecture, choreography, etc.

Among the wide variety of aesthetic feelings, the following can be noted:

Aesthetic pleasure, or pleasure. It makes up a feeling of pleasure that we give to the perception of paints, sounds, forms, movements and other features of objective objects or phenomena.

As a rule, the aesthetic pleasure causes us harmonic combinations in which individual elements are in a certain relationship with each other; disharmonic combinations, on the contrary, cause displeasure. In the world of sounds, it will be a consonance and dissonance, in the world of movements - rhythm or arrhythmia, etc.

The feeling of beautiful covers a man when in his perception it reflects objectively beautiful, really existing beauty of the phenomena of nature and society. A man is experiencing this feeling when looking at a beautiful flower, an animal, a landscape, created by a man's hands. The car or homemade utensils, looking at the actions of a man, thinks about the wonderful features of his character and so on.

The feeling of beautiful is not ignorant, it is always evaluated. This feeling is developing along with the development of humanity, has a historical public, and not a natural nature, it reflects the presentations inherent in one or another society laid in one or another historical era Aesthetic tastes and concepts. In this regard, the feeling of beautiful manifests itself in different people in different ways, depending on the ideas learned and concepts about the beautiful. The feeling of beautiful reaches its perfect form only through the aesthetic education of man.

The sense of majestic and sublime is generated by perception of phenomena exceeding the usual measure of phenomena, in which the power of nature and human genius is expressed.

A person experiences a sense of the majestic when reflecting the grandiose paintings of nature in his mind - the greatest mountains with their snowy peaks and deep adoptions, stormy flows, waterfalls, unwarked ocean expanses, the infinity of the stars of the night sky, colossal channels, dams and other greatest achievements of nature and human activity.

All these phenomena seemingly needed a person. However, they cause aesthetic feelings associated with the consciousness of the capacity of nature, the strength and the greatness of human intelligence.

The feeling of artistically beautiful is connected with the aesthetic perception of works of art and with creative activities in any of his species. So in the works of art, man imites nature and life phenomena not photographically, not by means of mechanical copying, but by creative display of reality. Material for creative activities in the field of art - sounds, paints, movements, geometric shapes, human feelings, Acts and characters of people - a person takes out true, but from this material, if he is a true artist, poet, composer, he creates creatively transformed images of reality, which, constituting the essence of artistic works, and cause a beautiful feeling of excellent.

Along with pleasure, as the highest form of aesthetic perception, a person may experience and unpleasant aesthetic feeling, such as a sense of tragic, which is affective, is accompanied by strong mental shocks, sometimes express in sobs. Created by a writer, an artist artist artistic image of a person sometimes reaches its highest impact force: we are not just experiencing an aesthetic feeling from the perception of an excellent work of art, it makes us suffer, sympathize, resent.

Artwork, causing the feeling of tragic, ennoble a person, make him cut off from everyday little things to think about her deep foundations, they encourage him to actively fight the shortcomings of life. But to cause such a feeling, the work of art should be artistically beautiful. Yakovlev E.G. Aesthetics: tutorial. - M.: Gardariki, 2003.

The feeling of comic is characterized by the state of the funny laughter in the perception of contradictory phenomena of reality and especially in their artistic embodiment in artwork.

Laughter can cause any imperfection, such as an overly obese person, with difficulty and awkwardly moving when playing tennis, requiring fast and dexterous movements, or, on the contrary, the kind of dry, long-legged cyclist, whose knees are almost resting in the wheel of the bicycle.

According to Aristotle, "Funny is some kind of mistake or deformity that does not cause suffering and harm ... This is something ugly and ugly, but without suffering." http://psyznaiyka.net/view-emocii.html?id\u003djesteeticheskie-chuvstva.

However, it is impossible to agree completely with this definition: in it, it turns off from the feeling of comic social meaning, comic is equal simply to the fun. In reality, the feeling of comic, being the opposite of the feeling of tragic, to no less impossible man to think about the imperfections of life and send their efforts to fix them. So the comedy of Gogol "The Auditor" makes people laugh at the artistic images of the comic in the characters, actions and relationships of people. But at the same time, it is extremely aggravating the perception of imperfections of life and thereby encourages people to actively fight these imperfections.

l also reflects the feature of aesthetic perception, as part of the entire pedagogical process.

