Drawings of the temple for Sunday school children. Work program for additional education of the Sunday school "iso"
Agreed I approve
_________________ ________________________
Rector of the temple Director of Sunday
Nativity of Christ educational group
Ilovay village - Nativity Church of the Nativity of Christ
Archpriest Sergiy Baev p. Ilovai - Rozhdestvenskoe
“__”__________2015 Meshcheryakova Ekaterina Yurievna
"__"__________2015
Working programm
"Art"
(the initial stage)
Pervomaisky village
Explanatory note
Art- God's gift to people.It connectsuswith Godthen whenwe are tryingperceive it with spiritual gaze:in Godtruthand beauty.beautyand harmonyworld, conveyed by the artistin the work,attracts people's attention and makes them thinkabout the Creatorof the universein hisintegrityand diversity.
The Fine Arts program has been compiledbasedsecondary school programs,taking into accountfeaturesand traditionsChristianOrthodox faith.
Art education– one of the most important ways to develop a child’s personality, his spirituality, and creative potential.
Required in early age to establish a harmonious understanding of the world and a correct attitude to reality, which is possible only on the basis of moral values and spiritual foundations. It is important to reveal to children the purpose of art, as serving a person to elevate his spirit, the original purpose of the artist is to create works that serve, first of all, as spiritual food, representing the totality of beauty and highly moral, good meaning.
The study of the fine arts program is aimed at mastering basic artistic writing skills, gaining knowledge about composition, color, drawing, and decorative image techniques plant forms and forms of the animal world, which contributes not only to artistic and aesthetic education, but also to the spiritual and moral development of the child. I want to notespiritual and moral orientation , as it helps shape the child’s personality through the means of spiritual art.
The program is designed for one year of study in the amount of 28 hours.
The Fine Arts program is aimed at achieving the following goals and objectives.
Target : development of moral and aesthetic responsiveness to the beautiful in life and art, providing freedom for artistic and creative solutions to the general educational task.
To achieve this goal, it is necessary to solve the followingtasks:
Consolidation of material studied in religious subjects.
Development of associative thinking, fantasy, imagination.
Formation of knowledge about the names of primary and composite colors, their emotional characteristics.
Formation of an emotional atmosphere in the classroom, an atmosphere of love and camaraderie, gradually drawing children into awareness of the topic, joint dialogue, reasoning, etc.
Establishing strong connections with the outside world, with a person (with oneself), attracting personal experience children (emotional, visual, everyday).
Using the method of decorating the classroom interior with children's works, designing exhibitions.
Using the free choice method in a system of restrictions (topic content, color, shape, design, etc.).
Developing perseverance, patience, accuracy, and mutual assistance skills.
Fine arts activities help develop morality and cognition Christian culture, strengthening faith in God, the ability to see and experience the beauty of the world around us as God’s creation, to introduce us to the world of art, to introduce us to works of painting and icon painting, artists and icon painters.The classes are closely related to the lessons of the Law of God and church calendar.
When organizing educational and cognitive activities in the fine arts, it is appropriate to use variousworking methods: verbal; visual; practical; problem-search.
Fine arts classes are accompanied by conversations about love, compassion, respect and mercy for people, helping the sick and weak, caring for one’s neighbor, good and evil.
Along with educational activities, the program includes exhibitions, holidays (Christmas, Easter, etc.), competitions, during which children have the opportunity to gain additional knowledge about folk traditions.
At mastering the program "Fine Arts" must be achieved as followsresults of training and education.
Subject results.
Pupils mustknow:
basics of color science, composition;
leading elements of visual literacy: line, stroke, tone in drawing and painting;
concepts: linear perspective, main, secondary, compositional center;
distinctive features of the main types and genres visual arts.
Pupils mustbe able to:
convey the mood at work;
convey on paper the shape and volume of objects, correlate them in space and, in accordance with this, change sizes;
perform decorative and design work on given topics;
master gouache and watercolor paints, graphic material, use available material.
Personal results:
show interest in first creative success comrades;
show an emotional and value-based attitude towards the world around you;
demonstrate the ability to aesthetically and morally evaluate works of art,
assessing one’s own and others’ actions and the phenomena of life around them;
respond creatively to the events of life around you;
the ability to apply acquired knowledge in one’s own artistic and creative activities.
Educational and thematic plan
No.
Topic name
Number of hours allocated to study the topic
Theoretical
Practical
Introduction. "Our amazing world»
The creation of man. Drawing "Butterfly".
Nativity of the Virgin Mary. Drawingautumn landscape in watercolor.
Cover Holy Mother of God. Decorative drawing. We decorate the scarf with patterns.
The law of God and the affairs of people. Drawing “Good deeds of people.”
Biblical characters.Drawingpositive characters.
The word is a gift God's man.
The Virgin is introduced into the temple. Drawing winter landscape in watercolor.
Angel and angelic world. Manufacturing Christmas decorations"Angel".
. Still life drawing.
Nativity. Drawing- landscape “Christmas night”
From Christmas to Epiphany. Winter landscape "By the river".
Meeting of the Lord. Drawing of a little chick.
Gospel pRitchie. Drawing on the theme of one of the parables.
Annunciation of the Most Holy Lady. Drawing “First spring flowers”
Entry of the Lord into Jerusalem.Drawing a willow twig
Easter - great holiday. Easter patterns. Painting eggs.
Temples. Frescoes.
"Day Slavic culture and writing." Letter drawing.
Main content of the program
“Our Wonderful World” (1 hour)
Theory. God is in nature. What did the incomprehensible God do to reveal Himself to people?.
Practical part. Drawing of the world by representation.
