The significance of the fairy tale genre in the world art of the word. The role of the Russian folk tale in the formation of the child's personality

"A fairy tale is the great spiritual culture of the people, which we collect bit by bit, and through the fairy tale the thousand-year history of the people is revealed to us."

(Alexey Nikolaevich Tolstoy).

From an early age, our mothers and grandmothers sing us lullabies, we hear jokes and nursery rhymes, as well as fairy tales. Preschoolers are big dreamers, therefore, getting into the world of a fairy tale, they travel with pleasure.And it's not for nothing that preschool age is called the age of a fairy tale. At this age, the child shows a strong craving for everything fabulous, unusual, wonderful.

Russian folk tale is a work of oral creativity of the Russian people, one of the types of folklore prose. They were created over a long time by means of increments and subtractions in the narrative, which were produced by each individual person and, hence, by the entire Russian people. In fairy tales, people's self-consciousness tried to express themselves as much as possible: they put into stories the most characteristic elements of their culture, traditions, and customs in order to pass this experience on to the younger generation in need of a life guide. Russian folk tales, therefore, are a treasure trove of ancient wisdom. They raise the age-old questions of a moral, family, everyday, and state nature, for each of which, as a result, an unambiguous answer is given: to do so is good, and so it is bad.

Folklore tales are classified into several broad categories. According to one of the most common options, which was proposed by E. V. Pomerantseva, a famous researcher of the genre, the scheme for distinguishing fairy tales is as follows:

1. Fairy tales about animals ("Kolobok", "Koza-dereza").

2. Fairy tales ("The Frog Princess", "Ivan the Fool").

3. Everyday fairy tales ("Porridge from an ax", "How a man dined with a gentleman").

Now a little about each species:

Children's fairy tales about animals - This is one of the oldest varieties of this genre. Such works are entirely built on an allegory, or allegory: through the animal world, the human world clearly appears. Each of the characters is endowed with character traits and properties of people: for example, the traditional heroes here are a fox, who is always cunning and does not disdain another deception; a wolf who is self-confident and stupid, as a result of which he always ends in failure; a bear, often the personification of ignorance and brute force. Thrush, frog, hare, mouse are usually representatives of a weak beginning, which nevertheless wins as a result. Thus, in fairy tales about animals there is a debunking of human vices, such as greed, the desire to harm one's neighbor, envy, self-interest, greed. Opposite, positive traits are asserted, for example, the ability to help a friend in trouble, compassion, mercy, etc.

Fairy tales. A fairy tale is a work that cannot teach a child anything if it does not interest him from the first words. In this regard, fairy tales are just great helpers for both parents and teachers! The main task of this type of fairy tales: to cause admiration in children of the main, always exclusively positive hero, and also to provoke a desire to condemn the antagonist (villain).

Household tales. Not such a widespread, but still not uninteresting variety - these are everyday fairy tales. They are designed to debunk the negative traits of a human character and, conversely, to elevate resourcefulness and a sharp mind. There are practically no fantastic elements here, and the plot revolves around an unusual, unique incident that occurred in the most ordinary relationships between people. Traditional characters are pop, soldier, woman, man, landowner, etc.

So why is a fairy tale important for children? The role of fairy tales in the development of children is multifaceted. From the development of fantasy to the development of correct speech, it is an integral element in education.

The foundations of kindness, justice and friendliness lie in Russian fairy tales. We want to see all these qualities in our children. So to pull a turnip with the whole family - mutual help, Cat for a rooster - help from a friend, Morozko - hard work, which will certainly be appreciated and laziness, which will be punished. There are many such examples. And a child, listening to a fairy tale, emotionally worries about the main character and when good triumphs over evil, he is very happy. The impression of a fairy tale will accompany the child for a long time until he grows up, and faith in goodness will help him in later life.

Russian fairy tales also foster love for their native nature, instill patriotic feelings. Only in the Russian fairy tale does a grass-grass grow, a red dawn is burning, a milk river is flowing jelly banks. Listening to a fairy tale, the child begins to appreciate and love nature and animals. Each animal in a fairy tale has its own distinctive features and cannot be confused. And vivid artistic images and vivid examples in a fairy tale are a valuable tool of education.

The fairy tales contain centuries-old folk wisdom. Since ancient times, everyday experience has been transmitted through figurative stories. Children climbed onto the stove, grandmothers spun and told fairy tales, instructive stories, knowledge about life was accumulated in the child's memory. Unfortunately, this experience has been lost. In our "fleeting" time, an adult has no time to read, tell a fairy tale to his child, and not just read, but comprehend - what does she teach? what life lesson is hidden in it? The child often sits in front of the TV, at the computer. He draws all the luggage of life values ​​from the media, computer games, and not from books. And by reading and telling fairy tales, we develop the inner world of the child. Children who have read fairy tales from early childhood begin to speak faster, correctly speaking. A fairy tale helps to form the foundations of behavior and communication. The role of fairy tales is to develop the imagination and imagination of the child, as well as his creativity. Fairy tales expand children's knowledge. The form of perception of good and evil in adults is not figurative, and children, on the contrary, cannot perceive information in this form, they need imagery, play.

Therefore, the role of children's fairy tales in raising children cannot be overlooked. She teaches children life in an accessible language, talks about good and evil. Children understand a fairy tale more easily than insipid adult speech. Therefore, if adults want to help explain something to a child, support him, they will have to remember the language of childhood - a fairy tale. A fairy tale can give clues in order to enter reality in new ways, it can help a child to get to know the world, to understand his own experiences.

How can you benefit from fairy tales? Looking for meaning. Do we understand and interpret fairy tales correctly? Maybe there is some hidden meaning in fairy tales, the meaning of which we do not even guess? After all, it is not enough for a child to just read a fairy tale, talk about the plot, characterize the heroes, he must be taught to think about a fairy tale, find hidden meanings in it and learn life lessons. Analyzing the heroes of fairy tales, their actions and consequences is an important component of the educational process. Before starting reading to a child, you should independently analyze the work and comprehend what children should understand from a fairy tale.

FOR EXAMPLE, the tale "Turnip" is a story about mutual assistance and not only ... Take, for example, the same tale about the turnip, which, by the way, "lives" in two versions, and each version of the tale is interesting in its own way. In the old folklore collections in the fairy tale "Turnip", at first everything is quite familiar: "Grandfather planted a turnip ...". Then there was nothing new either: the grandfather called the grandmother, the grandmother called the granddaughter, and the granddaughter called the Beetle ... The end of the tale turned out to be completely different: “The Beetle called the cat. They pull, pull, they cannot pull. We got tired, went to bed. And at night a mouse came and gnawed the whole turnip! " Here's to you! Although both versions of the tale tell about labor, “our” version was a story about mutual assistance, and the ancient one was about the fact that every business must be brought to an end. You can read a fairy tale to a child in both versions and then talk about what he learned from them, as he understood. The most important thing is to teach the baby from the very childhood to think about the information that he receives.

About the change of day and night in a fairy tale about a cockerel A very interesting interpretation of the fairy tale "The Golden Scallop Cockerel", which speaks not only of the cockerel's excessive gullibility, but also encrypted the parable of how day replaces night. The cockerel in this story plays another role - the role of the sun. The fox is a symbolic representation of the night. The night-fox lures the sun-rooster out of the house, and then grabs it and carries it very far: "beyond the high mountains, beyond the dense forests, beyond the blue seas." And the rooster helps out - the cat. The cat in this tale means morning.

Baba Yaga as an image of wisdom and death. And what a rich image of Baba Yaga! Remember what she is? Scary, angry, lives in the forest and all the time strives to fry and eat someone. However, why then Ivan Tsarevich or Vasilisa the Beautiful often come to Baba Yaga for advice? And where did this strange name - "Baba Yaga" come from? "Baba" is the mother, the main woman in ancient cultures. "Yaga" is fire. There was a verb "yagat". "Yagat" - meant "to scream, putting all your strength into this scream." Hunters and women in childbirth yagali. It turns out that Baba Yaga was the main mother, a wise woman who knew everything. And she was not so scary as it seems. After all, there is not a single fairy tale where Baba Yaga would fry people, she only wants to do it. Where did this come from in the fairy tale? It turns out that there was such a ritual - baking a sick child. The midwife would speak the bread dough, wrap the baby in it, put it on a shovel and put it in the oven. Then she took it out, unfolded it, and gave the dough to the dogs. The child from such warming up often recovered. So, if you interpret a fairy tale from the point of view of cultural history, then Baba Yaga is not at all a villain, but a folk healer. And there are a lot of such examples.

Thus, a fairy tale in education is always a helper and friend. The works created by the Russian people are what a child especially needs for the correct, harmonious development and further development of him as a person and personality. They improve the imagination, thinking, the emotional sphere, develop memory and speech, and, of course, at the earliest stages, acquaint children with the categories of morality and ethics that are laid down and remain with the children throughout their subsequent life.

The first literary work in the life of every person is a fairy tale. Probably, we all remember well how our mother read them to us in the earliest years. However, one should not take a fairy tale solely as a way to entertain the child or to amuse him.

It seems so only at first glance, however, upon detailed analysis, we see that such a literary genre performs a very important function, namely, the upbringing of a child. Let's remember together what feelings fairy tales evoked in us.

The role of a fairy tale in the life of the reader

The plot necessarily included negative and positive characters who fell into the same life situation or together took part in a certain event. Evil characters hindered the good in every possible way, making them various intrigues.

However, in the end, good always triumphed over evil, and often persuaded it to its side. The unformed psyche of a child, based on the example of the main characters of a fairy tale, begins to understand what is good and what is bad; how to treat people, but how not; what are real life values ​​and what are false.

Moral values ​​in fairy tales for adults

You should not assume that fairy tales leave the child in the process of growing up: they accompany a person throughout his entire conscious life. After all, people tend to lose their life guidelines, and these literary works in every possible way contribute to finding them again. In fairy tales for adults, there are some transformed moral values ​​of children's fairy tales.

Such works teach a person to be a patriot of his state, to have an idea of ​​true love and friendship. Poetic images of the heroes of fairy tales make a person think about whether he has forgotten about the main thing in his life - spiritual development.