Any goal cannot be considered without tasks. Most of the teachers (GS Labkovskaya, D. B. Likhachev, N.I. Kiyashchenko and others) allocate three leading tasks that have their own options and from other scientists, but at the same time do not lose the main essence.

So, firstly, this is "the creation of a certain stock of elementary aesthetic knowledge and impressions, without which the tendency, thrust, interest in aesthetically significant subjects and phenomena cannot arise.

The essence of this task is to accumulate a variety of sound, color and plastic impressions. The teacher should be able to choose the objects and phenomena on the specified parameters that will meet our ideas about beauty. Thus, a sensual emotional experience will be formed. Specific knowledge of nature, the world of artistic values \u200b\u200bis also needed. "The versatility and wealth of knowledge - the basis of the formation of broad interests, needs and abilities that are manifested in the fact that their owner in all ways of life behaves behaves like aesthetically creating personality," said G.S. Labkovskaya.

The second task of aesthetic perception consists in "formation based on the knowledge of such socio-psychological qualities of a person, who provide an opportunity to emotionally worry and evaluate aesthetically significant objects and phenomena, enjoy them."

This task suggests that children are interested in, such as painting, only at the general education level. They are hastily watch the picture, try to remember the name, artist, then turn to a new canvase. Nothing causes astonishment in them, does not force and enjoy the perfection of the work.

B.T. Likhachev notes that "... such a quick acquaintance with masterpieces of art eliminates one of the main elements of aesthetic attitude of admissions."

With aesthetic love, the overall ability to deep experience is closely connected. "The emergence of the gamma of sublime feelings and deep spiritual pleasure from communication with the beautiful; feelings of disgust when meeting with ugly; sense of humor, sarcasm at the time of contemplating comic; Emotional shocks, anger, fear, compassion leading to emotional and spiritual cleansing arising from the experience of tragic - all these signs of genuine aesthetic pupils, "the same author notes.

Deep experience of aesthetic feeling inextricably with the ability of aesthetic judgment, i.e. With aesthetic assessment of art and life phenomena. A.K. Dremov aesthetic assessment determines as an assessment, "based on certain aesthetic principles, on a deep understanding of the essence of aesthetic, which involves the analysis, the possibility of evidence, argument." Compare with the definition of DB Likhacheva. "Aesthetic judgment is an evidence, reasonable assessment of phenomena of public life, art, nature." In our opinion, these definitions are similar. Thus, one of the components of this task is to form such qualities of a child who would allow him to give independent, taking into account age possibilities, a critical assessment to any work, to express a judgment about him and its own mental state.

The third task of aesthetic perception is associated with the formation of creative ability. The main thing is to "develop such qualities, the needs and ability of the personality, which turn the individual in the active creator, the Creator of aesthetic values, allow him not only to enjoy the beauty of the world, but also converting it" according to the laws of beauty. "

The essence of this task is that the child should not only know the wonderful, be able to admire and evaluate, and he still must actively participate in creating beautiful in art, life, labor, behavior, relationships. A.V. Lunacharsky emphasized that a person learns to comprehensively understand beauty only when he himself takes part in its creative creation in art, labor, public life.

The tasks considered by us partially reflect the essence of aesthetic perception, however, we considered only pedagogical approaches to this problem.

In addition to pedagogical approaches, there are psychological. Their essence is that in the process of aesthetic perception, aesthetic consciousness is formed in the child. The aesthetic consciousness of teachers and psychologists are divided into a number of categories, which reflect the psychological essence of aesthetic perception and allow us to judge the degree of aesthetic culture of a person. Most researchers allocate the following categories: aesthetic taste, aesthetic ideal, aesthetic assessment. D.B. Likhachev also distinguishes a aesthetic feeling, aesthetic need and aesthetic judgment. Aesthetic judgment also allocates Professor, doctor of philosophical sciences. Apresan. About such categories as aesthetic assessment, judgment, we mentioned earlier.

