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FORMATION OF STUDENTS' AESTHETIC CULTURE BASED ON
FOLK PRACTICAL ART MEANS
Matkarimov Azamat Farhod o‘g‘li
Teacher of the Department of Technological Education, Urgench State
Pedagogical Institute E-mail: m.azamat@urdu.uz Phone:+998975100084
https://doi.org/10.5281/zenodo.15853900
Abstract.
This article discusses the theoretical foundations and practical
ways of forming aesthetic culture in students through the use of folk arts. It
examines national values, the educational significance of art samples, types of
folk arts and their role in the modern educational process.
The possibilities of
folk applied art in educating students in the spirit of artistic taste, aesthetic
vision and awareness of national identity are also analyzed. The work
substantiates methods for integrating elements of folk applied art into the
educational process and thereby developing aesthetic culture. The proposed
ideas may be methodologically useful for higher educational institutions.
Keywords:
Folk applied arts, aesthetic culture, student education, national
values, art tools, artistic taste, pedagogy, national identity, educational process,
cultural heritage. Formation of aesthetic culture, art, science, humanitarian
knowledge, personality, language, pedagogical activity, applied arts, folk crafts,
student, program.
Introduction. In today's era of globalization, the formation of aesthetic
culture in young people, education in the spirit of respect for national values is
one of the urgent issues. In particular, folk applied art has rich opportunities in
this regard. It is not just a model of art, but also a cultural heritage that embodies
the worldview, values, and aesthetic ideals of the people.
In this regard, in the
21st century there is a tendency for the scientific and artistic-aesthetic forms of
studying the world to converge. Aesthetic ideas belong to both the humanities
and the natural sciences. They include the scientist's assessment of social life,
discoveries, theories, hypotheses, and the laws of aesthetics.
The criterion of
beauty is an important indicator of the novelty and originality of scientific
research. In the current conditions, it is relevant to form the main components of
aesthetic culture among students of technological specialties, which is the main
property of a person, allowing him to fully communicate with beauty and
actively participate in its creation.
Folk art is a set of products created primarily based on vital needs, serving
a purpose, and at the same time emdiving artistic decoration and aesthetic
beauty. For example, such art forms as embroidery, pottery, and woodcarving
not only shaped the tastes of the people, but also served as a means of
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transmitting aesthetic standards from generation to generation.
Teaching
students about these art forms not only increases their interest in national art,
but also develops their artistic thinking. This process is effectively carried out
through practical exercises, trips to museums, and meetings with teachers.
Analysis of literature on the topic.
Aesthetic culture contributes to the
emotional and imaginative perception of reality, which provides a value-based
attitude to the world around us. In studies conducted by N.A. Dmitrieva, T.I.
Kostina, K.V. Kulaev proved that aesthetic culture contributes to the formation of
a social position based on humanistic values, and harmonizes the emotional and
communicative sphere of the individual.
In addition, aesthetic culture increases
the value of professional activity by optimizing the entire process of training
future specialists, aligning their needs with social values and ideals, and
mobilizing internal resources, therefore ensuring personal self-realization is of
great importance.
The problem of the formation of the aesthetic culture of the
individual was considered within the framework of the philosophical, cultural
and pedagogical theories of Yu.B. Babansky. A.I. Burova, M.S. Kagana, B.T.
Likhacheva, B.M. Nemensky, A.A. Oganova, A.B. Shcherbolar, whose literatures
cover in detail the psychological substantiation of the components of the concept
of “Aesthetic Culture” (aesthetic perception, aesthetic attitude, aesthetic feeling,
aesthetic ideal, aesthetic need, aesthetic activity), A.I. Demchenko, V.P.
Zinchenko, N.B. Krylova, B.M. Teplova, these scientists call aesthetic
consciousness and aesthetic activity the main components of the structure of the
aesthetic culture of the individual.
Research E.V. Kosharskaya found that the
aesthetic culture of a person is the sum of aesthetic consciousness, which
includes aesthetic perception, aesthetic feeling, aesthetic appreciation, and
ensures the formation of aesthetic needs and the development of aesthetic
abilities in aesthetic judgments, aesthetic taste, aesthetic ideal and aesthetic
activity, perception and creation of aesthetic values. [1 p. 11].