Indeed, very often adults are busy with various everyday chores - work, study and raising children. The spiritual idea of ​​life dramatically fades into the background, and ultimately, completely lose its relevance. Fairy tales are a tool with which adults begin to understand the true values ​​of their lives.

The place of the fairy tale in the world of fiction

The tale occupies one of the most significant places in the world of fiction. Moreover, this genre is a pioneer in the formation of a direct literary process in the life of mankind. The fairy tale always went in rhythm with time and fully reflected those dominant landmarks that were characteristic of humanity at a certain period of its history.

This literary genre did not arise from scratch. In ancient times, it was oral in nature and was passed down from generation to generation. Such tales were called folk tales, since they did not have an author, but were augmented and modified oral text.

For the first time, author's tales appeared in the 17th century. Charles Perot is considered the father of the classic literary fairy tale; it was he who created the literary construction of the fairy tale, which was repeatedly used by many writers in the future. A fairy tale meets all the criteria of a literary work, the main of which is a lesson for the reader.

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Reflectionse of the world of the Russian fairy talein arts and crafts

Introduction

fairy tale decorative applied fine

Currently, the Federal State Educational Standards for Primary and Secondary Schools establish requirements not only for the knowledge of various subjects among students, but also for personal development of the child, forming the integrity of his nature and need independently acquire knowledge, i.e. teach to learn (48, p. 5; 49, p. 3), believe in yourself and your strength.

Today education sets a triune goal: the upbringing of a cultured person ( subject of culture), free citizen ( subject of history, civil society), creative personality ( subject of activity, self-development). If socialization is aimed at the formation of an external manifestation of human behavior and at a quick result that can be under external control, then v nourishment - on the development of internal regulators of human behavior, and in this deep and gradual process, he is his own controller. Both processes are implemented in one social space. This is how value concept of the educational process(6, p. 190).

Many scientists and practitioners have studied issues related to the personal development of a student, tk. without this, creative activity is impossible. Personality, as we know, is connected with the spiritual essence of a person and manifests itself in his integrity. People's Artist of Russia B.M. Nemensky in his book "The Wisdom of Beauty" (34, p. 34), believing that the ability to empathize is the foundation of any understanding of man by man, his "humanization".

Social development is the result of the process of a child's "growing" into culture (11, p. 47), genuine cultural assimilation and cultural creation (27). B.F. Lomov, Doctor of Psychology, spoke about the necessity of forming a complex of cognitive, emotional, and practical spheres in a person in his development (28). However, the position of our other scientist V.P. Zinchenko regarding the fact that culture is a very important external source of development, but it is powerless when its internal sources and driving forces for self-development dry up in the personality (20, p. 151).

Education today should have the ideological and organizational potential to carry out a protective function in relation to those spiritual values ​​that culture and art preserve for us. The teacher should provide children with pedagogical support, include their inner spiritual forces, paying attention to the creative potential of Russian culture. No wonder our wonderful classic teacher V.A. Sukhomlinsky wrote about the child's enthusiasm for the most noble creativity - the creation of joy for people, as is typical for art itself (47, p. 242). Art forms the ability to be happy: the happiness of communication, mutual understanding, as well as the happiness of creative work.

The values ​​accumulated by art should become a means of humanization, the formation of moral and aesthetic responsiveness to the beautiful and ugly, the vigilance of the child's soul. In simple terms - you need solve the problem of development of the child's personality, not only his socialization, but also upbringing (rather, self-education, leading to the possibility of choice), to form his moral immunity against the ugly in life, so that he can resist the negative manifestations of the environment.

Our contemporary, well-known educator-innovator Sh.Ya. Amonashvili defines the priority goal of art education as the spiritual and moral development of the child, i.e. the formation of his qualities that correspond to the ideas of true humanity, kindness (1, p. 9).

B.M. Nemensky, the head of the creative team that created the program "Fine Arts and Artistic Labor" (22-25) for the secondary education system (22-25), considers the goal of this subject in elementary school to be "the formation of the artistic culture of students as an integral part of spiritual culture, i.e. culture of world relations developed by generations ”(22, p. 3; ibid., p. 9). For basic school education, from his point of view, the goal is as follows: "the development of value, aesthetic mastery of the world as a form of self-expression and orientation in the artistic and moral space of culture" (23, p. 3).

Emotional-value, sensory experience expressed in art can only be achieved through own experience- living of the artistic image (23, p. 6)., expressing in the form the content of the artistic work; for children, it is the animation of nature, which is integrally reflected in folklore and works of folk art through images, signs, symbols by skillful masters (otherwise, the perceptions of the perceiving art will turn out to be imageless, that is, ugly).

There is a huge potential for the development of humanity and kindness in a child in parables and fairy tales, experiencing which, together with the hero, he acquires moral qualities and reveals his creative potential. The main thing is that he forms an attitude towards himself, towards others, towards culture and art, towards the world around him, towards activities (and this is already good breeding).

The Russian fairy tale gives a holistic view of a person. Its allegorical form encourages the reader to his own reflections, forms a number of questions, the search for answers to which stimulates the development of the personality. The influence of the fairy tale is aimed at maintaining the integrity of any person. Scientists V.Ya. (41, 42), Zueva T.V. (21), Korepova K.E. (26) and many others. others. Today, a lot of therapeutic fairy tales have been created (Zinkevich-Evstigneeva TD (19), MM Bezlyudova (3) and others are engaged in fairy tale therapy issues). But few people with this purpose turned to the study of the pedagogical potential of the folk arts and crafts of Russia. One cannot but recall with gratitude the name of the remarkable researcher of the DPI, ethnographer and teacher V.N. Polunina (40).

So for me, as a teacher of fine arts, the urgency of the problem stated in this work came to light: the reflection of the world of the Russian fairy tale in folk arts and crafts and in children's creativity.

Object my research is an artistic image of a Russian fairy tale.

Subject - perception of fabulous images in folk arts and crafts and in children's creativity.

Purpose of the study: to study the peculiarities of the Russian fairy tale, to determine the relationship of its spiritual meaning with the essence of folk applied art and, more broadly, with the fine arts, to reveal what are the possibilities of their perception in the development of the personality of students.

The goal is revealed through the setting of the following tasks:

to trace the possibilities of a fairy tale, a figurative language of metaphor for the formation of the inner world of a person, fostering in him a respectful attitude to history, Russian culture, moral values ​​of the people;

analyze the symbolic language of decorative art, the reflection of magical fairy-tale images (images of flowers, birds, horses) in folk art;

study the work of artists-storytellers;

to develop a methodology for conducting classes with primary and secondary school students in fine arts lessons in order to determine the potential of Russian fairy tales and folk art for the development and education of a child's personality.

Hypothesis lies in the fact that with the help of living a fairy tale, a child is able to develop a value attitude towards the world and take a creative position in visual activity, revealing his inner potential, i.e. learn to believe in yourself and not be afraid of open tasks like "go there - I don't know where, bring that - I don't know what", develop the ability of empathy, learn reflection and self-regulation. In addition, he has the opportunity to create a drawing and write his own fairy tale. Those. a teacher can use the potential of a fairy tale, placing the child in the position of the protagonist, forming his belief in his own strength, responsibility, the ability to solve complex problems, to live and gain personal experience, absorbing the spiritual wisdom of the Russian people.

M Methodology and methods:

· The work is built within the framework of humane-personal and activity-based approaches in pedagogy, in the understanding of the school lesson of art as a window into the world of culture, disclosed in the works of Birich I.A. (6), Nemensky B.M. (34, 35), Amonashvili Sh.A. (1), Seliverstova E.N. (45), Shcherbakova S.I. (53) and others;

· There is an analysis of sources (scientific literature and materials on the Internet);

· Systematization of available materials about a fairy tale, folk arts and crafts is carried out;

· Literature on art history is used.

1. Russian fairy talehow aboutthe phenomenon of popular world outlook

1.1 The taleka - the source of folk wisdom

Our life path begins in the world of fairy tales. Grandmothers read them to us, parents tell us, growing up, we read them ourselves, and growing up, we tell or read to our children and grandchildren. It has been and always will be. After all, a fairy tale is an inexhaustible source of folk wisdom, they reflect our past, present and future. (53, p. 173)

A fairy tale is one of the oldest genres of traditional Russian folklore. Telling fairy tales in Russia was perceived as an art, good storytellers were highly revered among the people. Unfortunately, today not all children read fairy tales, many do not even know the main fairy tale characters, i.e. the connection between generations, closeness to nature is broken, we can lose those moral roots and traditions that have existed for many centuries.

The term "fairy tale" itself appeared in the 17th century, and was first recorded in the charter of the voivode Vsevolodsky. Until that time, the word "fable" was widely used, derived from the word "bayat", that is, to tell. The first collection of Russian folk tales appeared in the 18th century. IN AND. Dahl in his dictionary interprets the term "fairy tale" as "a fictional story, an unprecedented and even unrealizable story, a legend" and cites a number of folk proverbs and sayings associated with this type of folk art, for example, the famous "say neither in a fairy tale, nor describe with a pen." This characterizes the tale as something instructive, but at the same time incredible, a story about something that cannot actually happen, but from which everyone can learn a certain lesson (14).

Many collectors of fairy tales (Rybnikov, Hilferding, Barsov, Onchukov) have revealed to us the names of folk storytellers T.G. Ryabinin, V.P. Shchegolenka, I.A. Kasyanov, Fedosova, Chuprova. At the beginning of the 20th century, a whole series of collections of Russian folk tales was published, which absorbed the pearls of folk art, and first of all we turn to Russian folk tales processed by A.N. Afanasyev (2).

The Russian philologist V.Ya. Propp (41, 42). He showed what a fairy tale consists of, how it is "formed", gave an idea about its heroes, about the system of events and the role of fairy tale characters in them, about the richness of pictorial means and figurativeness of folk speech. He saw in folk tales a reminder of totemic rituals of initiation.

