From what was born the fairy tale from faith presentation. Analysis of symbols and archetypal images in fairy tales

Composition, rhythm, form must work together (2 hours). Composition, rhythm, and form work together in any kind of artistic activity. An important attribute of a modern holiday is a greeting card. Composition rhythm, shape in a greeting card. A variety of postcard shapes (from a regular rectangular card to a complex folding design). Postcard toy. The rhythm of shapes in the postcard composition. Using thick paper or cardboard and various materials to make cards: threads, fabric, braid, beads, dried flowers.

Come up with your own greeting card composition for the birthday of a friend, mother or grandmother. Complete its compositional diagram in your notebook. Design a postcard shape. Then, on a separate sheet, make the drawings and inscription, paste the finished drawing into the space provided for it on the postcard. The image can be made using the applique technique. Colored paper, fabric, braid, glitter, dried flowers and leaves.

. Understand that composition, rhythm, and form work together in any type of artistic activity. See the results of using composition, rhythm and form in a greeting card. Come up with the composition of a greeting card, design its shape and use various materials for production.

Artists' use of composition, rhythm, and form to create artistic imagery

(6 hours)

Balancing a composition using rhythm and shape of objects (2 hours)

The location of the main subject in the composition (in the center, shifted up and down or to the side). The relationship of secondary objects with the main one. The nature of the composition (calmness or tension). Balancing the space of a painting using the shape and rhythm of objects. The meaning of each item in the holistic image of the composition.

Artistic activity. Draw compositional diagrams for artists’ paintings. Highlight what is important and what is not important.

Characteristics of student activities. Understand that the location of the main subject in the composition determines its character and content of the work. Create balance in the space of a painting using the shape and rhythm of objects. Understand the meaning of each item in the holistic image of the composition. See the main and secondary in works of painting and graphics.

Theme of the work and artistic image (2 hours). An artist can use the language of art to talk about nature, a person, an event. Themes reflected in art.

Images of nature in fine art. Nature is the artist's best teacher. Landscape is the depiction of nature in fine art. Spring nature in fine arts, poetry, music. Different images spring. Impressions of spring nature conveyed in various works: general and special.

Artistic activity. Create a composition on the theme “Spring”. The work should be carried out in two stages:

1. Do the preparatory work. Paint the sky as the background for the future composition. When depicting the sky and spring land, outline the horizon line.

2. Draw trees of different character on the prepared background.

Create compositional diagrams. Understand that an artist can tell about nature, a person, an event in the language of art. Have an idea of the themes reflected in art. Know the concept of “landscape” as an image of nature in art. Compare and correlate the image of spring in different types of art. Create a pictorial composition on the theme “Spring”. Use the rules of perspective to convey space on a plane in images of nature. Depict trees of different character.

The image of a person in fine arts (1 hour). Conveying the appearance, movements, and behavior of people through painting, graphics, and sculpture.

Artists are interested not only in the external appearance, but also in the inner world of a person. Understanding a person through his image, discovering new traits of his character. Portrait is an image of a person in fine art. The location of the figure on the sheet. Mixing colors to depict the face and hands. Chin shadow. Dividing the face into three parts by the line of the eyebrows and the line of the tip of the nose. Characteristics of the character.

Artistic activity. Draw a portrait of a friend, mother, teacher or fairy-tale character. Convey not only its inherent external features, but also its mood and character. Pastel or wax crayons.

Characteristics of student activities. Transmit character traits appearance, movements, behavior of people through painting, graphics, sculpture. Understand that art depicts not only the external appearance of a person, but also his inner world. Know the concept of “portrait” as an image of a person in fine art. Know basic techniques for depicting a portrait of a person. Draw a portrait of a person using pastels or wax crayons. Convey not only the external features inherent in a person, but also his mood and character.

Museums of Fine Arts (1 hour). Works of fine art are kept in art museums. Large museums store huge collections of paintings, graphics and sculptures collected by people over many centuries. The buildings in which these museums are located. Major museums Russia, of global importance: Tretyakov Gallery, Museum of Fine Arts. in Moscow; Hermitage and Russian Museum in St. Petersburg. Collection of works by artists Ancient Rus' and Russia in the Tretyakov Gallery. Pavel and Sergei Tretyakov. The building of the Tretyakov Gallery (design by V. Vasnetsov). Collection of foreign art in the Hermitage. The Hermitage is located in the Winter Palace of the Russian Emperors.