The Creation of Man (1 hour)
Theory. Man is the crown of creation. Soul of man. Life of the first people in Paradise.People care about wildlife and the whole world.
Practical part. Drawing "Butterfly". The Garden of Eden on the wings of a butterfly on one side, autumn on the other.
Nativity of the Virgin Mary (1 hour)
Theory. Tradition about the birth of the Virgin Mary. Mother of God icons.Variety of color shades.
Practical part. Drawing autumn landscape in watercolor.
Intercession of the Blessed Virgin Mary (1 hour)
Theory. History of the Feast of the Intercession of the Blessed Virgin Mary.
Practical part. Decorative drawing. We decorate the scarf with patterns.
The Law of God and the Works of Men (1 hour)
Theory. Giving of the Law. How to live according to God's commandments?
Practical part. Drawing “Good deeds of people”
Biblical characters (2 hours)
Theory. The life of people after the Fall. Positive and negative characters Bible.
Practical part. Drawingpositive characters.
The Word is God's gift to man (2 hours)
Theory.About prayer. The Word of God and the Word of Man.
Practical part. Decoration of a short prayer with an ornament based on ancient Russian motifs.
The Virgin is introduced into the temple (1 hour)
Theory. The Most Holy Theotokos as the forerunner of the New Testament. A story about the feast of the Entry into the Temple of the Blessed Virgin Mary.
Practical part. Drawing winter landscape in watercolor.
Angel and angelic world (2 hours)
Theory. Who are Guardian Angels?The meaning of color in Orthodoxy.
Practical part. Making a Christmas tree toy “Angel”.
(2 hours)
Theory. Fasting is work, but joyful work. Types of fasting.
Practical part. Still life drawing.
Nativity (2 hours)
Theory. Christmas as a picturesque subject. The Nativity of Christ in Russian painting.
Practical part. Drawing- landscape “Christmas night”
From Christmas to Epiphany (2 hours)
Theory. Christmas time. History of the celebration of Christmastide in Rus'.Baptism of the Lord in the Jordan. Epiphany water and its wonderful properties.
Practical part. Winter landscape “By the river”
Presentation of the Lord (1 hour)
Theory. History of the holiday.Folk customs and signs for Candlemas. Color spectrum.
Practical part. Drawing of a little chick.
Forgiveness Sunday (1 hour)
Theory. Forgiveness Resurrection is like a bridge leading to Lent. Maslenitsa.A series of objects in a still life as an expression of the semantic principle.
Practical part. Drawing a still life “Pancake meal”
Gospel p Ritchie (2 hours)
Theory. What is a parable? Compositional techniques to highlight the main and secondary.
Practical part. Drawing on the theme of one of the parables.
Annunciation of the Blessed Virgin Mary (1 hour)
Theory. The Annunciation is one of the most common subjects in Russian icon painting.
Practical part. Drawing “First spring flowers”
Entry of the Lord into Jerusalem (1 hour)
Theory. Palm Sunday. The meaning of the holiday. A variety of shades in the surrounding reality.
Practical part . Drawing a willow twig
Easter is a great holiday (2 hours)
Theory. Holidays celebration and celebration of celebrations. History of the holiday. A variety of forms of objects in the surrounding reality. The dependence of the placement of the pattern on the shape of the object.
Practical part . Easter patterns. Painting eggs.
Temples. Frescoes (1 hour)
Theory. Temple concept. The meaning of the temple in Orthodoxy. Architecture and symbolism of the temple.
Practical part. Graphic design of the architectural appearance of the temple.
Day of Slavic Culture and Literature (1 hour)
Theory. Slovenian teachers Cyril and Methodius. Slavic is the liturgical language of the Church.Decorativeness color scheme in composition.
Practical part. Letter drawing.
The work uses various unconventional techniques drawing.
Poking with a hard semi-dry brush
Means of expression: texture of color, color.
Materials: hard brush, gouache, paper of any color and format, or a cut out silhouette of a furry or prickly animal.
the child dips the brush into the gouache and hits the paper with it, holding it vertically. When working, the brush does not fall into the water. Thus, the entire sheet, outline or template is filled. The result is an imitation of the texture of a fluffy or prickly surface.
Finger painting
Means of expression: spot, dot, short line, color.
Materials: bowls with gouache, thick paper of any color, small sheets, napkins.
Image acquisition method: The child dips his finger into the gouache and puts dots and specks on the paper. Each finger is painted with a different color. After work, wipe your fingers with a napkin, then the gouache is easily washed off.
Palm drawing
Means of expression: spot, color, fantastic silhouette.
Materials: wide saucers with gouache, brush, thick paper of any color, large format sheets, napkins.
Image acquisition method: the child dips his palm (the entire brush) into the gouache or paints it with a brush (from the age of 5) and makes an imprint on paper. Draw with both right and left hands, painted different colors. After work, wipe your hands with a napkin, then the gouache is easily washed off.
Rolling paper
Means of expression: texture, volume.
Materials: napkins or colored double-sided paper, PVA glue poured into a saucer, thick paper or colored cardboard for the base.
Image acquisition method: The child crumples the paper in his hands until it becomes soft. Then he rolls it into a ball. Its sizes can be different: from small (berry) to large (cloud, lump for a snowman). After this, the paper ball is dipped in glue and glued to the base.
Foam rubber impression
Means of expression: stain, texture, color.
Materials: a bowl or plastic box containing a stamp pad made of thin foam rubber, soaked in gouache, thick paper of any color and size, pieces of foam rubber.
Image acquisition method: the child presses the foam rubber onto a stamp pad with paint and makes an imprint on the paper. To change the color, use another bowl and foam rubber.
Foam impression
Means of expression: stain, texture, color.