The scientist identified six types of fairy tales:

· Fairy tales about snake fighting (the hero's fight against a wonderful enemy);

• fairy tales about the search and release from captivity or witchcraft of the bride or groom;

• fairy tales about a wonderful helper;

• fairy tales about a wonderful subject;

• fairy tales about miraculous power or skill;

· Other wonderful fairy tales (fairy tales that do not fit into the framework of the first five groups).

He also developed a typology of fairy-tale characters, highlighting seven types of characters according to their functions:

Pest (antagonist),

Giver,

Wonderful helper,

The kidnapped hero (the desired item),

Sender,

· A false hero.

V. Ya. Propp singled out 31 functions of the characters (42) of a fairy tale (the so-called Propp cards). The point of Propp's discovery is that his scheme fits all fairy tales. A holistic analysis of fairy tales allows us to consider all the nuances of the artistic structure in close connection with the content of the work and thereby contributes to a higher level of understanding of its ideological content, pictorial features and artistic merits.

Russian folk tales are distinguished, first of all, by their educational orientation: let us recall at least the famous saying that "a fairy tale is a lie, but there is a hint in it." They praise moral values ​​such as willingness to help, kindness, honesty, and ingenuity. They are one of the most revered genres of Russian folklore due to a fascinating plot that opens the reader to the wonderful world of human relationships and feelings and makes you believe in a miracle. Thus, Russian fairy tales are an inexhaustible source of folk wisdom that we still use today.

There is not a single person who would not know at least one fairy tale, who would not be captivated by its beauty, cordiality, cheerfulness and resourcefulness. In all fairy tales, Good triumphs over Evil. The tale teaches us to love and forgive, to overcome fear. In a fairy tale, we, together with the hero, go through trials, solve riddles. She shows us the way how to find happiness - this is a common, free and joyful work. It is in him that the generosity of the human heart is manifested.

In a fairy tale, a special, mysterious world appears in front of the listener. In the tale, extraordinary fantastic heroes act, good and truth conquer darkness, evil and lies. This is the world where Ivan Tsarevich rushes through the dark forest on a gray wolf, where the deceived Alyonushka suffers, where Vasilisa the Beautiful brings scorching fire from Baba Yaga, where the brave hero finds the death of Kashchei the Immortal (50).

Some of the fairy tales are closely related to mythological representations. Images such as Frost, Water, Sun, Wind are associated with the elemental forces of nature. The most popular of Russian fairy tales are: "Three Kingdoms", "The Magic Ring", "Finista's Feather - the Falcon is clear", "The Frog Princess", "Kashchei the Immortal", "Marya Morevna", "The Sea Tsar and Vasilisa the Wise", " Sivka-Burka "," Morozko "and others.

The hero of a fairy tale is courageous, fearless. He overcomes all obstacles in his path, wins victories, conquers his happiness. And if at the beginning of the tale he can act as Ivan the fool, Emelya the fool, then at the end he necessarily turns into the handsome and young Tsarevich Ivan.

We all, getting into the fairy-tale world, cry and laugh, love and suffer, together with the hero we fight and defeat the Serpent Gorynych. A fairy tale always carries us into its world, makes us suffer, worry, rejoice. It makes us think, because "there is a hint in it, a lesson to a good fellow." There is so much meaning in a fairy tale that it can: support, encourage in difficult times, bring up in a child that trait that he really lacks, replacing edification with a beautiful story. A fairy tale is just a pleasure from the subtlety of the human mind, the accuracy and beauty of the Russian language. The heart stops with surprise, and the soul flies up with admiration. A fairy tale always contains "a hint, a lesson for good fellows" and carries a certain psychological message, forcing one to think about one's worldview and actions. This is the oldest and very wise source of moral knowledge (46, p. 6).

The tale speaks in the language of metaphor ("Not the friend who smears with honey, but the one who speaks the truth"), which in a curled up form, referring simultaneously to consciousness and subconsciousness, brings to us the spiritual depth of Russian culture, archetypal symbols, teaching us to represent images in our imagination and shaping our consciousness (29). Thanks to the fairy tale, the child learns the world not only with his mind, but also with his heart. The tale calls for the fight against evil, against the enemies of the Motherland, to defend justice. A fairy tale helps to believe in the power of good. The actions, actions of fairy-tale heroes bring up wonderful feelings in us: love, kindness, trust, beauty, tenderness. We experience pleasure, happiness, joy from their victories, exploits; we grieve at their failures, we stigmatize evil, we believe that it will be punished. Fairy tales teach us to dream, hope, believe, love, trust, express our attitude towards good and evil.

A fairy tale is truth and fiction at the same time. Proverbs and sayings are also a source of folk wisdom: "Where there is work, there is good", "Do not spit in a well - it will be useful to drink water." They reflect everyday life, customs and very often overlap with fairy tales.

A fairy tale is a fertile and irreplaceable source of moral perception of the world.

1.2 Fairy-tale images in arts and crafts

The fairy tale knows a secret source, in which dreams, hopes and aspirations are hidden. Knows everything, and this is her great wisdom, not appreciated by everyone.

For a long time man began to strive for creativity, for beauty. After all, beauty always brings joy to people. Admiring nature, its wisdom and harmony, man began to decorate his home, household items, labor. Moreover, nature has always been his teacher. For centuries, people have selected perfect forms in nature, joyful combinations of colors, surprising and delighting with their ingenuity and taste. Russian nesting dolls, Dymkovo toys, wooden Khokhloma products, Gzhel ceramics, lacquer miniatures by Palekh craftsmen, Vologda lace, Zhostovo trays belong to the best examples of decorative and applied art, which is most strongly associated with everyday life and everyday life of a person (12, 13, p. 66 -105).

Language and folk applied art are historical memory, morality, spiritual wealth of the people. In Russian folk art, the eternal images of Flowers and herbs, a Horse, a Bird, a Woman, the Tree of Life have survived to this day. Just as a person's figurative cognition of the world could be “verbal, material, effective,” so in the process of this cognition, metaphors-words, metaphors-things, structures, metaphors-actions were born.

It is important to learn by ourselves in the artistic wealth of folk art monuments to distinguish kingdom of copper(artistic style, as in a fairy tale, is significant for its plastic, graphic and color expressiveness), kingdom of silver(moral ideals of the people, generous work, faith in good, the fight against evil, it is important to feel it with your heart), kingdom of gold(intimate knowledge of the people about the world, giving folk art the necessary importance in the historical path of development of art and people) . These three facets are harmoniously integrated in the monuments of art into a single whole, which contributes to the penetration into the world of the spiritual heritage of our people, without comprehension of which the revival of Russia is impossible (40, p. 58).

Since ancient times, man admired nature, flowers and herbs. Flower in Russia it meant chastity, today it is joy, a wish for happiness. A flower is a flower, but we are surprised at its vitality, how it breaks through the asphalt, what power is hidden in it. Let us recall the fantastic sprout "krin" - a symbol of the spring rebirth of nature in the art of Ancient Rus, a talisman, protection of the clan; in each seed, bud the potential of a future flower is hidden (also in a child we do not always see its future potential, which is hidden for the time being). The most beautiful of the Goddesses - Mother Lada - came to people along the rainbow with a baby and with an armful of flowers in her hands. Plants have served people since ancient times. Healers have known about the medicinal properties of flowers, herbs, fruits since ancient times.

Fern flower- a fiery symbol of the Purity of Spirit. Possesses powerful healing power. People call him Perunov Tsvet. It is believed that he is able to discover treasures hidden in the ground, to fulfill desires. It gives a Man the opportunity to reveal in himself the Spiritual Power and Abilities (57). Anyone who gets hold of the Fire Blossom becomes a prophetic person, knows the past, present and future, guesses other people's thoughts and understands the conversations of plants, birds, reptiles and animals. Charming and tender white water lily- nothing more than the famous fabulous overpower-grass. From time immemorial, folk craftsmen with great love depict flowers and herbs, decorating products and their home.

Images from pagan beliefs and legends, folk epics and fairy tales come to life in the products of folk craftsmen. One of these images is bird.

With what love V.N.Polunina tells about the figurative expressive Severodvinsk festive bucket-bird as about the things of a bird that swam to us from its distant distant, a good messenger, a hope that needs to be passed on to children (40). And art critic A.K. Chekalov (52) surprisingly beautifully describes this image of a bird as an example of the unity of all plastic means, when both material and form, organically merging with the decor, equally participate in creating the image of bird things, when the master is puzzled not by the transfer of the quality and features of a certain type of birds, but creates a symbolic image of a meal, in which all the elements of Nature participate - Heaven-Water-Earth-Sun, creates a mythological image-thing, thing-metaphor. This is when the decor does not seem devoid of its high purpose, not only to decorate, but above all to carry the magic of things as part of a general ritual.

The bird is a fairy-tale character who can not only sing beautifully, but also give people joy! The depiction of birds on household items (spinning wheels, cutting boards, huts, embroidery and folk toys) carried a tremendous philosophical meaning and significance. Legends have survived about wonderful birds - this is the Bird - Heat from the golden khokhloma (36), these are the Sirin and Alkonost birds from Russian epics, this is the Arkhangelsk wood chip from the Far North.

There is a familiar legend : In the far north, in the Arkhangelsk province, he lived - there was a hunter. Winter in the north is long and cold: now a blizzard, now a blizzard, now a severe cold. And this year, winter was delayed for a long time; chilled out human habitation, and the hunter's youngest son fell ill. He was ill for a long time, emaciated, turned pale; neither the doctor helped, nor the healer. Woe to the hunter. Sorry for my little son. The hunter asked his son: "What do you want?" The boy whispered quietly: "I want to see the sun ...". Where can you get it in the north? The hunter thought, he heated the hearth to make it warmer. But the fire is not the sun. The hunter drew attention to the torch, which glowed in the reflection of the fire. His face lit up with a smile; and he understood how he could help his son. The hunter worked all night. I cut a bird out of a log, cut chips from a splinter, and decorated them with openwork carving. I hung the bird over my son's bed, and the bird suddenly came to life: it whirled, moved in the jets of hot air that came from the stove. The boy woke up, smiled and exclaimed: "Well, here's the sun!" From that day on, the child began to recover quickly. So they attributed miraculous power to a wooden bird and began to call it « holy spirit» , the keeper of children, a symbol of family happiness.