U.F. Suna devoted part of his research to the consideration of the aesthetic
culture of young students. The scientist noted that "the aesthetic culture of a
particular student has its own characteristics and in this sense represents a
purely individual education, which is associated with the intellectual and
emotional development of a particular person, as well as with some of his
psychophysiological characteristics". [2 p. 18].
Art, folk crafts, and folk applied art have always played a major role in
solving the problem of forming the aesthetic culture of a person. A number of
researchers believe that art is the most sensitive to perception, and in this
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process, the emotional perception of reality and its creative reproduction return.
[3, p. 34].
Research methodology.
Various pedagogical theories hold the view that
only subjects of the aesthetic cycle, such as literature, fine arts, technology, folk
crafts, and folk applied arts, have aesthetic potential. A person's aesthetic study
of reality is not limited to activities in the field of art; in one form or another, it is
present in any activity.
Any creativity is a purposeful human activity aimed at
understanding and transforming reality, creating new, original works, ideas,
projects and objects. The pedagogical concept of the formation of the student's
aesthetic culture, in our opinion, involves identifying the optimal parameters of
the educational process that will maximally contribute to the assimilation of the
world of cultural values by the individual.
It is advisable to create a balance of
determining factors, such as science, art and reality, the union of science and art,
the interaction of knowledge and artistic activity, which shapes the process of
formation of aesthetic culture, creates the basis for a deeper understanding of
beauty. The most important component of the system of formation of values,
including aesthetics, is humanitarian knowledge.
Analysis and results.
Thus, the humanitarian knowledge and humanistic
education of students studying in the field of technology should be defined as an
integral and important component of the entire higher education system. It is
humanitarian knowledge that helps to master the necessary range of knowledge
to form the worldview of a rational person, to understand his place in the world,
to understand the laws that determine the relationships between people,
between man and society, between man and society [4, p. 75].
An analysis of foreign experience in the field of aesthetic education
revealed a similar trend -
the distinction between the "intellectual" and
"emotional" components in pedagogy, the desire to creatively use technology
and folk applied art as the main elements of culture, the upbringing of a holistic
spiritual personality. [5, p. 54].
The task of forming the aesthetic culture of a person in the educational
process is inseparable from the task of teaching, upbringing, that is, the
formation of knowledge and skills, and changes in pedagogical methods are
directly related to it and require serious attention and a special approach. [6, p.
76].
In this regard, scientific works proving the need to include the aesthetic
aspect in the targeted pedagogical activities of teachers, regardless of the subject
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they are trained in, are of interest. Each area of practical skills and each area of
knowledge is saturated with its own aesthetic potential.
Our pedagogical work proves the well-known opinion of K.D. Ushinsky that
in any science, in any subject of study there is an aesthetic element, and its
discovery and conveying to the minds and feelings of students is one of the tasks
of the teacher. [7 p. 609].
In connection with the problem under consideration, the principle of
linguistic organization of the educational process is relevant, since the study of
language and linguistics creates the basis for bridging the gap between the
humanitarian and natural-technical cycles of sciences, the "linguistic core".
forms the terminological base of all levels of education” [8, p. 75].
We define the priority direction of forming the aesthetic culture of students
of applied sciences as the integration of their artistic and creative activities in
the process of technology lessons, which will help to familiarize students with
the values of folk arts and crafts.
One of the important components of the current democratic society is to
improve the quality of education and educate young people taking into account
objective factors that directly and indirectly affect the process of their
development as individuals. Such factors include: psychological and material
conditions of students; social environment in which they effectively socialize as
individuals. Only a person who has received these three changes from art
(artistic education) in harmony can be considered a truly artistically literate,
developed person, only then can artistic development become the foundation of
the aesthetic and artistic culture of each citizen of the student.
Only at the
intermediate level does this ability-need form, moreover, mastering the skills of
literate images is always a long, laborious process, and you need to have high
personal motivation to complete it.