Materials: a bowl or plastic box containing a stamp pad made of thin foam rubber, impregnated with gouache, thick paper of any color and size, pieces of foam plastic.
Image acquisition method: the child presses the foam onto a stamp pad with paint and makes an imprint on the paper. To get a different color, both the bowl and the foam are changed.
Imprint with crumpled paper
Means of expression: stain, texture, color.
Materials: a saucer or plastic box containing a stamp pad made of thin foam rubber, impregnated with gouache, thick paper of any color and size, crumpled paper.
Image acquisition method: the child presses the crumpled paper onto a stamp pad with paint and makes an imprint on the paper. To get a different color, both the saucer and the crumpled paper are changed.
Wax crayons + watercolor
Means of expression:
Materials: wax crayons, thick White paper, watercolor, brushes.
Image acquisition method: child draws with wax crayons on white paper. Then he paints the sheet with watercolors in one or more colors. The chalk drawing remains unpainted.
Candle + watercolor
Means of expression: color, line, spot, texture.
Materials: candle, thick paper, watercolor, brushes.
Image acquisition method: child draws with a candle on paper. Then he paints the sheet with watercolors in one or more colors. The candle pattern remains white.
Information and logistics
ensuring the educational process
Successful teaching requires certain conditions:
availability of a study room, blackboard;
availability of necessary technical means: computer, media projector;
Availability teaching aids: illustrated material, reproductions of icons and paintings by artists;
videos, disks;
tools and materials:colored and simple pencils, brushes, scissors, glue, watercolor paints, pastel, gouache paints, wax crayons, watercolor paper, colored paper, cardboard.
Educational literature for teachers
Abramova M. A. Conversations and didactic games in fine arts lessons: 1st – 4th grade. / Skrebtsova M. A. – M.: Humanit. Ed. VLADOS Center, 2003.
Shalina L. S. Lessons for the little ones / L. S. Shalina // Young artist. – 1991. - No. 6. – p. 45.
Vinogradova G. Drawing lessons from life: A manual for teachers. -M.: Education, 1980.
Educational literature for students and parents
Alekseev S.V. Encyclopedia of Orthodox Icons. – St. Petersburg, 2005.
Dreznina M.G. "Every child is an artist." M., 2002
Barilo O.S. Orthodoxy for children. – Kostroma, 2002.
Kameneva E. What color is the rainbow. – M.: Children's literature, 1977.
Form for monitoring and assessing the achievements of students
A priority role in assessing results in the Fine Arts program is played by such forms of control and evaluation as presentation creative works at exhibitions for the holidays, as well as participation in various competitions.
Groups D-2 and N-1.
Teacher: Soboleva Maria Lvovna
Elective subject program:
Art and visual circle
Art education is one of the most important ways to develop a child’s personality, his spirituality, and creative potential.
It is necessary at an early age to establish a harmonious understanding of the world and a correct attitude towards reality, which is possible only on the basis of moral values and spiritual foundations. It is important to reveal to children the purpose of art, as serving a person to elevate his spirit, the original purpose of the artist is to create works that serve, first of all, as spiritual food, representing the totality of beauty and highly moral, good meaning.
Art classes in Sunday School are closely related to the lessons of the Law of God and the church calendar. Topics close to children 5-8 years old are also offered (for example: winter landscape, pets).
Purpose of the item
Development of moral and aesthetic responsiveness to the beautiful in life and art, providing freedom for artistic and creative solutions to the general educational task.
Tasks
- Consolidation of material studied in religious subjects.
- Development of associative thinking, fantasy, imagination.
- Formation of knowledge about the names of primary and composite colors, their emotional characteristics.
- Formation of an emotional atmosphere in the classroom, an atmosphere of love and camaraderie, gradually drawing children into awareness of the topic, joint dialogue, reasoning, etc.
- Establishing strong connections with the outside world, with a person (with oneself), involving children’s personal experiences (emotional, visual, everyday).
- Using the method of decorating the classroom interior with children's works, designing exhibitions.
- Using the free choice method in a system of restrictions (topic content, color, shape, design, etc.).
- Developing perseverance, patience, accuracy, and mutual assistance skills.
Thematic planning
- My family
- Autumn flowers. Let's draw asters.
- Autumn landscape. Application made of colored paper
- Protection of the Blessed Virgin Mary. Decorative drawing. Decorate a scarf with patterns
- Animal world. Paper handling
- Still life - fruit
- Pets. We sculpt from plasticine
- Christmas: Angels appearing to the shepherds. Working with paper.
- Pets
- Magi. Application
- Christmas time, sleigh rides
- Garland of snowflakes
- Christmas tree decorations
- Drawing a landscape Christmas night
- Snowflakes (decorative drawing).
- Cross Decorative Drawing
- We draw with cereals. Winter landscape
- Theme of kindness - portrait kind person
- Presentation of the Lord Pigeon chicks, applique using wool.
- Friendship is a portrait of my friend
- Our temple. Painting with paints
- Postcard gift for dad
- Postcard gift for mom
- First spring flowers
- Easter patterns (painting eggs)
- Easter card.
- Easter gift ( teamwork)
- General lesson
Literature
- Abramova M. A. Conversations and didactic games in fine arts lessons: 1 - 4 grades. / Skrebtsova M. A. - M.: Humanit. Ed. VLADOS Center, 2003.
- Dreznina M. G. “Every child is an artist.” M., 2002
- Lykova I. A. " Visual activities V kindergarten: planning, lesson notes, guidelines. Senior group" M., 2006
- Lykova I. A. “Visual activities in kindergarten: planning, lesson notes, methodological recommendations, school preparatory group.” M., 2006
- Shalina L. S. Lessons for the little ones / L. S. Shalina //Young artist. - 1991. - No. 6. - p. 45.