Regional art museums. House-museum of the artist Viktor Vasnetsov in Moscow. House-museum of the artist Isaac Levitan in Plyos. Getting to know the museums of your district, region, city.

Characteristics of student activities. Have an idea of the largest art museums in Russia - the State Tretyakov Gallery and the Pushkin Museum. in Moscow; Hermitage and Russian Museum in St. Petersburg. Know the specifics of the collections of the State Tretyakov Gallery and the Hermitage. Have an idea of regional art museums and house museums. Know the art museums in your region.

A magical world filled with wonders (6 hours)

Ancient roots folk art(1 hour). Traditions of folk art. Reflection in traditional folk art of the beliefs, work and life of the people. Ancient roots of folk art. Every person from early childhood enters an unusual fairy-tale world filled with miracles. The role of myth and mythical characters in the development of culture and art. Myth and fairy tale.

Characteristics of student activities. Understand that traditional folk art reflects the beliefs, work and life of the people. Have an idea of the ancient roots of folk art. Understand the role of myth and mythical characters in the development of culture and art.

Where did the fairy tale come from... Ancient people's idea of the world order. The knowledge of how our ancient ancestors lived has been preserved through art. Jewelry, household items, tools found during excavations at the sites of ancient settlements, paintings on the walls of caves tell about the life of ancient people. Depiction of animals by ancient artists.

...from the needs of life (1 hour). Ancient images on the stone walls of caves where ancient people lived. Images of animals in rock paintings. Generalization of the image; conveying the most typical qualities of the animal; a combination of real and fantastic features in one image. Expressiveness and recognition of images of animals, conventions in the depiction of people.

Artistic activity. Make a composition in the manner of cave painting on tinted paper (charcoal, sanguine, chalk or ink, pen). Depict episodes from the life of ancient fishermen, hunters, and their tribes.

Characteristics of student activities. Realize that ideas about the life of ancient people were preserved thanks to art. Have an idea of the most ancient art - rock painting. Understand the features of the depiction of animals and people by ancient artists. Create a composition in the manner of rock painting on themes from the life of ancient fishermen, hunters, and their tribes using graphic techniques.

... out of faith (1 hour). The belief of ancient people in the origin of their family from an animal - a bear, panther or deer. Figurines of the animal - the patron of the clan, made of stone, wood, metal or ceramics. “Animal style” in the art of the ancient Scythians. Decoration of weapons, horse harnesses, shields, quivers, buckles, and fasteners on the clothes of Scythian warriors with animal figures. Conveying the essence of the image: strength, dexterity, speed, sensitivity, vigilance, speed of reaction of the animal. A talisman is a sacred image endowed, in a person’s opinion, with protective power. A combination of real and fantastic features in animal images. Beauty and utility as imagined by the ancients. The belief that the qualities of the beast will be transferred to the owner of its image. Collection of animal style figurines in the Hermitage.

Artistic activity. Invent and make a talisman with the image of an animal or bird that best matches the child’s sense of self. Perform the work in volume or on a plane in the form of relief. Plasticine or plastic mass, sculpture clay and stacks.

Characteristics of student activities. Have an idea of the beliefs of ancient people in the connection between man and the species with animals. Know about the animal style in art and the features of depicting animals. Have an idea of the ancient arts and crafts and its functions as a talisman. Know about the collection of animal style figurines in the Hermitage. Create your own amulet in the form of an animal or bird, conveying the qualities that the child wants to possess, in volume or on a plane in the form of relief.

... out of a desire to know the world and make it better (1 hour). Combining with art many types of activities that helped a person express his ideas about the world around him, assimilate and transfer knowledge and skills, and facilitate communication. The existence of art in the minds of ancient man is merged with myth and religion. Revealing in myths not only the meaning of events, but also a project for their better implementation. A myth is a legend conveying the idea of ancient peoples about the origin of the World and man. The role of myth in the life of ancient man: filling the lack of knowledge, explaining the mysteries of nature, helping to understand the world, confidence in the future. The combination of the real and the fantastic in myth. Heroes of myths - gods and people, fantastic animals and birds, elements of nature - wind, water, fire, earth, magical objects. The embodiment of the content of myths in sacred actions - rites and rituals. Ritual is an established order of magically determined

actions. Magic is the belief in the supernatural ability of man to control nature and objects. The unity of ancient art - music, visual arts, dance, theater - in ancient rites and rituals. Fairy-tale character of mythological images. Preservation of echoes of the ancient ritual action has been preserved in the language of fairy-tale symbols.