The bird was compared to the sun. Therefore, in ancient times, people believed that birds, with their sonorous singing, drive away the winter gloom, cold and bring spring and warm summer on their wings. Especially people were preparing for the spring. The image of larks was baked from dough, children ran with these gingerbread from house to house, planted them on branches, on thawed patches. So they asked the birds to bring spring on their wings.

Since ancient times, the image of a bird is very often present in the tales of different peoples of the world. It can be evil, it can be kind, but more often the image of a bird brings happiness, light, good luck to people, as it is associated with female images of goddesses. We see the image of a bird in fairy tales: "The Swan Princess", "The Tale of Tsar Saltan", "Finist - the Clear Falcon", "The Firebird", etc.

In decorative art, the image of a bird of happiness can be found in embroidery, in woodcarving, in the folk crafts of Gzhel, Khokhloma, Gorodets painting, Mezen, etc. And how many interesting images of a bird can you find in a folk toy: here is a turkey in a Dymkovo toy. The rich imagination of folk craftsmen turns the most ordinary poultry into fabulous creatures. From three or four primary colors - red, yellow, green and blue on a white background - the artist creates an amazing sight. The origin of the craft is associated with the ancient folk holiday "Whistle", for which throughout the winter craftswomen prepared various whistles in the form of horses, riders, cows, birds. The birds symbolized light, warmth, fertility. They were portrayed in the house so that it was always warm and light. So they attracted the sun and happiness to themselves.

Gzhel (54.55) is associated with tenderness, beauty, harmony, fairy tale. Gzhel products attract everyone who loves beauty, rich imagination and harmony, high professionalism of their creators. Gzhel is the cradle and the main center of Russian ceramics. And here we see amazing fabulous birds surrounded by the harmony of floral motifs and ornaments. It is here that the common European image of the Blue Bird is embodied - a symbol of happiness and a dream come true (43).

The painting, which is now called Gorodets, was born in the Volga region. You will never confuse with anything the joyful colors of Gorodets painting, its birds with outlandish tails in the form of a butterfly's wing. Gorodets painting comes from the icon, and, just like in the icon, there is a lot of symbolism in it. A horse in it is a symbol of wealth, a bird is a symbol of family happiness, and flowers are a symbol of health and prosperity in business (56).

Look at the Gorodets birds - they always have a fat belly. Such an outline of a bird is a tradition, and trying to change it thoughtlessly is the same as depriving the meaning of an ancient symbolic image. Perhaps this "unaesthetic" tummy just symbolizes the birth of a new life and is the key to family happiness! It is necessary to respect the tradition and draw birds the way thousands of artists painted them before us.

The bird in the Gorodets painting has an acutely characteristic silhouette: it has a flexible neck and chest line (sinusoid), a tail in the form of a butterfly's wing, a filamentary beak and legs. This bird color is traditional: the body is black, the tail is cherry (kraplak), the wing is green.

At the Firebird in Khokhloma painting(51) The bird image has rounded, soft shapes that look like petals and are decorated with flowing curls. The bird looks like a flower or some part of it. And how amazing the firebird is (62). She lives in the thirtieth kingdom in the garden of the Tsar Maiden or Koshchei the Immortal. During the day, the Firebird sits in a golden cage, sings paradise songs to the Tsar Maiden. At night she flies into the garden, flies through the garden - it will all be lit up at once! That miracle bird feeds on magic golden apples rejuvenating, which returns strength, health and youth to the sick and the old. For this bird, which brings great happiness to the hero who masters at least one of its feathers, fabulous good fellows go one after another on an unknown path. We see a bird - a symbol of goodness, peace, love! (16.17)

V Petrikov painting images of birds occupy an important place. Birds - peacocks, roosters, cuckoos, etc. - are decorative, rich in color. The image of a bird in Petryakov's painting is beautiful and dressed up (38). You can just admire the works in which the miracle of birds and flowers fabulously reflect the real beauty of nature, the soul of the people, its mythology, songs and love of life and beauty. In the Petrikov painting, floral ornament predominates, of course, but many masters, in addition, depict various birds, both real and fabulous (cockerels, owls, firebirds, rooster, cuckoo, etc.). at the same time, there should always be a balance. Place the birds so that the flowers around them balance the pattern, but there should be free space between them. The selection of the color scale in the Petrikov painting has one of the leading values. Colors are selected in warm, cold or mixed colors. The center is necessarily highlighted with the main color, the main elements do more than others and more magnificent. To emphasize the basis of the composition, accents can be highlighted with a contrasting color.

The charm of art Zhostovo- in the sincerity, immediacy of its content and expressive means. Garden and wild flowers, both real and born by the artist's imagination, collected in bouquets and spread out in wreaths and garlands, magical birds and horses - these themes find a lively response in every person, awakens a sense of beauty (18). The means of Zhostovo's art are vividly expressive. It has its own artistic system, pictorial techniques and distinctive style, formed from an alloy of ornamental folk paintings. Each tray is a unique work of authorship.

Majestic and solemn, the embroidery compositions conveyed to us the echoes of the pagan mythology of the ancient Slavs. Scientists believe that female figures, images of horsemen and birds were symbols of Nature and the subordinate elements of fire, water and air.

Horse in Russian folk tales it was often compared to a bird. He also personified all natural phenomena associated with rapid movement - wind, storm, clouds. But he was the male symbol of the Gods. The horse was often depicted as fire-breathing, with a clear sun or moon in its forehead, and golden-maned (44).

Horse- a peasant breadwinner, the mainstay of the entire economy, one of the most ancient and beloved images of folk art. The horse was just as necessary for the peasant to grow his grain as the sun itself. The sun took on the form of a horse, and horse as if acquiring the power of the sun. It was believed that folklore horses, like birds, have wings. They easily jumped from mountain to mountain, across seas and rivers and were distinguished by their size and strength.

“The horse is running - the earth trembles, sparks pour from the eyes, smoke from the nostrils in a column. He passes mountains and valleys between his legs, covers small rivers with his tail, and jumps over wide ones, ”says one of the tales.

In folk tales, heroes find wonder horses inside the mountains, in dungeons, behind cast-iron doors, on iron chains. The image of the mountain is a reinterpreted image of the cloud, and the doors and chains metaphorically represent the chains of winter. For many peoples, the morning dawn was revered in the form of a goddess who brings the brilliant horses of the sun to the sky, and the evening dawn was considered a goddess who leads the horses to rest.

In the fairy tale "Vasilisa the Beautiful", the heroine went to Baba Yaga to ask for fire in order to turn on the light in the house, and met fairy riders in the forest: "Suddenly a rider gallops past her: he is white, dressed in white, the horse under him is white and the harness on a horse white - it began to dawn in the yard. She goes on, as another rider gallops: he is red himself, dressed in a red and on a red horse - the sun has begun to rise. When the girl got to Baba Yaga's hut, she looks: there is a rider still riding: he is black, dressed in all black and on a black horse, galloped to the gate and disappeared - night has come. " When they met, Baba Yaga explained to Vasilisa that the white rider is a clear day, the red rider is the clear sun, and the black rider is a dark night.

The wooden horse, made for children's play, was often all decorated with solar signs or flowers . It was believed that this protects the child from evil forces. Images of horses can often be seen on household items (bucket handles, spinning wheels , spindles, on clothes) . In Russian villages, skates still adorn the roof of the roof, the upper part of which bears the same name: this is the ancient Russian God Rod protects his relatives, covering the hut with his wonderful wings. It is a widespread custom to nail a horseshoe for good luck over the entrance to the house.

We see images of birds and horses in folk embroidery, in gold embroidery, in lace-making, in tiles. The creation of these images in arts and crafts, I think, is inexhaustible.

We go to a fairy tale along the road of Goodness and Beauty. Good luck!

1.3 Russian artists - fairy tale illustrators

Have you ever been to a hut on chicken legs? Among many Russian painters who sought inspiration in folk history, culture and poetry, V. Vasnetsov occupies a special place. The artist admitted: “I have always been convinced that ... in a fairy tale, in a song, an epic, the whole image of the people, internal and external, with the past and the present, and perhaps the future, is reflected…” (8, p. 476). In his painting "Guslars" are the storytellers. In their songs-epics, the images of their favorite heroes come to life, becoming a kind of chronicle of folk history.

The name of Viktor Mikhailovich Vasnetsov is one of the most famous and beloved among the names of Russian artists of the 19th century (37). His creative heritage is interesting and multifaceted. He was called "the true hero of Russian painting." He was the first among painters to turn to epic and fairy-tale subjects. “I only lived in Russia” - these words of the artist characterize the meaning and significance of his work. Pictures of everyday life and poetic canvases on the subjects of Russian folk tales, legends, epics; illustrations for the works of Russian writers and sketches of theatrical scenery; portrait painting and ornamental art; painting on historical subjects and architectural projects - this is the creative range of the artist.

But the main thing that the artist has enriched Russian art with are works written on the basis of folk art. What paintings by Viktor Vasnetsov can be considered the most famous? Anyone will answer that these are the famous fairy-tale works of the master: "Heroes", which some will call "Three heroes", gentle, thoughtful "Alyonushka" and, perhaps, no less famous creation - "Ivan Tsarevich on the Gray Wolf". Why are these works so clearly imprinted in the memory of most people? Perhaps this is due to the primordially Russian images or soulful fairy-tale motifs that are passed on to new generations, already at the level of national memory and in some ways even became a reflection of the history of Ancient Russia.

"Heroes"(1881-98), which we admire, took about thirty years of the master's life. It was for so long that he was looking for that single idea of ​​three images that personify the soul of the Russian people. Ilya Muromets is the strength of the people, Dobrynya Nikitich is his wisdom, Alyosha Popovich is the connection between the present and the past with the spiritual aspirations of the people.