Along with them, an most important element of aesthetic consciousness is aesthetic perception. Perception is the initial stage of communicating with the art and beauty of reality. From its completeness, brightness, depths depend on all subsequent aesthetic experiences, the formation of artistic and aesthetic ideals and tastes. D.B. Likhachev aesthetic perception characterizes as: "The ability of a person to dilute in the phenomena of reality and art processes, properties, quality, awakening aesthetic feelings" is only so possible a full development of aesthetic phenomenon, its contents, forms. This requires the development of a child of the ability of subtle differences in shape, color, assessment of the composition, musical hearing, distinguishing the tonality, the shades of sound and other features of the emotional sensual sphere. The development of culture of perception is the beginning of aesthetic attitude to the world.

Aesthetic phenomena of reality and art, deeply perceived by people, are able to generate a rich emotional response. Emotional response, according to D.B. Likhacheva is the basis of aesthetic feeling. It is a "socially determined subjective emotional experience, born by the assertive attitude of a person to aesthetic phenomenon or subject." Depending on the content, brightness, aesthetic phenomena are able to excite the senses of spiritual pleasure or disgust in the person, sublime experiences or horror, fear or laughter. D.B. Likhachev notes that, experiencing such emotions repeatedly, aesthetic need is formed in a man, which is a "sustainable need to communicate with the artistic and aesthetic values \u200b\u200bthat cause deep experiences."

The central link of aesthetic consciousness is aesthetic ideal. "The aesthetic ideal is a man holding a person about the perfect beauty of the phenomena of the material, spiritual and intellectual, moral and artistic world." That is, it is an idea of \u200b\u200bperfect beauty in nature, society, man, work and art. ON THE. Kushaev notes that the instability of ideas about aesthetic ideal is characteristic of school age. "The schoolboy is able to answer the question of what a work of a particular art like him most. He calls books, paintings, musical works. These works are an indicator of his artistic or aesthetic taste, even give the key to understanding his ideals, but are not specific examples. characterizing the ideal. " Perhaps the reason for this in the lack of life experience of the child, insufficient knowledge in the field of literature and art, which limits the possibility of forming an ideal.

Another category of aesthetic perception is a complex socio-psychological education - aesthetic taste. A.I. The drills determines it as "a relatively sustainable property of the individual, in which norms, preferences that serve as a personal criterion for aesthetic estimation of objects or phenomena. D. B. Nemensky determines the aesthetic taste, as" immunity to artistic surrogate "and" thirst for communications with genuine art. "But we are more impressed by the definition of this A.K. Dreovov." Aesthetic taste is the ability to feel directly, impressive, without much analysis, to distinguish with a truly beautiful, genuine aesthetic advantages of the phenomena of nature, public life and art. "Aesthetic taste It is formed in humans for many years, during the period of personality. In the younger school age, it does not have to talk about him. However, this does not mean that the aesthetic tastes should not be brought up in the younger school age. On the contrary, the aesthetic information in childhood is the basis of the future taste of man. "In school, the child has the opportunity to systematically get acquainted with the phenomena of art. The teacher does not cause difficulties to emphasize the attention of the student on the aesthetic qualities of the phenomena of life and art. Thus, gradually the student develops a complex of representations, characterizing his personal preferences, sympathy.

The total output of this paragraph can be represented as follows. Aesthetic perception is aimed at the overall development of the child both in the aesthetic plan and in spiritual, moral and intellectual. This is achieved by solving the following tasks: mastering the knowledge of the artistic and aesthetic culture, the development of the ability to the artistic and aesthetic creativity and the development of the aesthetic psychological qualities of a person who are expressed by aesthetic perception.

