Specific Visual Perception of the Surrounding Reality in the Drawings of Children of the Younger Age Group

Asmer Vidadi gizi Abdullaeva

Azerbaijan State Academy of Arts

Department of History and Theory of Fine Arts in Baku

Abdullayevaasmer@yahoo.com

 

Specific visual perception of the surrounding reality in the drawings of children of younger age group  

 

It is obvious that drawing in the life of a child occupies a special place. In the process of creativity, the child reproduces on paper a huge number of various lines, geometric shapes, color spots, appealing sometimes with very complex compositional schemes and technical tricks. These words, which are understandable only to the kid himself, completely unreadable symbols and signs in his imagination are lined up into a logically grounded narrative pictograph.

On the basis of what he sees, the child subconsciously draws in a very abstract way, without setting himself a definite task, as if trying to transfer spontaneously arising in the imagination visual mini-compositions. Many psychologists, explaining the phenomenon of abstract stylistics in young children, agree that the children have developed imaginative thinking in the absence of the subject.

Turning to research in the field of child psychology, the conclusion suggests that the abstract-unreal world created by a child of 2-7 years on paper is not completely understood by them, is not reworked, can not be a product of developed mental activity, and as a result we do not perceive how the visual unit. It is difficult for me to agree with these conclusions. Combine the individual properties of objects and create a holistic image helps perception - the process of reflecting a person objects and phenomena of the surrounding world when they directly affect the senses.

Perception of even a simple object is a very complex process, which involves the work of sensory (sensory), motor and speech mechanisms. From the point of view of expressive expressiveness, the child's perception process is closely connected with the emotional side of the child's psyche, its unique ability to transform the objective world into a complex set of experiences, feelings and impressions, thereby transforming the real object on paper into a subtle melody-emotion, Impulse "of an unripened psyche. The genuine interest of children of the younger age group in the drawing process is connected, first of all, with the child's ability to access, emotionally, expressively, productively, to recreate the real picture of the world.

Most children draw, draw, mold, build, etc. And the process of creating a creative unit takes them completely to the end. Drawing, the child is completely absorbed in this complex process without spending too much time on it and, when deciding that the work is finished quickly loses interest to it, almost never comes back to it. The ability of a child of 2-7 years in a primitive form to depict a plot that is complex in its narrative series, to breathe into it incomparable subtle expressiveness, intuitively to the touch, placing the main compositional accents - is unique. After this, asking him about the story, we get a specific answer to the question asked, that is, despite the lack of experience and certain technical skills, the child almost always gives the name to his drawings, and certainly never calls his "calves" metamorphoses or even worse numbered tracks . Very often, in a cluster of dots, lines and hooks, a small artist sees all sorts of animals or people, and this pushes the idea "why do not we see it?" I think that the case is certainly in the age regression of human perception of visual impulses, as well as their further Reincarnation into a certain picture.

In the study of child psychology, there is a fairly common stereotype of the child's creative activity. First: the child, drawing, gets rid of the negative energy overflowing him, overcomes his personal problems. Second: the child in the process of recreating certain images is formed as a person, and his inner potential of the creator is an inexhaustible source of inspiration and a fundamental factor in the overall spiritual development of the child as a whole. The third: children, drawing, cure themselves of mental traumas and grievances arising in their subconsciousness against the background of communication with their peers.

But again, from the standpoint of artistic analysis, I can not but note that in the drawings of children 2-7 years old, the least traces of the child's struggle with himself or overcoming any psychological problems are found. It is for kids that the story line is always clearly defined, the color is brighter and more diverse, the image is often laconic and clearly connected with the plot, on the whole the picture is always positive and radiates a special warm light. Visiting the exhibition of children's drawings, first of all, the age difference of the presented works is evident, and my assessment is not always in favor of the older group.

First of all, this color. Despite the variety of tones, in the pictures of teenagers the predominantly cold color prevails, the image of certain compositions is clearly and diligently executed, the color spots are distributed systematically and consciously, technically the drawings are more elaborate than for the little ones - the composition is complicated by an abundance of small details and decorative elements. Connected is, of course, all with the same perception and with its complex age specificity. It should be noted that a school-age child very quickly grasps at drawing lessons and the way a teacher teaches this subject depends, in the future, the development of creative thinking in a child. When a child tries to depict a particular object of a person or animal in the process of drawing, the teacher very often imposes on the child a stereotype of the layman - correctly or incorrectly; It seems, or not. In turn, the diligence of the child leads in most cases to what the young artist quickly loses, that particular childlike expressiveness that was present in his preschool work.

But going back to the drawings of children, you can determine the general patterns and individual strokes in the creativity of children 2-7 years, as well as the impact of various factors on the worldview and visual perception of a small artist. This may be a social environment in which future creative potential will develop, the attitude of parents, friends, peers towards him, contrasting one's personality to people close to him (brother, sister, etc.), the difficulty in understanding certain processes.

Observing the creativity of the toddlers, certain important defining features of their creativity become apparent in the context of the social environment.

Analyzing a specific landscape or a character depicted by a child, first of all, it catches the eye with what attitude the child decides the spatial task posed to him, how he personally treats the given topic. For example, depicting battle scenes or conflict situations, the young artist more and more monumentally depicts the figure that is closer and more familiar to him (most often subconsciously in the winner of depicting himself or a loved one and his native person).