Characteristics of student activities. Have an idea of the unity of ancient art, that it united many types of activities that helped a person express his understanding of the world around him. Know the concepts of “myth”, “ritual”, “rite”, “magic”. Understand the role of myth in the life of ancient man, the features and functions of myth. Have an idea about the heroes of myths.

Sign and symbol (1 hour). A sign is a generally accepted image used to store and transmit information. All people included in the space of one culture equally understand the meaning of a sign, for example, letters of the alphabet, numbers, road signs. Mastery of the language of signs and symbols to understand art. Ancient signs of the sun, earth, water. A symbol is similar to a sign, but has many meanings. The deep content of the symbol and its transmission of ambiguity to the artistic image. The symbol reveals common experiences of the world and themselves among people.

An ancient symbol of the Tree of Life in folk embroidery. Image of the Tree of Life in contemporary art. The ability to interpret the image as a sign and as a symbol. The symbolism of the spinning wheel and its connection with cosmic and calendar-cyclical ideas. a close connection between the Russian spinning wheel and the cult of fertility and the funeral cult of ancestors. Symbolism of carved decorations of a wooden house; shapes and paintings of the spinning wheel. A variety of fairy-tale symbols: symbolic characters, objects, elements of nature, birds and animals (for example, the Firebird and the Golden-maned horse, a treasure sword and a golden apple, living and dead water, a road leading the hero to victory and a hut on chicken legs, a ball , Ivan the Fool and Baba Yaga, day and night).

Artistic activity. Draw an embroidery sketch using ancient symbolism. Checkered paper and colored markers.

Characteristics of student activities. Have an idea of the sign-symbolic language of art, the signs and symbols of ancient art. Understand the common and different in a sign and symbol. Interpret the image as a sign and as a symbol. Master the basics of the language of signs and symbols to understand art. Know ancient symbolic images: the Tree of Life, sun, earth, water, horse, etc., find them in traditional folk art. Understand the symbolism of images on household items and tools. Make an embroidery sketch using ancient symbolism.

The fairy tale is a lie, but there is a hint in it). Differences between fairy tales and myths. Horse is a favorite hero folk tales myths. The horse is a symbol of goodness and prosperity. The role of the horse in fairy tales. Image of a horse in art. The image of a horse in revealing the content work of art. Interpretation of the image of the Horse from illustrations to fairy tales. The image of a horse in the art of different nations.

The meaning is the composition of the work, the place that the horse occupies, its outline, the background color, the color of the horse, its connection with a person in understanding the meaning of the work.

Characteristics of student activities. Understand the commonalities and differences between myths and fairy tales. Interpret ancient images presented in works of painting, book graphics, sculpture, decorative and applied arts. Have an idea of the image and symbolism of the horse in ancient and folk art. Understand the importance of the composition of the work, the shape and color of objects in revealing the content. Symbolism of color. Color as a signal, sign, or symbol. Variety of color symbolism.

Artistic activity. Create an image of a fairytale Horse. Determine the features that need to be emphasized and the color that will help convey the essence of his character and intentions.

Characteristics of student activities. Have an idea of the symbolism of color. Create an image of a fairytale Horse using ancient images and color symbolism.

Fairy tale themes and plots in the visual arts (2 hours). The heroic theme in the fine arts of Russia (V. Vasnetsov, M. Vrubel, etc.). Theme – plot – content of a work of art. Theme is an area of real life or fantasy reflected in a work of art. The plot is the depicted event and the development of the action captured in the work. Themes of the search for happiness or the Firebird, on which it depended, etc. Three repetitions in the plot. Magic transformations in fairy tale plots. Fairytale motifs in fine art. Fairytale bird (M. Vrubel, V. Vasnetsov). Composition and color in creating expressive images. The difference between positive and negative heroes of fairy tales, transformed into animals and birds. Images of good and evil characters. Lines and colors to depict them. A variety of strokes to convey the texture of bird feathers or animal fur.