Explanatory note
The teaching of drawing in our school is somewhat contrary to the currently generally accepted methodology. The school has three main goals:
Do not ruin the natural gift of a student capable of drawing;
- teach how to draw and develop the artistic taste of children who do not have any innate inclination to draw;
- prepare students for further professional training without causing harm.
At our school, children learn artistic perception of the world in literature lessons, folklore games, labor training, calligraphy. In art classes he is taught to draw and love this activity. From 6 to 12 years of age, children are offered, in a specifically developed sequence, a simplified (non-professional) method of detailed sketching of various objects of animate and inanimate nature. The child completes the drawing with his own frame. In addition to this work, children learn to draw from memory, but only those objects that have been drawn in detail.
The need for independent creativity is satisfied in reading and history lessons, when children are asked to illustrate various stories (6 hours a week).
Older children spend most of their art lessons copying artists' works.
The works to be copied have been carefully selected. They should show the author's personal kindness and love for the world around them. By “pulling” himself up to the author’s vision of the world, the child sometimes overcomes his own negative inclinations.
By the age of 12, many children acquire a strong interest in artistic creativity, the desire to capture what you see yourself, delicate taste, a sense of composition, color.
At the age of 13, with this baggage you can already move on to vocational training.
The school may have an icon-painting class, a class of masters decorative creativity, painting and graphics.
But if the school’s capabilities do not allow further additional training, then we can be satisfied that the children at least have developed the skills and desire to draw.
Thus, the goal of active education has been achieved: love and ability for the subject have been cultivated.
I year of study
Explanatory note
In the first year of study, drawing lessons are closely intertwined with other academic subjects.
During reading lessons, children color drawings made by the artist in an alphabet coloring book. During history lessons, children illustrate the teacher's story ( homework); illustrate learned poems; a lot of drawings are done in science lessons; in Church Slavonic, the Cyrillic alphabet (alphabet) is drawn rather than written.
Thus, children's desire for independent creativity is satisfied.
Therefore, in drawing lessons, children are taught how to draw a specific object. At the same time, given the young age of the students, not a professional approach is used (it can only cause boredom and despair), but a simplified method. Children do it step by step outline image, for example, a ladybug.
While drawing, you need to use riddles, songs, and fairy tales about the creature being depicted. If you tell something good about the object being captured while working, then it will be much better. The child must love what he depicts. You should get maximum effort from your child, especially when coloring. Children, at their own discretion, add whatever their heart desires to the drawn object. The drawing is “taken” into a frame, which the child can come up with himself if he is first shown 5-6 possible options framing of works.
It has been noticed that children open to the world, fill the space around the depicted object big amount bugs, flowers, etc. Their frames are intricate, everything is painted brightly, colorfully and carefully. In other words, there is a desire to involve other creatures in the work of creative Love (and in the Christian understanding, the act of Creation).
Indifferent to life, lethargic or very selfish children leave the space around a poorly drawn object deserted. Certain mental anomalies are also visible in sharp angular lines; the desire to make depicted objects smaller indicates not only visual defects. The choice of color is also characteristic. Craving for dark colors(purple, blue, black) is always alarming: expect an inadequate reaction from a child in an ordinary everyday situation. Pale, fawn shades do not always indicate spiritual sophistication, but more often that the baby has the soul of an old man. He is lethargic, apathetic, and does not like fun children's games.
Copying drawings devoid of these shortcomings forces the child to strain his skills as much as possible. mental strength, introducing oneself to the generosity of the artist’s soul, to his spiritual health.
And vice versa, by forcing only a child with moral problems to express himself, you once again record and aggravate the illness of his soul.
Drawing lessons in our school, to one degree or another, heal the child's soul.
1. Carrying out contour drawings of plant objects. (Mushroom, acorn, cherries, apple, bunch of rowan, pine cone, spruce twig, leaves).
2. Making frames with floral patterns.
3. Making frames with geometric patterns.
4. Making contour drawings of various insects. ( Ladybug, fly, ant, beetle, butterfly, bee).
5.Performing contour drawings of pets. (Cat, pig, dog, cow, lamb).
6.Performing contour drawings of animals. (Bunny, bear, fox, hedgehog, mouse).
7. Making contour drawings of birds. (Chicken, cockerel, hen, gosling, duckling, sparrow, owl, swan).
8.Performing contour drawings of fish. (Whale, crucian carp, ruff, pike).
9. Performing contour drawings of inanimate objects. (Sun, bagel, cup, samovar, stove, dress, mittens, fur coat, boots).
10.Coloring with colored pencils.
11.Drawing from memory of previously depicted objects of living and inanimate nature.
12.Performing drawings with a complex composition consisting of several previously drawn objects.
All outline drawings are performed from the board, in detail, behind the teacher.
Methodical features
All types of work are not performed in strict sequence, but interspersed with each other. Drawings are made in one plane. For a six-year-old child, contour and color similarity are important. To prevent drawing objects of living and inanimate nature from becoming a boring activity for a child, these objects are given some anthropomorphism, for example: a bear has pants on, a cockerel has boots, a chicken has a bow on its head, the rays of the sun are braided, mushrooms and acorns have braids. , apples have eyes, mouths, arms and legs, etc. As already mentioned, you need to tell a fairy tale, or ask a riddle, or sing a song about the object being drawn.
If the material is not selected, then in your own words talk about the benefits that the depicted animals, plants, etc. bring to people and nature. When drawing a lamb, you can ask children a number of questions and tell them the answers. For example: What do we make from lamb wool? What could be better than felt boots in our busy winter? What are mittens made of? Who knows how feta cheese melts in your mouth?