1.2. Features of aesthetic perception in the younger school age.

In this paragraph, the subject of consideration with

As a mental process, perception is based on living contemplation, it is a reflection of objects and phenomena in the aggregate of their properties and parts with the direct effects of them on the human senses. Unlike sensations, not only senses organs are involved in the design of the image. Sensual data - colors, lines, points, etc., are comprehended by all knowledge of the subject, comprehended according to the fact that the need to make the creation of the image, what goals it puts in the process of perception.

So, for ordinary, everyday perception, the main thing is not so much the "kind of", "sound" things, how many practical meaning. And in aesthetic perception, the need for perfection dictates the need to take the subject in all its integrity and uniqueness, in all the diversity and the originality of its properties, requires very differentiated impressions. It is of particular importance to the color, sound, shape, only it will provide the wealth of vision, comprehending the degree of development of the subject.

For aesthetic perception, the ability to differentiate shades, changes in the same property are important. After all, sometimes beauty varies from the very insignificant ("slightly") changes in the appearance of an object that can not even verbally definition. For the usual orientation, it is enough to perceive the usual phenomena simply schematically: snow - white, fog - gray, etc. Developed sensitivity allows, for example, the artist see the snow and pink, and blue, and gold, and gray, and the fog is not only gray , but also bugs.

To determine the moral value of the act (whether he bears good or evil) there is enough awareness of his general meaning. Fix the aesthetic perfection Action is more difficult: it is necessary, in addition, special attention to the form of behavior is required to catch the structure and intonation of statements, changes in facial expressions, facial expression, in all external actions.

On a fine visual, hearing and the like sensitivity, the ability to perceive the holistic characteristics of the subject - harmony and disharmony of parts and properties, measure and specific manifestations of them (symmetry, proportions, rhythm, harmonic color fare and opposite to them). Without this ability, it is impossible to determine the degree of perfection of the subject and create reference images of perfection necessary for the evaluation of perceived.

This explains why I. S. Turgenev, L. N. Tolstoy and many other writers and artists specially trained their "distinguishes" abilities. Such training contributes to the development of very important when perceiving quality - observation.

Research A. A. Bodalev and a number of other authors have been proven that any perception, being a reflection of external influences, together it is mediated by the life experience of perceive. Moreover, indirectness in the perception of aesthetic. This is due to the direction of the aesthetic need for the form of the subject.

Perfection is always a holistic characteristic of the subject, the maximum unity of its form and content. Therefore, reflecting the shape directly, the person must necessarily relate it to a known content - otherwise the holistic image is not formed. A simple feeling of color, lines, sounds, etc. - is the relation in which the connection of the form with the content has not yet been allocated. And in aesthetic perception, the elements of the form are always expressing something. So, the color is perceived as the color of a particular subject; If a person has the content of this subject, it is not even known, he associates it with typical in experience, for example: blue color, on what we would not be perceived it, binds to the image of the sky; Black - with night, bad weather. And since there are many such associations, these elements of the form act as generalized signs. In humans, according to the expression of K. Marx, "feelings became theorists." For this formal perception of individual formal elements, technical aesthetics, as well as art, especially decorative, architecture, music are calculated.

Consequently, on the quality of aesthetic perception, to a large extent determining it, the memory and the ability to associate, compare the images perceived with the preserved memory, with knowledge, is affected. It is this that provides a person identification of the subject already on individual properties and the creation of an object image, more rich in content than a combination of felt properties, and more rich than the overall representation.
In the image there is some restructuring of the content of the subject at the expense of personal experience, the "filling" of the subject of a new life through the representations and imagination perceive. Due to this interpretation of the subject, the content of the image to a certain subjective extent. The ability of imagination and associative ability are of particular importance in perceiving works of art, since artistic funds are specifically designed for the "co-authorship" of the public.

The high level of imagination in perception gives the latter quality, which is usually expressed by the words "spiritualized", "poetic", "artistic" vision of the world. (A person with such perception sees not just oak, but "Giant"; sees how morning the sun, climbing, "tightens a foggy blanket from the river", etc.).

Thus, aesthetic perception is different not only by a sign of generalization, but also a clearly pronounced creative element, transformation and addition of sensual data by connecting them with human experience. It is due to the compound, the alloy in the aesthetic image of an objective and subjective, real and imagined impression different years From the same phenomena, extremely variatives are diverse, which may not be excluded, however, their objectivity, reliability.