Artistic activity. Depict a fairy-tale bird or beast into which the hero or heroine of a fairy tale could turn (graphic techniques).

Characteristics of student activities. Distinguish between “theme” and “plot” in art. Have an idea of the common themes and plots of Russian art, the peculiarities of constructing fairy tales and illustrations for them. Know the paintings based on fairy tales by V. Vasnetsov and M. Vrubel. Depict a fabulous animal or bird using graphic means. Create a generalized image of a fairy-tale bird using the silhouette technique.

Storytelling artists. Fairytale images (5 hours)

Artists-storytellers (1 hour). Artists who used fairy tale themes in their work: Viktor Vasnetsov, Mikhail Vrubel, Ivan Bilibin, Nicholas Roerich. The specificity of their creativity, artistic style and their own range of subjects. The works of these artists are kept in the Tretyakov Gallery in Moscow and in the Russian Museum in St. Petersburg.

Artistic activity. Determine the author of each fragment from the works of storytellers based on their artistic style.

Characteristics of student activities. Know the artists who created works based on fairy tales: V. Vasnetsov, M. Vrubel, I. Bilibin, N. Roerich. Understand the features of their art. Distinguish artistic style and find their works in the textbook and workbook.

The images of the heroes of a fairy tale are inseparable from its plot. Mythopoetic images Slavic art and their reflection in folk culture in different types of art. Images of the magical birds Sirin and Alkonost, the forest deity Leshego, and the inhabitants of rivers - mermaids. Image of mermaids in wooden carvings decorating a village house. The connection between the ancient concept of “amulet” and the river bank.

The use in art of combining a whole from different parts. The combination of elements of various animals, birds, plants helped create new images (mermaids, birds Sirin and Alkonost, Serpent-Gorynych, etc.). The richer the visual experience of the artist, the more interesting and varied images he can come up with. Fairy-tale images are amulets in the art of folk craftsmen (Dymka, Filimonovo, Abashevo, etc.).

Artistic activity. Look at images of real animals, birds, plants, insects and create your own fantastic image. Let it be a good image - a talisman. Plasticine or sculpture clay.

Characteristics of student activities. Have an idea of the mythopoetic images of Slavic art and their reflection in folk culture in different types of art. Interpret fairy-tale images of animals and birds in works of book graphics and painting. To see and distinguish various elements in a work of art, in fairy-tale images, and to apply the method of combination in one’s own artistic and creative activity. Understand that the variety and richness of images depends on the visual experience of the artist. Distinguish and explain fairy-tale images - amulets in folk arts and crafts. Create an image of a fairy-tale bird or animal based on combinatorial activity.

The hero of the fairy tale is the bearer of folk ideals (1 hour). The image of the main character of a fairy tale. Rebirth as a result of the trials befalling the hero in the plot of the fairy tale, Ivanushka the Fool (prince, young man) into a strong, brave, kind, strong-willed ideal hero. Images of Russian heroes from a painting by V. Vasnetsov. Clothes of a Russian warrior: chain mail, helmet, chain mail. A shield and sword are mandatory attributes of a warrior. Stages of creating a portrait of a fairy tale hero: use a stain to depict the oval of the face, neck and shoulders. Changes in the clothing of Russian soldiers over time (17th, 19th, 20th centuries). Changes in the images of fairy-tale characters.

Artistic activity. Create an image of a fairy tale hero - a defender of the Motherland. You can depict him in full growth or make a full-length portrait.

Characteristics of student activities. Have an idea of the symbolic nature of popular fairy tale characters. Describe the images of heroes from the paintings of V. Vasnetsov, M. Vrubel. Imagine and be able to depict the clothes of Russian soldiers in different historical periods. Create an image of a fairy tale hero - a defender of the Motherland. Know the stages of working on a portrait.

The image of the Hero - the defender of the fatherland in art (1 hour). Heroes of fairy tales are like the embodiment of the people’s dream of an ideal defender who can handle any feats in the name of peace and goodness on his native Earth. The desire of people in terrible days for our Motherland to always stand up for its defense and save their native land and their people. The image of the defender of the Motherland in the works of artists. Images of different generations of defenders of the Russian land in contemporary art. The image of a hero of the Great Patriotic War. Correspondence of features characteristic of fairy-tale heroes to the images of real heroes.