It should also take into account the fact that in rare cases, children of the younger age group can impose a plot line of the future drawing, and this primarily indicates social independence and internal spiritual freedom and identity (often from the parents and educators perceived as stubbornness) of the baby. How much the child resists to the pressure of external factors, as well as the variety of subconsciously chosen story lines, determine the overall picture of the development of certain important human qualities in the child in the future. Analyzing children's drawings created by children of 2-7 years from different corners of the globe, the variety of themes amazes imagination:

Common themes: family (mother, father, brother, sister), landscape (sun, sky, earth, tree), animal world (birds, horses, dogs, cats), fantasy mythological subjects (monsters, dinosaurs, etc .),

Characters of fairy tales and cartoons, phasmagoric compositions (space, cities of the future, flying saucers , etc.).

The general determining sign of the thematic preferences of children aged 2-7 is favorite subjects that occupy an important place in the life of the child only to him and pass in the subconscious of the child a certain stage from perception to image.

Children 2-7 years old often choose themselves and depict themselves in various situational compositions, choosing themselves as the protagonist of a certain plot, subconsciously creates an idealized image of their self in a certain situation, the central link of which is him, and only him, and around him Assembled elements whose meaning is compositionally weakly expressed. Positioning himself with this or that fictitious or real character, the child basically sees himself as a participant in both real and fantastic scenes, sincerely believing in monsters and aliens, taking them as characters who live next to him. Only reaching a certain age of the child, leaves faith in a world that WE DO NOT SEE. And it is during this period in the drawings of the child that there is a transition from the abstract-figurative composition scheme to the subject-pictorial narrative.

The favorite "iso-theme" for the baby is the family and this is not surprising, since the child does not see himself alone, does not perceive himself without his loved ones and the image of them without himself for a healthy child is not acceptable. Rather, the family theme can be diverse, but ideologically it is almost always the same, and this idea can be characterized by one phrase (I, mom, dad, brother or sister, who love each other). Of course, I mean the general concept of a complete family, and for each kid the missing images are predetermined in generalized symbols or contrasts, that is, they have their own latent motivation. Often the child, depicting his family completely, tries to connect each character with a common thread (woven hands, general details or clothes color, similar body parts, identical facial expressions, etc.) thereby visualizing their inner, not realized desires. This suggests that the kid, possessing a unique ability to reproduce his aspirations, desires and experiences with little means on the plane, is also capable of sensitively capturing future problems in the family, which we do not notice or do not want to notice because of our dull perception. Optically, the child's eye sees a concrete picture as well as we do, but perceives it completely differently, and the statement that the older the child is, the more skillful in creativity, the more complex his spatial thinking, the more controversial.

Certainly in a child of 7-12 years as a result of the formation of objective thinking, the visual object looks more realistic than that of the same child 2-7 years. But, first of all, with an overall evaluation of the child's drawing, one must rely on the depth of disclosure of a particular plot, as well as on the degree of the subconscious decision of the compositional space. Most young children subconsciously choose more clear thematic schemes with a common central element:

Person (s) - the sun

Man (i) - earth-sky

Man (I) - the sun-sky-earth

Man (i) - house- earth- sky- sun

Man - house - earth - sky - tree - sea

It's amazing that in this not intricate scheme the main life guides and the hidden sense of the world perception - man, sun, earth, sky, water, nature, house are laid. What is intuition? The power of the child's imagination? Or the same unique ability of the child to perceive in a special way the surrounding reality and "to ripen to the root". Sometimes the possibilities of children in a laconic, transformed form to outline and visualize complex storylines suggest the general notion of "giftedness" for children 2-7 years old, and singling out individual children into a group of especially gifted ones is also controversial, as is the evaluation of their work according to the principle; Good - bad, beautiful - ugly, primitive, difficult.

The next important figurative image is the mother. Babies very often depict their mother, thereby turning this image into a symbol of the real world, where the mother simply does not perceive herself without a mother. It is not surprising that most often a child, when drawing his mother, presents it in a hypertrophic form. At the dawn of civilization, primitive people depicting their goddesses (symbols - fertility, procreation, etc.) as well as children represented the female image in generalized, enlarged forms.

The young artist "unsealing" his boundless affection and love for his mother on the paper, existing in the subconscious as some associative symbols, expressed through tactile sensations, the child focuses on especially significant parts of the body - hands, feet, abdomen, chest, etc.

In many drawings of children, the figure of the mother - the image itself is the compositional center of all anthropomorphic children's images, is always represented brightly, monumentally, expressively. In his sketches the child most of all sharpens the viewer's attention to important, in his understanding, components of the mother image.

Hands, wide fingers, broad shoulders - a symbol of protection, peace, warmth, embrace.

Legs - always in the form of a triangle - a sign of stability, stability, balance.

Eyes - bulging, enlarged - always a sign of motherly love, guardianship, strength.

Ears are a sign that the mother will always hear and understand.

Beginning to draw the majority of children, first of all, designate the figure of the mother, giving it a central place in the composition space, which also proves that, unlike schoolchildren and teenagers, for children of the younger age group, the image of this image is a nonverbal source of an inseverable emotional connection between Him and his mother. Unable to express in a clear verbal form their perception of maternal love, the kid clearly and unambiguously formalizes his relationship with his mother with a pencil or colors.

In the general analysis of the specific features of children's creativity in the context of visual perception, the author deliberately departed from the widely researched topics related to child psychology, setting a goal, to study this problem not from the medical, but from the art criticism point of view.

 

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