Viktor Vasnetsov himself admitted that the fabulous "Alyonushka" (1881) is his favorite work, for the creation of which he traveled from Moscow to his native places. And to convey more soulfulness to the image, he attended many concerts of classical music. Each twig, flower and blade of grass sings a song of praise to Russian nature, praising the beauty, freshness and, at the same time, the sad reverie of the main character.

No less famous work - "Ivan Tsarevich on the Gray Wolf" (1889) reveals for us the author as a deep connoisseur of everything that is called "the soul of the Russian people." The fairy-tale characters of the beauty and the prince tell about a time when people knew how to listen and hear nature.

The works of the great master of Russian painting became the world image of everything Russian and folk in painting at the end of the 19th century.

Another great illustrator - Bilibin Ivan Yakovlevich(1876-1942). He expressed his impressions not only in images, but also in a number of articles (4, 5). Creating design cycles for editions of fairy tales since 1899 (Vasilisa the Beautiful, Sister Alyonushka and brother Ivanushka, Finist Yasny Sokol, Princess Frog, etc., including Pushkin's fairy tales about Tsar Saltan and the Golden Cockerel), he developed - in the technique of ink drawing, highlighted watercolor - a special "Bilibino style" of book design, continuing the traditions of ancient Russian ornament (4).

In the summer of 1899, Bilibin left for the village of Yegny, Tver province, to see for himself the dense forests, transparent rivers, wooden huts, hear fairy tales and songs, and began to illustrate Russian folk tales from Afanasyev's collection. Over the course of 4 years, Bilibin illustrated seven fairy tales: "Sister Alyonushka and brother Ivanushka", "The White Duck", "The Frog Princess", "Marya Morevna", "The Tale of Ivan Tsarevich, the Firebird and the Gray wolf "," The Feather of Finist Yasn-Sokol "," Vasilisa the Beautiful ". Bilibin did not create individual illustrations, he strove for an ensemble: he drew the cover, illustrations, ornamental decorations, font - he stylized everything like an old manuscript.

Bilibin draws the same cover for all seven books, on which he has Russian fairy-tale characters: three heroes, the bird Sirin, the Serpent-Gorynych, the hut of Baba-Yaga. All page illustrations are surrounded by ornamental frames like rustic

Bilibin. Red horseman window with carved platbands. They are not only decorative, but also have content that continues the main illustration. In the fairy tale "Vasilisa the Beautiful", the illustration with the Red Horseman (the sun) is surrounded by flowers, and the Black Horseman (night) is surrounded by mythical birds with human heads. The illustration of Baba Yaga's hut is surrounded by a frame with toadstools (what else could be next to Baba Yaga?). But the most important thing for Bilibin was the atmosphere of Russian antiquity, an epic, a fairy tale. From genuine ornaments and details, he created a semi-real, semi-fantastic world.

The peasant needed a horse to grow bread, just like the sun itself. The images of the sun and the horse in folk art merge together. In the poetic ideas of the people, the rider on horseback freed the spring from winter captivity, unlocked the sun, opened the way for spring waters, after which spring came into its own. This motif in folklore was embodied in the image of Yegor the Brave.

Baba Yaga is a fairy-tale character living in a deep forest. “On the stove, on the ninth brick, lies a Baba Yaga, a bone leg, a nose has grown into the ceiling, snot hangs over the threshold, titties are wrapped around a hook, she sharpens her teeth” (2); "Baba Yaga gave them drink, fed them, took them to the bathhouse", "Baba Yaga, a bone leg, rides in a mortar, rests with a pestle, sweeps a trail with a broomstick." V. Dal writes that Yaga is “a kind of witch or an evil spirit under the guise of V. Bilibin Baba Yaga.

Ornamental lines clearly limit colors, define volume and perspective in the plane of the sheet. Filling a black-and-white graphic with watercolors only emphasizes the specified lines. For framing drawings by I.Ya. Bilibin makes generous use of ornament (33).

In our XXI century, the century of narrow specialization, the figure Nicholas Roerich is a unique phenomenon. A great artist, archaeologist and researcher, Nicholas Roerich has a world renown as a painter and scientist. Less familiar to us is his literary heritage. For example, few people know that Nikolai Konstantinovich also wrote ... fairy tales. With wonderful allegorical images, with the alluring beauty of mysterious worlds. The heroes of his fairy tales are carriers of lofty feelings and thoughts that have eternal universal value (39). They dispose to deep thought, tune in to high feelings, direct to spiritual improvement.

S.K. Makovsky about N.K. Roerich :»… There are artists who know the secret of lonely spirituality in man. They look intently into the faces of people, and each human face is a world separate from the world of all. And there are others: they are attracted by the secret of a blind soul, close, common for entire eras and Nicholas Roerich. Gallery of paintings by the artist - Zmievna, 1906 peoples , penetrating the whole element of life , in which the individual drowns , like a weak stream in the dark depths of an underground lake ”(30, pp. 33-35).

The faces of people on Roerich's canvases are almost invisible. They are the faceless ghosts of centuries. Like trees and beasts, like quiet stones of dead villages, like monsters of folk antiquity, they are merged with the elements of life in the fogs of the past. They are without a name. And they don't think, they don't feel lonely. They do not exist separately and as if they never existed: as if before, for a long time, in an obvious life, they lived with a common thought and a common feeling, together with trees and stones and the monsters of antiquity.

An artist whom one involuntarily wants to compare with Roerich - M.A. Vrubel. I'm not talking about the similarities. Roerich does not resemble Vrubel neither by the nature of his painting, nor by the suggestions of his ideas. And yet, at a certain depth of mystical comprehension, they are brothers. Different temperaments, different forms and themes of creativity; the spirit of incarnations is one. Vrubel's demons and Roerich's angels were born in the same moral depths. From the same gloom of unconsciousness, their beauty arose. But Vrubel's demonism is active. It is more frank, brighter, more magical. More proud.

“In the painting Pan, the Greek god turns into a Russian goblin. Old, wrinkled, with bottomless blue eyes, knotted fingers like twigs, he seems to emerge from a mossy stump.

The characteristic Russian landscape acquires a fantastic witchcraft color - endless wet meadows, a winding rivulet, thin birches frozen in the silence of the twilight falling to the ground, illuminated by the crimson of a horned month (64).

The swan princess is a character in Russian folk tales. In one of them, in the retelling of A.N. Afanasyev tells about the transformation of twelve birds - swans into beautiful girls, into another - about the appearance of the wonderful Swan-bird on the shore of the blue sea (2).

Sadko (The Rich Guest) is the hero of the epics of the Novgorod cycle. At first, Sadko was a poor guslar who amused the Novgorod merchants and boyars, playing the gusli on the shore of Lake Ilmen. By his play, he won the favor of the Water King. The king demanded the hero to marry his daughter, who was to be chosen. In gratitude for the salvation, Sadko built churches in Novgorod in honor of the Most Holy Theotokos and Nikola Mozhaisky.

Fairy tales were illustrated by many wonderful artists: Tatyana Alekseevna Mavrina, Elena Dmitrievna Polenova, Gleb Georgievich Bedarev, each of their work is an amazing image that immerses us in a mysterious magical world.

2. Fabulous images in the children's fine figureness

I believe that we perceive the world around us through the prism of our attitude and experience: for one, the world is beautiful, joyful, happy, for another - ugly and cruel, but he is alone, and this is the truth. What you are, so is the world around you. Observe the beautiful, do good and strive for the truth - then the world around you will delight and support you. The world needs to be loved, and it will respond in kind. Each of us is responsible for the world around us, but above all for our inner world. Learning to manage your feelings and emotions, to control your thoughts is a huge job. I really liked the representation of a man in the form of a chariot by Socrates (emotions are horses, a chariot is a body, and a charioteer is a mind). We differ from animals in that we have a mind, which means that it is important not to impose our opinions, but to lead the children to their own discoveries, to give them freedom of choice and creativity. I believe that an artist is a magician who creates an artistic image himself and is able to change the world around him.

The teacher's work is not visible with a simple glance, we will see it in many years, when a particle of our soul speaks to people already grown up by that time. The main thing for me is to see not so much a student as a person, to form such important values ​​and meanings as: love for mother, family, respect for people, gratitude, honesty, creative work. But the main thing is to see the joy in the eyes of the child, although this does not always work out.

2.1 Allittle (magic) flower

The lesson "Scarlet (magic) flower" was taught in 2 "A" grade. There are 23 students 7-8 years old in the class. The leading activity of this age period is educational and cognitive. The intellectual and cognitive sphere of the psyche is mainly developing. The younger school age is distinguished by the following new formations: arbitrariness, an internal plan of action, self-control, elements of reflection, which I took into account when planning the lesson. Children are engaged in the visual arts for the 2nd year, the class is strong, there are many creative children, well prepared for the perception of the proposed material, showing interest in the subject. The classroom has a comfortable psychological environment.

Theme of the year for the program "Fine Arts" (School of BM Nemensky) "Art and You", the theme of the quarter: "Reality and Fantasy", the topic of the lesson: "Image and Fantasy" (25). The lesson continues the cycle of lessons of the first quarter. In the previous lesson, children learned to peer into the real world, not only to look, but also to see. This lesson introduces students to the role of fantasy in human life, images of Russian fairy tales - herbs and flowers. The main goal that I set for myself is to bring students to an understanding of the importance of nature in human life, the healing role of plants, as well as the fact that each plant has its own purpose, each flower has a soul; through acquaintance with the story "Fern color" (Appendix 1) to show that a glow appears above the plant - "when a color appears", and not a flower (the ancients said so: "Fern color" plants have a glow, which means that plants also have a soul); prove that magic exists not only in Russian fairy tales, but is revealed to those who believe in it.

The purpose of the lesson set for the students:

create an image of magic herbs(scarlet flower) based onKhokhloma painting.

The goal of rock, set for itself:

· Teach children to admire the beauty of their native nature and the work of folk artists, develop the need to communicate with the Russian fairy tale, develop their emotional sphere, fantasy and imagination, the ability to create an artistic image.

· Teach to listen and hear, look and see, observe, participate in dialogue, express your opinion, reflect on the image of the real and magical.