Artistic activity. Create an image of a hero - a real defender of the Motherland (gouache or plasticine).

The textbook was developed in accordance with the requirements of the federal state educational standard for primary general education and the concept of the “Prospective Primary School” system. Aimed at realizing the goals and objectives of the academic subject “Fine Arts”. The structure and content of the textbook brings to life the program “The World of Artistic Images”, in which art is presented as one of the forms of knowledge of the surrounding world and is aimed at understanding that artistic knowledge, fundamentally different from scientific knowledge, complements and harmonizes the picture of the world.

Every person from early childhood finds himself in an unusual fairy-tale world filled with miracles.
Have you ever wondered who, when and why invented fairy tales? Where did these amazing fairy tale characters come to us from? Giants and Lilliputians; objects endowed with unusual powers; fantastic animals and birds, but if they are real, then they must understand the speech of the characters, and they themselves often speak human language. Why in fairy tales can the fate of a hero depend on an inscription on a stone, and why do rivers speak in a human voice?

Content
A magical world filled with wonders.
Where did the fairy tale come from?
from the needs of life.
out of faith.
out of a desire to know the world and make it better
The language of fairy tale symbols.
A fairy tale is a lie, but there is a hint in it.
The horse is a symbol of goodness and prosperity.
Symbolism of color.
Fairy tale themes and plots
in fine arts.
Storytelling artists.
Fairytale images.
The image of the hero is inseparable from the plot.
The hero of a fairy tale is a bearer of folk ideals.
The image of a hero - defender of the Fatherland in art. The ideal image of a fairy-tale heroine.
Ideal female images in art.
Reality and fantasy.
Images negative characters.
The image of a road in a fairy tale and the road in life.
There on unknown paths.
Traveling through different worlds.
An image of a fairy forest.
Enchanted forest.
Magical forest.
The image of a home in a fairy tale and in life.
Village image.
Image of the city.
Image of a fairy-tale city.
Images of fairy tale attributes.
My light, mirror.
Doll.
Apples and apple tree.
Roll, roll, bullseye.
Feather of the Firebird.
Crown.
Treasure sword and shield.
Spinning wheel and magic ball.
Soon the fairy tale will tell.
Yes, it won’t be done soon.
A feast for the whole world.
National holiday.
Fairy tale images are the basis of any art.

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CONSIDERED AGREED: APPROVED:

At the meeting of the ShMO Deputy. director for water management, director of MAOU Secondary School No. 19

S.P. Kulebyakina _________E.V. Likhacheva ___________A.M. Lobanov

“___” _____ 2014 “__”_______ 2014 Order dated “__” __ 2014 No.___

Protocol No. 1

TEACHER'S WORK PROGRAM

Kulebyakina Svetlana Pavlovna

primary school teachers

highest qualification category

3rd grade

Considered at a meeting of the pedagogical council

protocol No.___________

from "____" __________ 2014

2014-2015 academic year

1. Explanatory note……………………………………………………………………….. 3

3. Educational and thematic plan……………………………………………………………… 19

4. Requirements for the level of training of students enrolled in this program...... 19

5. Criteria and standards for assessing the knowledge, skills and abilities of students in this program. ........................................................ ........................................................ ........................................................ ...22

6. List of educational and methodological support…………………………………………………………………… 23

7. List of references………………………………………………………………………………………23

8. Calendar and thematic planning……………………………………………………25.

1. Explanatory note.

The work program in fine arts for grade 3 was developed on the basis of the federal state educational standard for primary general education (order No. 373 of October 6, 2009), the requirements for the results of mastering the basic general education program of primary general education, an exemplary program of primary general education in fine arts and based on the author’s program “Fine Arts”, author I.E. Kashekova, A.L. Kashekova. Educational and educational complex "Prospective Primary School"

Fine arts in primary school is a basic subject, its uniqueness and significance is determined by its focus on development artistic abilities And creative potential child, formation of associative-figurative, spatial thinking, intuition; instant perception of complex objects and phenomena, emotional assessment; ability to make paradoxical conclusions, to understand the world through feelings and emotions.