When drawing a birch leaf, remember how much good a birch tree gives people: firewood, birch bark, tar, bathhouse brooms, etc.
Let me remind you once again: love initiates every work. The child must love what
what he depicts.
Riddles offered to children should be figurative, and several riddles can be asked about one subject.
By the end of the first year, children should be able to:
1. Draw in detail, following the teacher, a number of objects of living and inanimate nature, make a contour drawing.
2. Carefully color your outline drawing with colored pencils.
3.Draw a frame with a floral or geometric pattern for your drawing.
4. Draw individual objects of living and inanimate nature from memory (about 10 pieces).
5. Draw a picture with a complex composition, where there are several objects that the child can draw from memory.
6. Use colored pencils to trace contour lines bright felt-tip pen. Coloring with a felt-tip pen is prohibited.
II year of study
Explanatory note
The second year of study duplicates the classes of the first year. As before, children learn contour drawing and coloring with colored pencils. The composition of the drawing becomes more complex, the poses of the depicted birds and insects change, i.e. a different contour drawing is done.
Ill year of study (8-9 years).
Explanatory note.
In the third year of study, the work of years I and II continues. The scope of drawn objects expands, the composition becomes more complex, and the variability of frames increases.
Lessons are accompanied by reading works of art(teacher reads).
By the end of the third year, children should be able to:
1.Draw a rather complex composition from the board after the teacher
drawings.
2.Draw about 30-40 objects in different positions from memory
(pose).
3.Create an intricate pattern for the frame.
IV year of study (9-10 years)
Explanatory note
In the fourth year of study, detailed sketches from the board are supplemented by drawings of postcards and various pictures. At this stage, an individual approach is important. It is necessary to take into account the innate drawing abilities of individual students and give them more complex pictures to draw. Since the teacher knows his students well (the children have another teacher in almost all subjects), he should feel what he wants to draw in this moment child: plant or home interior, or an illustration for a fairy tale.
In the fourth year, work on a three-dimensional image begins. The first three-dimensional drawings are flowers and the temple of God.
The teacher shows how to convey volume using color on the board with colored chalks (you can also use white ones) using the example of a rose.
In the fourth year of study, children are offered a detailed drawing of initial letters from ancient Russian handwritten books. (“Gospel”, “Apostle”), screensavers and frames are copied from the same books.
By this time, in Church Slavonic lessons, children had learned to write short texts, so it is possible to take this skill to a fundamentally new level in drawing lessons. After all, writing Cyrillic letters is an art.
Also in the fourth year of study, the first design work is done. Children make their own little illustrated books of proverbs or ABC pages.
1. Work on a three-dimensional drawing. Conveying volume using color.
Image of flowers (poppy, rose, rosehip, peony, pansies). Detailed drawing by the teacher.
2. Image of the temple. Three-dimensional drawing (Church of the Intercession on the Nerl, Novgorod St. Sophia Cathedral). Detailed drawing by the teacher.
3. Drawing three-dimensional pictures.
4. Drawing photographs.
5. Drawing from memory.
6. Work on the Cyrillic alphabet.
7. Work on the design of your books or just pages.
8. Copying initial letters, frames, headpieces from Old Russian manuscripts.
9. Drawing contour drawings (in detail).
Methodical features
Starting this year, an individual approach is possible. All children should begin to learn how to convey volume using color. But those students who, after repeated attempts, cannot do it beautifully, can continue to draw pictures with a flat image. This remark applies to both design work and the drawing of complex capital letters and sketches.
Children who have innate drawing abilities are the first to master these types of work. Others can try again in the middle or at the end of the year, or postpone these activities until the next class.
All students periodically draw from memory, come up with Cyrillic letters, come up with their own frames for drawings, and copy individual objects of living and inanimate nature after the teacher.
By the end of the fourth year, children should be able to:
1. Make contour drawings from memory of about 30 living and nonliving objects
nature (in different positions).
2. Color carefully with colored pencils.
3. Choose your own colors when coloring with a pencil.
4. Carry out a three-dimensional drawing of a rose, poppy, peony, pansy.
5. Draw some initials after the teacher, copying from the board
letters from old handwritten books, copy frames, screensavers.
V year of study (10-11 years old)
Explanatory note
In the fifth year of study, the work of the fourth year continues.
Working with a pen is fundamentally new. Students complete some pen and ink drawings using shading.
Drawing lessons are supported by calligraphy lessons, during which children write Cyrillic letters and sayings from the Holy Scriptures with a pen.
The fifth year of study completely coincides with the content of the fourth year. The only difference is that new postcards with three-dimensional images are used for sketching; as before, preference is given to images of beautiful flowers and temples. Last year's postcards are distributed to students who were unable to cope with a three-dimensional drawing before.
By the end of the 5th year, children should learn to perform the same work as by the end of the 4th grade, but at a higher level.
Individual students must make little books. (“ABC”, “Proverbs”, “Studies from the Holy Scriptures”, books with folklore texts).
VI year of study (11-12 years old)
In the sixth year of study, the most capable children begin to work in watercolors. Coloring with colored pencils for 5 years and working with pen and ink prepared the children to quickly master the watercolor technique.
In the sixth year, work continues on drawing pictures (postcards), which are replaced by photographs for some children. Copying photographs prepares children for sketch work in the open air. Drawings are made from memory, and the ability to work with ink and pen is improved. Children learn to illustrate books.
By the end of the sixth year of study, students should be able to:
1. Make sketches from memory of about 40 objects of living and inanimate nature.
2. Use color to convey volume.
3. Draw in pen and ink using shading. Make your own handwritten book and decorate it artistically.
4. Some students should be able to draw photographic images.
5. Some students should be able to use watercolors.
VII year of study (12-13 years old)
In the seventh year of study, professional drawing training begins. If the school’s capabilities do not allow it to have an icon-painting class, a class for decorative painting, graphics, etc., the work that was carried out in the sixth grade can continue for up to 15 years.