· Show the principles of working with gouache to create images of magical herbs and a scarlet flower.

The content of the educational material is: acquaintance with the world of the Russian fairy tale as the basis for the formation of the ability to develop visual representations, images of magic herbs and flowers, as well as the simplest elements of Khokhloma painting in order to create a new artistic image. The main idea of ​​the lesson is in the development of the spiritual and emotional sphere of the child through the animation of nature, the awareness of its role as a person's helper both in the world of fairy tales and in real life.

The development of children's artistic taste was carried out by demonstrating reproductions of works by artists I. Shishkin, N. Roerich, Y. Kamyshny, and others, as well as works by Khokhloma masters. The development of imagination and fantasy was carried out by students creating their own image of a scarlet flower and magic herbs.

During the lesson, the following teaching methods and forms of student cognitive activity were used: play for attention; creating a problematic situation when updating the dialogue method. For example, children are asked a question to which there is no answer:

Does the fern bloom? (The fern flower is endowed with magical properties. According to the ancient Slavic belief, the one who picked the fern flower on the night of Ivan Kupala will find happiness, will be able to understand the language of animals. But in fact, these plants never bloom, so the magical fern flower simply does not exist in nature).

Is there a scarlet flower? (There is a scarlet flower in fairy tales. It’s magical, even if we don’t see it, we can imagine it, invent it ...).

The lesson uses a conversation, demonstration of the presentation "Magic flowers and herbs" and discussion of its content, demonstration of working techniques - elements of Khokhloma painting, performing drawing exercises

elements of painting: "sedge"; "Blades of grass"; "Droplets"; Antennae; "Curls"; "Bushes"; "Berries". Lingonberry berries, currants, mountain ash were painted with a poke sign (ear sticks); gooseberries, strawberries - with a brush.

Then she offered to close her eyes and imagine the image of a scarlet flower: “And suddenly the merchant sees a flower of scarlet color blooming on a green hillock, beauty unprecedented and unheard of, whatever you say in a fairy tale, or write with a pen ... And the merchant said in a joyful voice: what is not more beautiful in this world, what my younger daughter, beloved, asked me. " Imagine what kind of flower and grass you found in the forest, what kind you will draw.

The main stage of the lesson was the implementation of the practical task. Practical work almost did not require individual teacher assistance. The previous stages of the lesson motivated the children well for independent creative work. This is also the most successful part of the lesson, which helped to reveal the creativity of each child.

The success of achieving the goal of the lesson was determined by the prevailing microclimate of mutual trust between the teacher and students, the students' enthusiasm for the content of the educational material. The guys quickly joined the lesson, watched the presentation with interest and actively answered questions, picked up very beautiful words about the scarlet flower - divine, wonderful, affectionate ...

I have completed the assigned tasks. The lesson has reached its goal. They summed up the result, saw the results, everyone liked them - they were happy smiles, everyone learned something. Children's work was completed successfully. I liked drawing on a dark background, making pokes, drawing flowers. Everyone liked the work of Haustova Inola, the flower really turned out to be magical, they even remembered the poem of Stepan Shchipachev "The blue expanses themselves do not see themselves ...", where there are amazing lines:

“And it's sweet to know if you are walking in the woods,

Do you go down the mountain path:

With your insatiable eyes

Nature admires itself. "

Students watched with admiration the images of their native nature, their reflection in painting and arts and crafts, with interest they worked on the creation of new artistic images. However, not everyone fully thought out the composition, got carried away with jabs. Some didn’t have enough weed, many forgot about the leaves.

An atmosphere of cooperation developed during the lesson. At the final stage, students developed the ability to assess the results of artistic and creative activities of their own and their classmates. As a result, an exhibition of students' works was organized in the class.

2.2 The image of the things of the bird

The bird of things in Slavic mythology was the mother of the gods Gamayumn, singing divine songs to people, giving hope, foreshadowing the future for those who know how to hear the secret. Gamayun knows everything in the world. She was considered a bird of paradise, a messenger of the gods, who sang the Book of Songs to people.

The sacred birds were the bearers. They were birds with a woman's face: the sweet-sounding Sirin - a dark force, a bird of sorrow, a messenger of the underworld; wonderful Alkonost - a bird of joy, a bird of paradise; the Phoenix bird reborn from the ashes; Stratim is the mother of all birds; Firebird, swan girls (swans) (7).

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Federal Agency for Culture and Cinematography

Oryol Regional College of Culture and Arts

Course work

by discipline

"Folk Artistic Creativity"

Theme « Fairy tales and their meaning »

Prepared by: student

IV course folk

choir department

Nabatova V.

Teacher: Vasilyeva N.I.

Eagle - 2005

Plan

1. Research and study of fairy tales

2. What is a fairy tale?

3. Basic principles of fairy tales

4. The value of fairy tales in human life.

Introduction

In the report on the activities of the Department of Ethnography and the commissions of the Imperial Russian Geographical Society under it in 1914, the name of Joseph Fedorovich Kallinikov is among the awarded: “Silver medal of the Society: to Joseph Fedorovich Kallinikov for collecting ethnographic materials in the Oryol province, in particular for collecting fairy tales (recall given by Academician A. A. Shakhmatov) ".

Writer, poet, translator and ethnographer I.F.Kallinikov, a native of Orel / 1890 - 1934 /, was the successor of the traditions of his fellow countrymen P.V.Kireevsky and P.I. ...

While still a student at the St. Petersburg Polytechnic Institute. Peter the Great Kallinikov, being interested in folk art, wrote down the texts of folk songs and fairy tales in the Oryol region. He brought the notebook of the collected materials to the editorial office of the journal "Russian wealth", where he served as editor of the literary department of his former teacher at the Oryol gymnasium, writer FD Kryukov. He advised the novice ethnographer to show the notes to Academician A. A. Shakhmatov.

During these years, with the support of Shakhmatov, expeditions and business trips were undertaken in Russia and abroad to replenish information on dialectology, the history of Russian writing, everyday poetry and folklore, to compile dictionaries. It is also known that in the 1910s the Geographical Society took the lead in collecting and publishing fairy tales. Obviously, Shakhmatov was attracted by Kallinikov's materials, and the geography of the places was also interesting.

The first trips to the Oryol region to collect ethnography and folklore were made by P. I. Yakushkin at the beginning of the 19th century; the few fairy tales collected by him were included in the collections of A. N. Afanasyev. In the future, the richest fairy tale folklore of the Oryol region was not purposefully collected and studied. “Collect fairy tales in the village,” was Shakhmatov's answer.

Having received from the Imperial Geographical Society the legitimation of the separation of the Russian language and literature, a phonograph and a financial allowance, Kallinikov goes on his first expedition to the Oryol region.

Kalinnikov's fairy tales and his reports, made at the meetings of the fairytale commission of the Russian Geographical Society, were published in the journal "Zhivaya Starina" / 1913. -1915 /, and the main works - "On the collection of fairy tales in the Oryol province" and "Storytellers and their fairy tales" - were released in separate prints. The work of the young ethnographer was duly appreciated by Academician A. A. Shakhmatov, who gave feedback for the presentation of Kallinikov for a silver medal.

On March 4, 1915, Academician Shakhmatov, on behalf of the Russian Imperial Academy of Sciences, informed Kallinikov: “I have the honor to inform you that the Department of the Russian Language and Literature, having heard your note dated February 7 of this year, decided to allocate for you to publish the fairy tales you recorded during 1915, 1916 and 1917 for five hundred rubles, giving you the choice of printing. "

In 1916, the Oryol printing house started printing Kallinikovskiye tales - "Folk tales of the Oryol province", but with interruptions / publication was suspended in 1919 / it was possible to print only the first seven and a half printed sheets.

Kallinikov himself highly appreciated the importance of folklore expeditions in the Oryol province for further writing. In his autobiography / 1932 / he wrote: “Every little thing in the village hut is imprinted in my memory. Folklore is a school of life for a writer. Recordings and conversations deepened knowledge of the language and enriched the stock of expressions. The source of my studies was the Oryol province, where my fellow countrymen Yakushkin and the Kireevsky brothers collected folklore materials, who gave Oryol fairy tales to Pushkin. From the same source Turgenev, Leskov, Andreev, Bunin and other compatriot writers drew their reserves of language ... This was the Russia of Gogol, Zamyatin, Leskov and partly Pechersky, the Russia of landowners, the feudal bourgeois and monastic ”. In a letter to his Orlov classmate E. Sokol, Kallinikov admitted in the last years of his life: “... to live. "

With all the variety of techniques and approaches, the word has always been powerful and all-determining in folk art. Its action, which does not know any barriers, is already perceptible in the simplest types of fairy tales! The child is introduced to them, as soon as he acquires the ability to understand words, to connect concepts with pleasures, the role of a fairy tale in a child's life increases until the peak of his attraction to it comes that adults even feel inconvenience from the demands of children to tell new fairy tales or endlessly repeat already known ... "Parents often tell the child and non-children's fairy tales, when

There is no fairy tale without fiction. This applies equally to any fairy tale - fairy tales of adults and children's fairy tales, but in a children's fairy tale, fiction exists only for the sake of didactics, instruction, even the most valuable one. The fiction of a children's fairy tale has a different meaning.? A fairy tale first of all recreates in the imagination pictures and scenes that in themselves make the child an empathizer of everything that is being discussed. The child follows the course of the action in the fairy tale, joyfully accepts a happy ending. The emotional experience of compassion for the characters, in the involvement of the child in the struggle for victory, is the most important value of a fairy tale - especially a magical one.

1. Research and study of fairy tales

The main side of the complex problem of the origin of fabulous fiction in fairy tales - the establishment of a connection between fabulous fiction and ritual - means to clarify a lot in the origin of fabulous fiction. However, this does not mean that its nature is understood.