Relevance The subject is determined by the fundamental importance of integrating school education into modern culture. The program is aimed at helping a child enter the modern information, socio-cultural space, which combines various phenomena of mass culture, often manipulating a person who is not aware of the power and mechanisms of its influence on his spiritual world.

Communion modern man to art, as the age-old cultural experience of mankind, based on the continuity of generations who passed on their perception of the world, embodied in artistic images, is significant for its aesthetic and ethical

education. The humanistic and pedagogical potential of art has been used in traditional and official education at all times. Art is one of the forms of knowledge of the surrounding world. Artistic knowledge, fundamentally different from scientific knowledge, complements and harmonizes the picture of the world.

The purpose of the study The subject “Fine Arts” is the development of students’ personality through the means of art, gaining emotional and valuable experience of perceiving works of art and experience of artistic and creative activity.

In accordance with this goaltasks are solved:

Nurturing visual culture as part of the general culture of modern man, interest in the fine arts; enrichment of moral experience, formation of ideas about good and evil; development of moral feelings, respect for the culture of the peoples of multinational Russia and other countries;

Development of the child’s imagination, creative potential, desire and ability to approach any of his activities creatively; abilities for an emotional and value-based attitude towards art and the surrounding world; collaboration skills in artistic activities;

Mastering initial knowledge about the plastic arts: fine, decorative and applied arts, architecture and design, their role in human life and society;

Mastery of elementary artistic literacy, formation artistic outlook and gaining experience in various types of artistic and creative activities, using various artistic materials; improving aesthetic taste.

The general logic of the educational and methodological set is built taking into account the conceptual ideas of the “Prospective Primary School” system.

A magical world filled with wonders (6 hours)

Ancient roots of folk art (1 hour).Traditions of folk art. Reflection in traditional folk art of the beliefs, work and life of the people. Ancient roots of folk art. Every person from early childhood enters an unusual fairy-tale world filled with miracles. The role of myth and mythical characters in the development of culture and art. Myth and fairy tale.

Understand that traditional folk art reflects the beliefs, work and life of the people. Have an idea of the ancient roots of folk art. Understand the role of myth and mythical characters in the development of culture and art.

Where did the fairy tale come from...Ancient people's idea of the world order. The knowledge of how our ancient ancestors lived has been preserved through art. Jewelry, household items, tools found during excavations at the sites of ancient settlements, paintings on the walls of caves tell about the life of ancient people. Depiction of animals by ancient artists.

… from the needs of life (1 hour).Ancient images on the stone walls of caves where ancient people lived. Images of animals in rock paintings. Generalization of the image; conveying the most typical qualities of the animal; a combination of real and fantastic features in one image. Expressiveness and recognition of images of animals, conventions in the depiction of people.

Make a composition in the manner of cave painting on tinted paper (charcoal, sanguine, chalk or ink, pen). Depict episodes from the life of ancient fishermen, hunters, and their tribes.Characteristics of student activities.Realize that ideas about the life of ancient people were preserved thanks to art. Have an idea of the most ancient art - rock painting. Understand the features of the depiction of animals and people by ancient artists. Create a composition in the manner of rock painting on themes from the life of ancient fishermen, hunters, and their tribes using graphic techniques.

... out of faith (1 hour).The belief of ancient people in the origin of their family from an animal - a bear, panther or deer. Figurines of the animal - the patron of the clan, made of stone, wood, metal or ceramics. “Animal style” in the art of the ancient Scythians. Decoration of weapons, horse harnesses, shields, quivers, buckles, and fasteners on the clothes of Scythian warriors with animal figures. Conveying the essence of the image: strength, dexterity, speed, sensitivity, vigilance, speed of reaction of the animal. Amulet - a sacred image endowed, in a person’s opinion, with protective power. A combination of real and fantastic features in animal images. Beauty and utility as imagined by the ancients. The belief that the qualities of the beast will be transferred to the owner of its image. Collection of animal style figurines in the Hermitage.

Artistic activity.Invent and make a talisman with the image of an animal or bird that best matches the child’s sense of self. Perform the work in volume or on a plane in the form of relief. Plasticine or plastic mass, sculpture clay and stacks.