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He serves the Lord with prayer and tells children about the beauty of God's world with the help of paints. Hierodeacon Paisiy (Novozhenov) from the Holy Dormition Monastery in the city of Staritsa near Tver - amazing person. The author of books and films on spiritual topics, he is engaged in icon painting, makes watercolor illustrations for children's books and runs an art studio at the monastery educational center “Obraz”. The drawings of Father Paisius' students are lively and pure, touching the soul, causing tenderness and joy. A conversation with him about how and what the monk-artist teaches the children.
- Father Paisiy, where do the guys come to the monastery circle from? Are these the children of parishioners?
The great joy is that my current students are absolutely secular children. These are ordinary schoolchildren who do not go to church, children are not from Orthodox families. There are even a few Muslim girls. To be honest, I don't know how this happened. This is some kind of miracle! Just think: secular children come to a monastery to see a monastic teacher. Sami! Not because their parents brought them. This is a wonderful opportunity to tell the children about God and Orthodoxy.
The most difficult option for me is mixed groups. Children aged 6-14 years study in them. There are exactly 50 children, they are divided into two groups of 25 students. The students are mostly schoolchildren in grades 4-7, but there are older and younger artists.
- How did you recruit current students? And how long have you been teaching art?
In 2003, I started teaching fine arts at the Palace of Culture. I liked this work so much and inspired me so much that now I can’t imagine my life apart from teaching. Since then, I have been constantly involved in organizing clubs, studios, Sunday schools and electives - in Sergiev Posad, Rzhev, Tver. Now in Staritsa, in the monastery where I was sent six months ago.
When I arrived in this city, the first thing I did was go to the schools - we have three of them. I walked through the classes, in each of them I opened a large folder with the best children's drawings of previous students and showed it to the children. He invited everyone to the art studio at the monastery. A lot of schoolchildren came - as many as 44 people! Then they started bringing friends, brothers and sisters, and in the end we have 50 children.
Once upon a time, when I was in second grade, a young art teacher from an art school came to class, showed me her graphic works, and invited me to school. I liked the drawings so much that I went to study. And now I use this technique myself.
- Father, how are you conducting your classes? What do you pay attention to?
The most important and most difficult thing is to create the right learning atmosphere. On the one hand, the teacher needs to try to make it interesting for children - so that a good, cheerful, friendly environment is formed in the classroom. It is also important to structure lessons so that students acquire skills and knowledge, and reveal talents.
I constantly tell them that they must develop their talents, be purposeful, work every day on self-development, try to determine their inclinations. And there are already small glimpses. One day a little girl came up to me, her name is Mashenka, and said in a whisper: “Father Paisiy, it seems I have my own talent.” Let me explain what I'm talking about. What I draw on the board, this student redraws exactly. The other kids mostly improvise on the theme “what Father Paisius showed us,” and this, of course, also has its own meaning. Unique things are obtained, sometimes even in the style of Picasso. And this girl very accurately follows what is shown on the board, correctly conveys the proportions and contours, and even guesses the angle of the line. It was as if my drawing had been transferred to her piece of paper - only in a smaller form. Before that, I constantly said: you have a special talent, develop it. She only giggled in response. And then I thought of it in my little head.
By convincing children that they are gifted, I do not provoke pride, but teach them to take a responsible attitude towards their talents
Here I would like to clarify: by convincing the children of their talents, I do not provoke pride in them, but teach them a responsible attitude towards their talents. Gifts are from God. And we cannot neglect them, but, on the contrary, we must increase them. Therefore, I constantly instill in children that time is precious, that life is built from a young age.
Sometimes I take the book “The Tale of Lost Time” by Evgeniy Schwartz and read excerpts from it aloud while they draw. So that the understanding of the preciousness of time enters deeper into the children, especially in adolescence, when their future life. Sometimes, unnoticed by others, I lean over someone, helping to draw, and quietly say some useful word.
- How do you deal with mischievous people?
If something bad is clearly manifested in one of the children, without making fun of him in front of the whole class, I give advice in private. Even big spoilers must be tolerated. Reasonable, of course. But you shouldn’t cut off a diseased branch ahead of time, while there is still hope of healing. I have good example about this theme. A student came to me - with the most bad behavior. In winter, when I left school, he would throw a lump of snow at me, the teacher and the clergyman, in the back. And he did a lot of other bad things. Both the principal and the teachers constantly pointed him out to me and prepared him to be expelled from Sunday school.
I thought: well, I’ll put up with him a little longer. I was sure that the boy was doing this out of stupidity, not out of malice. After all, I felt giftedness and passion in him. I think it was because he was very emotional, hyperactive. I called him for conversations, told him what he needed to hear about his behavior, tried to reach the very depths of his heart. And, you know, soon there was victory. Here, perhaps, it was not our conversations that were the reason, maybe some life circumstances, but soon the boy became more serious. This, of course, is the Lord working on those who show hope. This spoiler became the best student. Better even than those who were considered the most well-behaved. And now he is studying in his third year at the Moscow seminary. Good guy, taller than me.
Students in front of the teacher are in full view. In the studio you can see very clearly what bad habits someone has. It seems to them that I don’t notice them, I’m standing half-turned, but I see everything. I understand who is a spoiler, who is cunning, who is ready to offend others, who is despondent because there is discord in the family between parents. Today they all lack the kindness of adults, some kind of tenderness.
- How can we teach children themselves to be kinder if there is not enough kindness around them?