According to the conviction of primitive man, in the field, in the forest, on the waters and in the dwelling - everywhere and constantly he encounters a living, conscious force that is hostile to himself, looking for an opportunity to send bad luck, illness, misfortune, fires, ruin. People tried to escape from the power of a mysterious, vengeful and cruel force, furnishing their lives and everyday life with the most complex system of prohibitions - the so-called taboos (Polynesian word meaning "no"). The prohibition (taboo) was imposed on individual actions of a person, on his touching certain objects, etc. Under certain circumstances, violation of the prohibition entailed, in the opinion of primitive people, dangerous consequences: a person was deprived of protection, became a victim of the outside world. These ideas and concepts of people gave rise to numerous stories about how a person violates any of the everyday prohibitions and falls under the power of forces hostile to himself. Fairy tales clearly convey the feeling of constant danger that a person is exposed to in the face of invisible and always powerful mysterious forces that dominate the world around him.

The fabulous fiction is evidence of the mighty scope of the living thought of a person who, in ancient times, tried to go beyond the limits of practice, severely limited by the possibility of historical time.

There are several types of magic: partial magic is also characteristic of the fairy tale about the death of Koshchei. The death of Koshchei, the tale says, at the end of a needle, a needle in an egg, an egg in a duck, a duck in a hare, a hare in a chest, a chest on a tall oak. The hero knocks down an oak tree, breaks a chest, catches a hare, and then a duck that has fluttered out of a hare, retrieves an egg hidden in it and, finally, takes a needle in his hands, breaks the tip - and so “no matter how much Koschey fought, no matter how much he darted in all directions, and he had to die. "

The magic of touch is reflected in an episode of the fairy tale about a magic mirror: it tells how a girl tied a ribbon around her neck and immediately fell asleep. The evil monster devours the heart of the slain serpent in order to equal him in strength and beat the hero who defeated the serpent itself. Contact with things in a number of magical customs entails the achievement of the desired result. This is contact magic.

The types of verbal, i.e. verbal, magic are diverse in fairy tales. By a word, the dungeons open - just say: "Doors, doors, open!" Ivan whistled and barked with a valiant whistle, a heroic shout: “Sivka-burka, prophetic kaurka! Stand in front of me like a leaf in front of the grass. "

A fairy tale reproduces a miracle as a phenomenon arising from the performance of ritual and magical actions.

A flying carpet, a self-assembled tablecloth, running boots, a wonderful hoop, a magic mill, a wooden eagle, some wonderful box in which a whole city with palaces, settlements and surrounding villages is hidden, do not contain anything magic. This is fiction. A fabulous fiction associated with the oldest economic magic has survived only as an echo of some customs to which primitive people attributed magical consequences.

A fairy tale conveys various types of love magic well.

Love magic knows the "spoken" drink and food, having tasted which a person will be "bewitched".

In the tale of Vasilisa the Wise, the heroine returns the love of her betrothed in this way: she took and put a drop of her blood into the dough for the cake intended for the wedding table. They made a pie and put it in the oven. When they cut off a piece of the pie, a dove and a dove flew out of it. The dove cooed, and the dove says to him: “Coo, coo, dove! Do not forget your dove, as Ivan forgot his! "

Corruption, evil eye, sending, admitting harm - in a word, various types of harmful magic are also fully reflected in fairy tales. Damage in a fairy tale narration is usually carried out through direct contact: it is enough just to drink some kind of potion, take inside some kind of pretended food, touch the pretended object. Fairy tales tell about some kind of wonderful water, a sip of which turns a person into an animal. On a sultry day, orphans Alyonushka and her brother wandered in distant lands: The brother of water got drunk from a puddle and became a kid ("Sister Alyonushka and brother Ivanushka").

The nature of magical actions in a fairy tale coincides with the types and types of folk magic. In science, the following types of magic are distinguished: healing, harmful (damage), love, economic. Among the minor types of magical rites, it is necessary to pay special attention to the magic of pregnancy and birth. All kinds of these magical ritual actions are found in fairy tales.

2. What is a fairy tale?

Three factors influenced the poetic style of animal tales: the connection with ancient beliefs about animals, the impact of social allegory, and, finally, the predominant childhood principle.

The fact that tales of animals were historically preceded by legends and stories about animals led to a faithful and accurate reproduction in them of some of the essential habits of animals, even after the actions of animals began to be perceived as human actions. The fabulous fox, like the real fox, loves to visit the chicken coop. She lives in a burrow. Once in a deep and narrow pit, he cannot jump out of it. The fox cannot stick its head into a narrow jug.

Each of the animal tales recreates detailed everyday stories. The speech of animals and birds, the internal motives of their actions, actions, the most everyday environment - everything testifies to the ordinary and familiar. Fairy tale characters live the lives of ordinary people.

The comic content of animal tales develops a child's sense of the real and simply amuses, activating the child's mental strength. However, fairy tales also know sadness. How contrasting are the transitions from sad to merry in them! The feelings expressed by a fairy tale are as vivid as the emotions of a child. A child may be upset, a trifle, but just as easy to console him. A bunny is crying at the threshold of his hut. He was kicked out by the Goat Dereza. He is inconsolable in grief. A rooster came with a scythe:

I walk in boots, in gold earrings,

I carry a scythe - I will take your head down to the very shoulders,

Get off the stove!

The goat rushed out of the hut. There is no end to the joys of the hare. It is also fun for the listener ("Koza-Dereza").

Distinguishing a fairy tale from other species is not always easy. There was an attempt to take as the main thing in fairy tales that the "central subject of the story" in them was made a man, not an animal. But it turned out to be difficult to use this feature as a criterion, since the specificity of fairy tales was not revealed. Not a single fairy tale is complete without a miraculous action: sometimes an evil and destructive, sometimes a kind and favorable supernatural force intervenes in a person's life. The fairy tale is replete with miracles. There are terrible monsters here: Baba Yaga, Koschey, a fiery serpent; and wonderful items: a flying carpet, an invisibility hat, running boots; miraculous events: the resurrection from the dead, the conversion of a person into an animal, a bird, into some object, a journey to another, distant kingdom. A wonderful fiction lies at the heart of this kind of fairy tale.

Fairy tales are wonderful works of art. Our memory is inseparable from them. In the simple-minded and simple stories about the fox and the wolf, the heron and the crane, the fool Emela, the miracles of the frog princess, we are attracted by the sharpness of social meaning, the inexhaustibility of invention, the wisdom of life observations. With extraordinary generosity, in all its splendor, the treasures of folk colloquial speech are revealed in fairy tales. With its flexibility, subtlety of meaning, diversity and abundance of shades, the word in a fairy tale amazed even the most discerning artists.

In fairy tales, violence, robbery, treachery, and black deeds are invariably condemned. A fairy tale helps to gain a foothold in the most important concepts of how to live, on what to base an attitude to one's own and other people's actions. Fairy-tale fiction affirms a person in a bright acceptance of life, full of worries and accomplishments. Chasing social evil, overcoming life obstacles,

Scientists have interpreted the tale in different ways. Some of them, with absolute obviousness, sought to characterize the fabulous fiction as independent of reality, while others wanted to understand how the attitude of folk storytellers to the surrounding reality was refracted in the fantasy of fairy tales. Should any fantastic story be considered a fairy tale in general, or should we single out non-fairy prose in oral folk prose and its other types? How to understand the fantastic fiction, without which none of the fairy tales can do? Here are the problems that have long worried

No fairy tale is unthinkable without fantasy. This understanding is close to our everyday concepts of a fairy tale. Even today, wishing to point out the inconsistency of any speech with the truth, we say that it is a fairy tale.

Afanasyev made the following conclusion: "No, the tale is not an empty fold, in it, as in all the creations of an entire people, there could be and indeed there is no deliberate lie, no deliberate deviation from the real world." Afanasyev was right, although he proceeded from a special, mythological understanding of the genesis of the tale.

All the features of folklore are characteristic of a folk tale. The storyteller depends on the traditions in which the collective artistic work of other storytellers reaches him. Traditions, as it were, dictate to the storyteller the content and form of his creation, the basic poetic techniques, a special fabulous style developed and developed over the centuries. These traditions imperiously interfere in the creative process of the folk master storyteller. Oral tales, recorded from storytellers, are the creations of many generations of people, and not just these individual masters.

A fairy tale, its images, plots, poetics are a historically established phenomenon of folklore with all the features inherent in mass collective folk art.

3. Basic principles of fairy tales

The tale has its own varieties. There are fairy tales about animals, magic, short stories. Each genre variety of fairy tales has its own characteristics, but the specific features that distinguish one variety of fairy tales from another were formed as a result of the creativity of the masses, their centuries-old artistic practice.

A fairy tale as a genre of folklore is characterized by the features of art traditionally created by the people together. This is what unites a fairy tale with any kind of folklore.

Fairy tales convince us that they are dominated by the desire of storytellers to express a conceived idea.

In fairy tales, a whole world of fantastic objects, things and phenomena has been created. The copper, silver and gold kingdoms, of course, have their own laws and orders, which are not similar to those known to us. Everything is unusual here. It is not for nothing that fairy tales warn the listener at the very beginning with words about an unknown distant kingdom and an unknown thirty-ninth state, in which “wrong” events will take place and an intricate and amusing story of a successful hero will be told.

The fairy tale awakened and brought up the best qualities in people.

The fairy tale is a lie, but there is a hint in it

A lesson to good fellows.

Fairy tales are a kind of ideological, aesthetic and ethical code of the people; moral and aesthetic concepts and ideas of the working people, their aspirations and expectations are embodied here. The fabulous fantasy reflects the features of the people who created it.

The tale emerged from the everyday life of the people: it talks about matchmaking, it laughs at arrogance, etc. It conveys many truths true to reality.

Each tale carries a generalized thought. No matter how many correct observations of the habits of animals and birds are filled with fairy tales, they always talk about the general. Here too, the conventionality of fiction corresponds to the breadth of artistic generalizations.

The general ironic design of the tale is sometimes accompanied by the rhythm of the narrative. Such are "Ruff Ershevich", "Ryaba Chicken", "Kolobok", the tale "Bean Seed" about how the rooster choked on grain, the tale "No goat with nuts". The ironic style of such tales is expressed in deliberately emphasized rhymes and consonance of words in the course of the story. Simple rhymes sound mocking and comic: “In the old years, in the old days, in the red spring, in the warm summers, there was such a somorota, the world was a burden: mosquitoes and midges began to appear, bite people, let hot blood pass” (“Misgir”).