Characteristics of student activities.Have an idea of the beliefs of ancient people in the connection between man and the species with animals. Know about the animal style in art and the features of depicting animals. Have an idea of the ancient arts and crafts and its functions as a talisman. Know about the collection of animal style figurines in the Hermitage. Create your own amulet in the form of an animal or bird, conveying the qualities that the child wants to possess, in volume or on a plane in the form of relief.

Out of a desire to know the world and make it better (1 hour).The combination of art with many types of activities that helped a person express his ideas about the world around him, assimilate and transfer knowledge and skills, contributed to communication. The existence of art in the minds of ancient man is merged with myth and religion. Revealing in myths not only the meaning of events, but also a project for their better implementation. Myth- This is a legend conveying the idea of ancient peoples about the origin of the World and man. The role of myth in the life of ancient man: filling the lack of knowledge, explaining the mysteries of nature, helping to understand the world, confidence in the future. The combination of the real and the fantastic in myth. Heroes of myths - gods and people, fantastic animals and birds, elements of nature - wind, water, fire, earth, magical objects. The embodiment of the content of myths in sacred actions - rites and rituals. A ritual is an established order of certain magical actions.

Magic is the belief in the supernatural ability of man to control nature and objects. The unity of ancient art - music, visual arts, dance, theater - in ancient rites and rituals. Fairy-tale character of mythological images. Preservation of echoes of the ancient ritual action has been preserved in the language of fairy-tale symbols.

Characteristics of student activities.Have an idea of the unity of ancient art, that it united many types of activities that helped a person express his understanding of the world around him. Know the concepts of “myth”, “ritual”, “rite”, “magic”. Understand the role of myth in the life of ancient man, the features and functions of myth. Have an idea about the heroes of myths.

Sign and symbol (1 hour). Sign - it is a common image used to store and convey information. All people included in the space of one culture equally understand the meaning of a sign, for example, letters of the alphabet, numbers, road signs. Mastery of the language of signs and symbols to understand art. Ancient signs of the sun, earth, water. Symbol- similar to a sign, but has many meanings. The deep content of the symbol and its transmission of ambiguity to the artistic image. The symbol reveals common experiences of the world and themselves among people.

An ancient symbol of the Tree of Life in folk embroidery. The image of the Tree of Life in contemporary art. The ability to interpret the image as a sign and as a symbol. The symbolism of the spinning wheel and its connection with cosmic and calendar-cyclical ideas. a close connection between the Russian spinning wheel and the cult of fertility and the funeral cult of ancestors. Symbolism of carved decorations of a wooden house; shapes and paintings of the spinning wheel. A variety of fairy-tale symbols: symbolic characters, objects, elements of nature, birds and animals (for example, the Firebird and the Golden-maned horse, a treasure sword and a golden apple, living and dead water, a road leading the hero to victory and a hut on chicken legs, a ball , Ivan the Fool and Baba Yaga, day and night).

Artistic activity.Draw an embroidery sketch using ancient symbolism. Checkered paper and colored markers.

Characteristics of student activities.Have an idea of the sign-symbolic language of art, the signs and symbols of ancient art. Understand the common and different in a sign and symbol. Interpret the image as a sign and as a symbol. Master the basics of the language of signs and symbols to understand art. Know ancient symbolic images: the Tree of Life, sun, earth, water, horse, etc., find them in traditional folk art. Understand the symbolism of images on household items and tools. Make an embroidery sketch using ancient symbolism.

A fairy tale is a lie, but there is a hint in it... (1 hour).Differences between fairy tales and myths. The horse is a favorite hero of folk tales and myths. The horse is a symbol of goodness and prosperity. The role of the horse in fairy tales. Image of a horse in art.

The image of a horse in revealing the content of a work of art. Interpretation of the image of the Horse from illustrations to fairy tales. The image of a horse in the art of different nations.

Characteristics of student activities.Understand the commonalities and differences between myths and fairy tales. Interpret ancient images presented in works of painting, book graphics, sculpture, decorative and applied arts. Have an idea of the image and symbolism of the horse in ancient and folk art. Understand the importance of the composition of the work, the shape and color of objects in revealing the content. Symbolism of color. Color as a signal, sign, or symbol. Variety of color symbolism.

Artistic activity.Create an image of a fairytale Horse. Determine the features that need to be emphasized and the color that will help convey the essence of his character and intentions.

Characteristics of student activities.Have an idea of the symbolism of color. Create an image of a fairytale Horse using ancient images and color symbolism.