Much in the content of the image is more or less equally in different people (different classes), since it is based on a common complex of directly sensible properties of the subject. Specific differences in the subject matter of perceptions are due to differences in people - in the vital experience and experience of aesthetic perception, to the degree of awareness of the process of perception, in the level and nature of knowledge about the subject, in the ability to creatively apply them in the process of perception, to the degree of development of the ability to the associative vision of the world and etc. This is connected with the sphere of interest, worldview, individual identity features, even the state and mood at this time.

As background, that is, conducive to composite elements of the ability to aesthetic perception, which were considered, acting such properties of the individual, as curiosity, torture, excerpt, patience, etc. They contribute to the formation of the ability to see, hear, observe.

As you can see, the ability to aesthetic perception allows a person who does not break down from the specific characteristics of the subject, to relate them to the most complete content of it and create the most complete, holistic image of the subject.

The aesthetic attitude towards the world implies the ability to identify the ratio of perceived specifically sensory phenomena to human needs perfectly, in other words - the assessment of them as beautiful or ugly, sublime or comic, etc. without the presence of aesthetic estimate, indicated B. M. Heat, loses Meaning the development of other aesthetic abilities The assessment continues to perceive and orient the subject to what the most effective or least desirable areas of activity are. To disclose what abilities provide an assessment process, it is necessary to imagine its mechanism.

In any form of a person's relationship with the world, the assessment is made by comparing the disabled item with the appropriate need. This comparison may be directly (the practical value of things, for example, is comprehended in the process of its consumption, applications; the moral value of the act can be determined by its social consequences, etc.). But, over time, the assessment becomes and mediated, because in consciousness there are generalized ideas about the existing positively valuable phenomena - norms and on non-existing yet, but desirable, more valuable, are ideals.

Representations and views of the proper, about the need for society, class constitute the main content of each form of public consciousness. It is in them that the needs and interests of society, class, due to the material conditions of their existence, are expressed. With these regulatory views and compares the estimated phenomenon.

Since aesthetic estimate is based on sensual contemplation, it often generates an illusion that the aesthetic values \u200b\u200bare opened by the perception itself. I looked at the man's caricature - and immediately laughs, appreciating it as a comic. It seems that no comparison with any regulations he did. A more thorough analysis still convinces: "see" the comic of the phenomenon can, if he sees that the one shown is contrary to normal, what should be.

Aesthetic norms - images in which, in contrast to cognitive single and general representations, summarized characteristic signs The necessary people of perfection. The aesthetic image "Clean Sky" Almost all people have more or less permanent content, folding out of a number of features: air transparency, silence, "ringing" of blueness, infinity of the space, which are associated with the desired peace, peace, freedom.

Selection of perfection required modern man, It is performed first in the practice itself, in the process of mastering the phenomena of a particular type. Samples appear, reflected in the consciousness in the form of an unintended image of a satisfying subject. So, the ancient Greek art of the period of high classics and to this day in a certain sense preserves, as noted by K. Marx and F. Engels, "the value of the norm and an inaccessible sample" in the consciousness of the athlete, the exercise of the exercise can become a model to which you need to strive.

But gradually the analysis of many impressions, samples leads to awareness, the dissection of individuals and properties that most satisfy the person in the subjects of various kinds. Separate aesthetic criteria are created for various spheres of life. These generalized criteria exist in consciousness predominantly in the form of objects of objects, in which such properties are most developed and for which they are most characteristic, typical. So, the standard (symbol) of flatness and cleanliness of the surface - glass, mirror; Eightness criterion - fluff; The image of the "rocket" today embodies the criterion of the speed and power of the movement.

Separate criteria can be creatively synthesized into complex reference images - stereotypes. For example, the image of the "red maiden" includes positive signs, which in the minds of the people there are not so many theoretically decorated, as in the form of associations: cheeks, like fuel apples; slim like birch; "Flowing like a winch", etc.