Most fairy tales use a wealth of imagery hidden in colloquial speech. After all, a fairy tale is primarily prose. In fairy tales, there are also rhythmic style cliches: beginnings like “once upon a time”, endings like “began to live and live and make good money”, typical formulas with characteristic inversions: “A fox came running and speaks”; “Here comes the fox and speaks to the peasant,” etc. True, these properties of the fabulous style are in the nature of narrative speech.

Speech accurately conveys the mental and psychological state of the speaker.

The word in the tale fully conveys the oral performance game.

The image is revealed in its entirety only in the entire verbal text and, only proceeding from it all, one can understand the oral performance of the storyteller-actor. Play and word in a fairy tale are so strongly connected that they can be considered as mutually complementary principles only while recognizing the determining role of the verbal text, which contains all the richness of the fairy tale narration.

4. The value of fairy tales in human life

A large number of images of a fairy tale took shape in ancient times, in the very era when the first ideas and concepts of man about the world arose. Of course, this does not mean that every magical fiction originates from ancient times. Many images of a fairy tale took shape in the relatively recent past. In each new era, a fairy tale has at its disposal a certain fantastic material that generations have passed on from old people, preserving and developing the old oral and poetic traditions.

The Russian people have created about one hundred and fifty original fairy tales, but there is still no strict classification of them.

Fairy tales are specific artistic works of folk art. Each of them has its own idea, which is clearly expressed in all versions of the same fairy tale plot.

Fairy tales as separate phenomena of art can be compared only in terms of essential historical-folklore, ideological-figurative characteristics.

The people understood that justice is not achieved by miracles, that real action is needed, but the question is - what? Fairy tales do not answer this question. The storytellers with a magical narration wanted to support the very desire of the people for justice. The successful outcome of fairy tales is undoubtedly utopian. He testified to the time when the people were painfully looking for a way out of tragic social conditions.

In the fairy tale, their poetic forms, a certain composition, and style were also established. The aesthetics of beauty and the pathos of social truth determined the stylistic character of the fairy tale.

There are no developing characters in a fairy tale. It reproduces, first of all, the actions of the heroes and only through them - the characters. The static nature of the characters depicted is striking: a coward is always a coward, a brave man is brave everywhere, an insidious wife is constant in insidious plans. The hero appears in a fairy tale with certain virtues. So he remains until the end of the story.

Russian beauty and elegance distinguish the language of a fairy tale. These are not half-tones, these are deep, dense colors, emphasized definite and sharp. The tale is about a dark night, about a white light, about a red sun, about a blue sea, about white swans, about a black raven, about green meadows. Things in fairy tales smell, taste, bright color, distinct shapes, the material from which they are made is known. The armor on the hero burns like heat, he took out, as the tale says, he pulled his sharp sword, pulled a tight bow.

The fairy tale is an example of national Russian art. It has its deepest roots in the psyche, in the perception, culture and language of the people.

The fantasy of fairy tales was created by the collective creative efforts of the people. As in a mirror, it reflected the life of the people, their character. Through a fairy tale, its thousand-year history is revealed before us.

The fantasy fiction had a real foundation. Any change in the life of the people inevitably led to a change in the content of fantastic images and their forms. Once it arose, the fabulous fiction developed in connection with the entire set of existing folk ideas and concepts, undergoing new processing. Genesis and changes over the centuries explain the peculiarities and properties of fiction in a folk tale.

Developed over the centuries in close connection with the way of life and the whole life of the people, the fantastic fantasy is original and inimitable. This originality and uniqueness are explained by the qualities of the people to whom the fiction belongs, the circumstances of origin and the role that the fairy tale plays in the life of the people.

So what is a fairy tale?

Fairy tales are collectively created and traditionally preserved by the people oral prosaic artistic narratives of such real content, which, if necessary, requires the use of methods of implausible depiction of reality. They are not repeated in any other genre of folklore.

The difference between fabulous fiction and fiction that is found in other folklore works is initial, genetic. The difference is expressed in a special function and in the use of fiction.

The originality of fiction in fairy tales of any type is rooted in their special content.

The conditioning of artistic forms by life content is the main thing for understanding any poetic genre. It is impossible to grasp the originality of a fairy tale if you pay attention only to its formal properties.

Having tried to understand and study fairy tale folklore, I became convinced that folk tales were never a baseless fantasy. Reality appeared in the fairy tale as a complex system of connections and relationships. The reproduction of reality is combined in a fairy tale with the thought of its creators. The world of reality is always subdued to the will and fantasy of the storyteller, and it is this strong-willed, active principle that is most attractive in a fairy tale. And now, in an age that has crossed the threshold of the wildest dreams, the ancient thousand-year-old fairy tale has not lost its power over people. The human soul, as before, in the past, is open to poetic charms. The more amazing the technical discoveries, the stronger the feelings that affirm people in the sense of the greatness of life, the infinity of its eternal beauty. Accompanied by a string of fairytale heroes, man will enter the coming centuries. And then people will admire the art of fairy tales about a fox and a wolf, a bear and a hare, a kolobok, geese-swans, Koschey, fire-breathing snakes, Ivanushka the fool, a rogue soldier and about many other heroes who have become the eternal companions of the people.

Fairy tales are not only a wonderful creation of art, their social, artistic and pedagogical value is undeniable and generally recognized. In simple stories about the cunning Fox and the gullible Wolf, the fool Emela and the princess Nesmeyan, about the evil Koschey and the fearless good fellow, etc. attracts the inexhaustibility of invention, the wisdom of life observations. The tale allows you to familiarize children with the spiritual culture of their people and enrich them with knowledge about the history of their homeland.

The great German poet Friedrich Schiller wrote that only a person knows how to play, and only then is he fully human when he plays. This idea was very popular with the remarkable teacher V.A. Sukhomlinsky. Paraphrasing it, he said that there is something sisterly, close between a fairy tale and a game, that only a person knows how to create fairy tales; and, perhaps, he is most of all a person when he listens to a fairy tale, composes or remembers it. Fairy tales call for the transformation of the world, creation on the basis of humanity and beauty, condemning evil, violence, destruction, robbery.
wrote: “Dear friend, young educator, if you want your pupil to become smart, inquisitive, quick-witted, if you have the goal of affirming in his soul sensitivity to the subtlest shades of thoughts and feelings of other people, educate his mind with the beauty of words, thoughts , and the beauty of the native word, its magical power is revealed, first of all, in a fairy tale.

A fairy tale is the cradle of thought, manage to put the upbringing of a child so that he retains exciting memories of this cradle all his life. The beauty of the native word - its emotional colors and shades - reaches the child, touches him, awakens self-esteem when the heart touches the heart, the mind - the mind. The poetic sounding of a native word becomes music for a child when he picks up an instrument himself, creates music himself, sees and feels how his music affects other people. "

A fairy tale is the most ancient genre of literary creation; a work of fiction of a magical, adventurous or everyday character, in which the plot, generated by reality, is colored with elements of fantastic fiction. There are folk tales that have long existed as a widespread genre of oral folk art, as well as literary tales created by writers as an original literary work.
The tale is the first genre of detailed literary storytelling available to children from an early age. Throughout preschool childhood, a fairy tale is one of the main sources of knowledge and development of the surrounding world. The moral experience accumulated and polished by mankind over thousands of years, a child needs to learn in just a few years. And the fairy tale plays an exceptional role in this. Its content is determined by ideas about moral ideals, about good and evil, embodied in the images of positive and negative heroes. Ultimately, good triumphs in a fairy tale, positive heroes prevail over the forces of evil and injustice. This creates an emotionally positive life background for the child, forms an optimistic perception of the world. Fairy tales with their miracles and magical transformations are most consonant with the child's attitude. They convey moral concepts not in the form of a dry edition, but in a bright, captivating, clear in meaning and amusing form. At the same time, they acquaint the child with a complex and contradictory life, reveal the essential phenomena and laws of reality. Enriching the child's social experience, fairy tales educate an aesthetic attitude towards nature, towards man, towards work and creativity.

The educational impact of a fairy tale is determined by the fact that it, first of all, affects the feelings of the child, emotionally coloring the edifying content. Listening to a fairy tale, a child in his imagination identifies himself with positive heroes, lives with their noble feelings, participates in their exploits. Parents should be alerted if the child's empathy is associated with negative characters: this usually indicates some kind of mental distress.

The life of a modern child is full of complex games, television and video films, and there is less and less space for a fairy tale. Moreover, many parents, considering fairy tales to be naive and primitive, try to focus the child's attention on more useful, from their point of view, activities. However, one should not forget that the formation of social and moral maturity is one of the most important tasks of upbringing. And therefore, a fairy tale should not be underestimated, which is not only a means of entertainment, but also an educational tool.

Fairy tales are very useful material for the development of cognitive interest. In the surprises of the folklore world, there are many figurative and subtle logical situations available to children.
In the book “A Tale as a Source of Children's Creativity” it is especially noted that “a creative function is inherent in a fairy tale, that is, the ability to identify, form, develop and realize the creative potential of a person, his figurative and abstract thinking. The fantastic world of a fairy tale, the presence of surreal, variable elements in it, the ability to "invite to co-authorship" allow the listener to overcome stereotypes of thinking, complexes of alienation, awaken the "sleeping", undetected creative (poetic, musical, dance, acting, pictorial, graphic, etc. .) capabilities.

Forming the habitual skills, techniques, actions, skills of children, adults should arouse their interest not only and not so much in the end result, but in the very process of creating new plots or new images. This corresponds to the active nature of creativity. This stage, the stage of the formation of creative potential, presupposes the organic unity of both reproductive, standard, traditional, and innovative, creative elements. Adults are required to mobilize all the methods, techniques that form the creative qualities of a person: imagination, verbal abilities, observation, figurative memory, the ability to improvise, to expressive movement, to predictive thinking, to comparative evaluative activity, i.e. to everything that forms the psychological creative potential of the individual.