How? I don't know. But I never offend children or scold them. I hope that this spirit of kindness will be communicated to them without teaching, passed on as a state. You can teach through both silence and sympathy, listening to their childhood experiences about who in the yard said and did what and what to do now.
In extreme cases, if they start to indulge too much, I use the “complaining” technique. Like a good old grandmother who repeats: “Oh, what should we do now?!”, I begin to walk around them and complain. They realize that they have crossed boundaries and calm down.
I hope the guys will remember how to get out unpleasant situations covering the mistakes of others with love
And when someone knocks over a jar of gouache onto the snow-white floor, I don’t look at them with frenzy, saying, “What have you done!”... Out of habit, they freeze and look at me, eyes wide open. Because they know the equivalent of punishment in such cases from the experience of a comprehensive school. But this is where I have a chance to show how the teacher takes their blame. I immediately calm them down, carry a bucket and start washing the floor. And they join joyfully and, like obedient angels, wipe everything clean. And this is how we keep each other on our toes. I really hope that when they become adults, they will remember how to get out of unpleasant situations without scandals and screams, but by covering up the mistakes of others with love.
Every time the guys stop drawing and start talking about something, laughing, joking, it seems to me that the strict order of the lesson is being violated. At these moments I remember the engraving by Pieter Bruegel: “If the teacher is a donkey at school.” It depicts a donkey in a teacher’s caftan, and around him children are chaotically doing whatever they want. This is, of course, unacceptable. The lesson must be systematic, with discipline. But without bending, without tightening the nuts. Colleagues often tell me: “Be stricter with your children.” But what does “stricter” mean?
More than half of the students do not have fathers because their parents are divorced. This is a tragedy for a child. One boy doesn’t even have a mother, she abandoned him, the guy has a grandmother. Another boy’s mother died in an accident... Well, how can we be strict with these guys, what kind of statutory discipline should we impose?!
Sunday School- this is a good time, and it will be remembered for the rest of your life
Sunday school is a different mood, a fun lesson in good communication. This time should be especially memorable and enjoyable. It is not necessary to provide a lot of information here, to arrange drills and cramming on the topic “what color should the lectern be.” The main thing in Sunday schools is to teach the spirit of moral good life. Let sometimes the classes be funny, but at the same time it creates cultural space, a creative cultural and ethical field that shapes the souls of children. This good time will be remembered by the children for the rest of their lives. And it doesn’t matter that in such a lesson the student may not write anything down on the white sheet of the notebook. The child contemplated life itself and rejoiced in it, looked at the faces of his comrades and laughed heartily, and his memory turned out to be a notebook, a wonderful day remained in it, and this memory will support him in the future in all the hardships.
What I mentioned in several examples above are some of my principles that I came to while working with children.
- Father Paisiy, what is the global goal of your pedagogy?
I am sure that art can transform a person’s soul, instill a sense of justice, and encourage him to commit noble deeds. Through daily improvement in the sciences and arts, students come to understand the laws of spiritual life. Subsequently, someone will become a doctor, someone a teacher, and someone a scientist, but everyone will gratefully remember their music and drawing teachers, who inspired them to the feat of life, who managed to instill in them an understanding of the beauty of the world and greatness human soul.
- Where did you learn painting yourself?
Before the icon painting school, I was lucky enough to study as a painter-teacher in Tverskoy art school named after Alexey Gavrilovich Venetsianov. Before becoming a monk, he studied at the surprisingly interesting icon painting school at the Moscow Theological Academy in the Trinity-Sergius Lavra. Lavra is a unique place for Russian Orthodox culture. Outstanding people gather here creative people: the most experienced icon painters, masters of restoration and gold seamstresses, regents, philologists-editors, composers, directors, photographers, missionaries, talented teachers, professors, art historians, writers, thoughtful monks-prayerists.
For five years we studied ancient Russian painting, made lists ancient icons Pereslavl Museum, Rostov Kremlin, Novgorod Museum, icon hall Tretyakov Gallery, visited ancient monasteries located in the “Golden Ring” of Russia. All this gave a good idea of the essence of Russian Orthodox art and instilled an understanding of the truly lofty and beautiful. The icon painting school took place traditional technique icon painting, monumental painting- fresco, restoration of icons. Everything that I learned and saw there is very helpful in my work on manuals on Orthodox culture.
The training time became an invaluable time to get acquainted with the thousand-year heritage of the culture of Holy Rus', its temples and paintings - from Staraya Ladoga to Yaroslavl. We talked with the Lavra elders - schemamonks and elder archimandrites, communicated with interesting people. And to the best of our ability, we drew spiritual wisdom from them.
I think it’s in these educational institutions correct education is realized when, together with intellectual development A relatively healthy spiritual life also passes.
- And when you started teaching children how to draw, did everything work out right away?
Of course, at first I made a lot of mistakes. But through this experience I understood better: it is necessary to thoroughly study the methodology and history of pedagogy. For this reason, four years ago I decided to enter Tver University at the Department of Theology of the Faculty of Education. And now I’m glad I did it. This was extremely necessary in order to take a more competent approach to preparing lessons for schoolchildren.
Currently I am working on a program for teaching fine arts in Sunday schools. For now the work is in limbo. In my opinion, before hastily publishing theoretical manuals, they need to be tested, refined, taking into account realities, and only then released.
Teaching in Sunday schools is, in principle, not an easy task. Fine arts teachers, for example, need knowledge in the field of world artistic culture and church art. The theory received in universities needs to be translated into categories that children can understand. One day, one of the guys in class asked why the distances in the landscape always seem blue, because the trees that grow there are green. I remembered interesting book“Painting” by J. Vibert, which talked about the refraction of light, types of rays, their length and the nature of passage through various media. I started telling the children about all this. Little guys, 7-9 years old, looked at me in bewilderment. And I kept talking, could not fully express my thoughts clearly, in the end I was completely confused and barely completed the explanation. The students looked at me dumbfounded. I realized that I had confused them with complex explanations and they were unlikely to catch anything.