In a unified system of aesthetic education,
ways are developed for selecting and developing children gifted in one or
another art, and everywhere, in every village or city, every enthusiastic and
talented child should become a practical and fully professional.
The first task is
that without a passion for art, without enjoyment of its creation, the need for
constant (lifelong) communication with it will not be formed, just as there will
be no real contact with art.
The program serves to develop a passion for art in each lesson.
It is with this goal in mind that the entire system of its design, a clear
sequence of lesson tasks and the specific features of methodological methods for
solving them have been developed in the program.
The second task is to get
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acquainted with artistic culture. This task is encrypted in three elements, the
trinity of which reveals its essence:
1) the essence, content of artistic (social experience);
2) creative artistic experience
3) the language of art (professional experience).
1. In essence, the content of art consists of those vital problems for the
solution of which art exists: from century to century it has formed the attitude of
man to all phenomena of life (to nature, man and society).
This task can be called differently in different terminology, for example: the
formation of an active aesthetic attitude to reality - to nature, man and society,
to phenomena and artistic traditions, this is what is called in the latest version of
our experimental program. Yes, art forms specific aesthetic criteria of man.
Here,
the affirmation of ideas developed by society (class, group, nation), which are
the correct attitude to all phenomena of life for it, is transmitted to subsequent
generations, a tradition of relations is formed.
This cannot be done in other ways, since these relations are always
manifested in the unity of feelings and knowledge.
The essence of art can be defined as the moral and aesthetic position of the
time and environment, personally expressed (embodied) by the artist in a work
of art, leading in the triad of elements of artistic and creative development.
Without solving this problem of the remaining two elements - the language of
art and creativity, the meaning of solving the rest disappears, that is, without
perceiving the essence of art, a person will not be formed as an heir to the
emotional, moral, and social experience of art.
The program assumes the
solution of this problem with the help of certain stages (lessons, quarters, years
of study), in addition, it adjusts the lessons according to the nature of even an
inexperienced teacher. The material, the sequence of tasks, are placed in the
context of the need to solve the main problem. It is precisely to fulfill this task
that we “changed” the subject of study - it is not the history of art that is the
object of study for us, but human life, the social, moral and aesthetic functions of
art in life.
The entire structure of the program and the definition of three forms
of artistic activity are subordinate to this. Through knowledge of the essence,
content of art, the moral and aesthetic position necessary for our society, the
attitude to all phenomena of life - to nature, labor, love, friendship, the
Motherland, the revolution - should gradually be formed. It is precisely in order
to fulfill this task that we "changed" the subject of study - it is not the history of
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art that is the object of study for us, but human life, the social, moral and
aesthetic functions of art in life.
2. The creative experience of art is also the most important element of this
experience, forming the creative potential of the individual, and, as we have
already mentioned, here lies the systematic development of imaginative and
creative abilities, variability, flexibility and harmony of human thinking.
Creativity is unimaginable without creativity, because the content of art is
integrated into its language and becomes a living work of art, therefore, it is
necessary to determine the ways of forming creative abilities in the artistic
program.
Creativity in art is multifaceted, multifaceted, and a person's creative
abilities should develop in the same many ways. the ability to break an already
established and existing stereotype, the willingness to take a step into the
unknown. The components can be analyzed in more detail; for example, as we
have said, creativity includes fantasy, intuition, curiosity, etc. We can talk about
each of these concepts separately.
3. The third element is that in the final version of the language of art
program, we simplified the definition of this task.
Conclusion.
Our program forms students' ideas about the means of art,
always connecting them with a general idea of the role of these means in the
figurative structure of art, we try to give a clear understanding: all means of art
clearly depict, construct and decorate the expression of the artistic image in
order to express the relationship of a person to an object, to life. The level of
development of abilities, naturally, depends on the number of hours (lessons)
per week, per year.
With one hour, this level cannot be high, it can only reach the
minimum limits necessary to understand the language of art. With 2-6 hours a
week, you can get closer to professional mastery (albeit to different degrees),
because artistic literacy can be taught to everyone.
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