Of course, communication, exchange of experience between people, the process of upbringing is forced to comprehend the criteria of beauty and express them in a verbal-conceptual form. It has long been formulated, for example, general principles or laws of constructing a perfect holistic form - symmetry, equilibrium, proportion, rhythm, a certain order, harmonicity and some others. But even these generalized criteria in the experience of a person are filled with a specific figurative content, different in various spheres of life (in nature, behavior, etc.).

The whole totality, the system of aesthetic criteria, standards is the content of the aesthetic taste of the individual. As a political position, as a conscience in morality, the taste is the subjective aesthetic position of the individual, developed in the process of mastering and assimilation of the aesthetic consciousness of society and comprehended its own relationship with the world.

Of all this, it is clear that in the formation of aesthetic taste, the ability of representation, reproductive and creative imagination is played, the ability to think, aware of their own and someone else's experience. Therefore, the tastes of people differ in measure of meaningfulness, the ratio of shaped and theoretical knowledge, latter, depth and such qualities. They are distinguished by the degree of truth: in varying degrees express the aesthetic need of society.

The functioning of taste is to comply with the need for perfection, due to which the degree of aesthetic value of this subject for humans is directly comprehended. Depending on what is perceived and as it is meaningful, the corresponding standards are selected consciously for comparison, the corresponding associations are included. (Different criteria people apply to the same musical work; for one - song, and for another - romance).

This process depends on the experience of appraisal activities. If the phenomenon in general, we know or have clear properties already encountered in our experience, then estimation essentially coincides in time with the process of perception, actually instantly, for many estimates are transferred from past experience or internatively. D. Reynolde, an English artist and theoretics of the art of the XVIII century, noted that numerous vital observations accumulate spontaneously. There are so many that in each particular case, giving aesthetic assessment, we cannot recreate all the material in memory, where does our feeling begins, but the mediating of the assessment of the norms that have arisen in practice (let many of them have not yet been drawn up by thought) allows for "need Still to realize them, at least the main. Without aware of the evaluation criteria, it would be impossible to aesthetic education.

Thus, the leading property in the estimated ability is figurative thinking, operating with images of perception and aesthetic representations, samples.

Unfortunately, psychologists until recently did not pay due attention to the study of the nature and role of figurative thinking. The underestimation of the ability of figurative thinking adversely affects the practice of aesthetic education. For most teachers, for example, primary classes He considers this ability to lower in comparison with the abstract-conceptual theoretical thinking. Meanwhile, for operating images requires the same abstraction abilities, generalizations as for conceptual thinking.

In addition to the mental process, the image becomes a sensual carrier of a generalized value that converts the most sensual content; "It is subject to a certain retouching: those traits that are associated with its meaning, the rest, for him, are insignificant, random, side, retreat to the background, are stocking, they go to no." So, giving a person a rating "flies through life like a moth," we operate not form, coloring and the like properties of the moth, but only one common feature - the ease of change of objects. In other words, an aesthetic estimate is, in fact, with conclusion at the figurative level: to the conclusion of imperfection, the public inappropriateness of this form of behavior, we did not come by theoretical reasoning, evidence, and directly (in contemplation) the discovery of the similarity of human actions with the reference of the carefree "floria" .

Thus, the richer, the reserve of aesthetic ideas and knowledge in humans, the more developed the ability to associate images of perception with them and with phenomena, previously estimated, especially from other spheres of reality, the faster, more precisely, a truer person will appreciate the beauty of perceived.

Thanks to these diverse associations there is an emotional response to the subject, an emotional assessment of it. It is summarized, various experiences are synthesized, associated with individual perceived properties, and with the whole. Looking at the autumn landscape, a person sees a totality of certain forms and color relationships. Depending on their nature, they can be associated with ideas about life, its brightness, wealth, and those causing positive feelings or with ideas about fading, old age, death, which gives, of course, a different aesthetic feeling.

In aesthetic sense, therefore, the result of the evaluation process is expressed - determining the nature of the object of the object to aesthetic need.