It is necessary to speak to children not only in the language of words they understand, but also in the language of concepts accessible to their perception.
This incident made me take a more serious approach to the issue of adapting the theory of fine art. We need to speak to children not only in the language of words they understand, but also in the language of concepts that are accessible to their perception.
However, it is not always possible to find methodological manuals To the right topic. Therefore, I am already accustomed to the fact that I often have to develop certain lessons myself. I am sure that over many years of teaching, many of my fellow teachers develop interesting ideas and techniques. I would like to find a platform where I could meet colleagues and discuss actual problems teaching “Fundamentals of Orthodox culture”, “World artistic culture”, fine arts, history of Christian art. I don’t consider myself a professional in the field of teaching at all, but I am looking for like-minded people with whom I can discuss the problems of this area.
From the notes of Father Paisius
I told the kids about the history of our monastery, about how 900 years ago two monks came here, developed the territory, and built a wooden cell. He also told about how the fire happened in the monastery. In essence, the stories of the founding of all Russian monasteries are similar. Without fail, the first monks, when they arrived, quickly built small temples, and fires were always a typical occurrence. It is interesting that the children, these little sensitive analysts, surprisingly perceptively depicted everything they heard step by step.
The first drawing was dedicated to a skinny ascetic monk with a pickaxe in his hand. He sullenly hammered away at the limestone mountain. There is a lot of limestone in Staritsa, and there was a large mining of white stone here. One of the boys asked: “Can it rain?” How accurate! This is also an image of temptations and difficulties that are always present during the founding of monasteries.
Another boy drew several lightning bolts in the sky, and one of them hit the monk right in the head. Skufja saved him. The strong monk continued his work as before, and the boy explained that in those days there was no lightning rod. I allowed the presence of such energy. After all, grace is also a kind of Divine energy that helps in deeds. However, I became wary: “What will they come up with next?”
The girls reduced all the severity to nothing. The sun shone in their drawings, the earth blossomed after the rain. One girl asked: “Can there be a dog there?” She carefully depicted a spotted Dalmatian puppy next to the black figurine of the hermit. I would never have thought of this. Soon all the girls' drawings depicted Dalmatians, flowers, roses, and birds. In general, in the end we founded a cheerful monastery.
When I go and knock on the wooden beater, calling for service, I see several dozen wonderful sparrows perching on the electrical wires, they are not afraid of my knock, they look with curiosity and chirp. Looking at them, I think that the monks are the wires of a power plant through which spiritual energy moves to the cities. The wires are simple in appearance, and small birds can sit safely on them, but at the same time, the power that passes through them then moves apart bridges, illuminates the streets, and turns on the lights in thousands of apartments. I knock on my beat, remain silent and think: how to connect the broken bridges between God and hundreds of our compatriots who do not know Jesus Christ? How can we illuminate the dark streets of false teachings with the light of Christ, in the darkness of which so many people are wandering today?
The training program includes:
-painting (technique of working with paints);
-drawing (technique of working with pencil);
- applied creativity(handmade crafts).
A special training program will make it easy to develop drawing and fine motor skills, Creative skills and the child's creative thinking. The program develops interest in creativity.
It develops imagination, fantasy, and emotional responsiveness.
Harmonizes a child (can calm an overexcited child, or “wake up” a inhibited child).
Helps train attention, memory, thinking as such, as well as hard work and independence.
Forms skills in visual arts.
At every lesson we learn something new, solve riddles, and talk. THERE IS TALENT IN EVERY CHILD! THE MAIN THING IS TO DEVELOP IT CORRECTLY!
Very often after a lesson I hear from parents: “It can’t be! My child doesn't draw THAT much at home! But he can’t! You drew this for him)))” NO! I didn't draw. It’s just that when little students come to my lesson, I see in them an adult, absolutely talented, I sincerely BELIEVE in their abilities, and most importantly, I never forget that EVERY PERSON CAN DRAW. You just need to help him open up a little.
To scold or not to scold a child for failure? Because something didn't work out for him? PRAISE!!! We criticize because they do not meet OUR expectations. It is likely that the child put in ALL HIS efforts, but it simply didn’t work out…. And we immediately think that we didn’t try and start scolding. As a result, we completely discourage the desire to continue doing anything further. And we develop a fear of making mistakes. A child’s mistakes must be approached differently!!! There is no need to throw out your indignation, your fatigue after a hard day at work, getting angry at the unjustified expectation!!! What should be done? You must first note all the BEST things that the child did in this work. It can't be that EVERYTHING is bad. There's definitely something good. And you, as an experienced and adult person, should see this and show it and praise the child. And in general, the baby sees what he depicted, completely different from us. There can be no cliches here. On the contrary, in little artist We need to develop individuality, and it’s not like if we draw something, then everyone should have everything the same. Every person, even the smallest, has the right to express his thoughts in his own way.
In our art studio we try to follow exactly this.
And most importantly, never engage in creativity with your baby if you are not in the mood. Children are emotionally very sensitive: a child will not draw if he does not feel your passion. One girl very often hums while drawing, thereby expressing the flight of her soul. And some parents also can’t sit still, they try to make their own amendments to the children’s drawings, especially dads. Our first exhibition of works took place at the opening of the Sunday school. From October 7 to October 14, children's drawings were on display in kindergarten No. 25 in Lipetsk. New exhibitions are currently being planned. Take a look at our work - no two are alike!!!