Fairy tale themes and plots in the visual arts (2 hours).The heroic theme in the fine arts of Russia (V. Vasnetsov, M. Vrubel, etc.). Theme – plot – content of a work of art. Theme is an area of real life or fantasy reflected in a work of art. The plot is the depicted event and the development of the action captured in the work. Themes of the search for happiness or the Firebird, on which it depended, etc. Three repetitions in the plot. Magic transformations in fairy tale plots. Fairytale motifs in fine art. Fairytale bird (M. Vrubel, V. Vasnetsov). Composition and color in creating expressive images. The difference between positive and negative heroes of fairy tales, transformed into animals and birds. Images of good and evil characters. Lines and colors to depict them. A variety of strokes to convey the texture of bird feathers or animal fur.

Artistic activity.Depict a fairy-tale bird or beast into which the hero or heroine of a fairy tale could turn (graphic techniques).

Characteristics of student activities.Distinguish between “theme” and “plot” in art. Have an idea of the common themes and plots of Russian art, the peculiarities of constructing fairy tales and illustrations for them. Know the paintings based on fairy tales by V. Vasnetsov and M. Vrubel. Depict a fabulous animal or bird using graphic means. Create a generalized image of a fairy-tale bird using the silhouette technique.

Storytelling artists. Fairytale images (5 hours)

Artists-storytellers (1 hour).Artists who used fairy tale themes in their work: Viktor Vasnetsov, Mikhail Vrubel, Ivan Bilibin, Nicholas Roerich. The specificity of their creativity, artistic style and their own range of subjects. The works of these artists are kept in the Tretyakov Gallery in Moscow and in the Russian Museum in St. Petersburg.

Artistic activity.Determine the author of each fragment from the works of storytellers based on their artistic style.

Characteristics of student activities.Know the artists who created works based on fairy tales: V. Vasnetsov, M. Vrubel, I. Bilibin, N. Roerich. Understand the features of their art. Distinguish artistic style and find their works in the textbook and workbook.

The images of the heroes of a fairy tale are inseparable from its plot.Mythopoetic images of Slavic art and their reflection in folk culture in various types of art. Images of the magical birds Sirin and Alkonost, the forest deity Leshego, and the inhabitants of rivers - mermaids. Image of mermaids in wooden carvings decorating a village house. The connection between the ancient concept of “amulet” and the river bank.

Artistic activity.Look at images of real animals, birds, plants, insects and create your own fantastic image. Let it be a good image - a talisman. Plasticine or sculpture clay.

Characteristics of student activities.Have an idea of the mythopoetic images of Slavic art and their reflection in folk culture in different types of art. Interpret fairy-tale images of animals and birds in works of book graphics and painting. To see and distinguish various elements in a work of art, in fairy-tale images, and to apply the method of combination in one’s own artistic and creative activity. Understand that the variety and richness of images depends on the visual experience of the artist. Distinguish and explain fairy-tale images - amulets in folk arts and crafts. Create an image of a fairy-tale bird or animal based on combinatorial activity.

The hero of the fairy tale is the bearer of folk ideals (1 hour).The image of the main character of a fairy tale. Rebirth as a result of the trials befalling the hero in the plot of the fairy tale, Ivanushka the Fool (prince, young man) into a strong, brave, kind, strong-willed ideal hero. Images of Russian heroes from a painting by Vasnetsov.

Clothes of a Russian warrior: chain mail, helmet, chain mail. A shield and sword are mandatory attributes of a warrior. Stages of creating a portrait of a fairy tale hero: use a stain to depict the oval of the face, neck and shoulders. Changes in the clothing of Russian soldiers over time (17th, 19th, 20th centuries). Changes in the images of fairy-tale characters.

Artistic activity.Create an image of a fairy tale hero - a defender of the Motherland. You can depict him in full growth or make a full-length portrait.

Characteristics of student activities.Have an idea of the symbolic nature of popular fairy tale characters. Describe the images of heroes from the paintings of V. Vasnetsov, M. Vrubel. Imagine and be able to depict the clothing of Russian soldiers in different historical periods. Create an image of a fairy tale hero - a defender of the Motherland. Know the stages of working on a portrait.

The image of the Hero - the defender of the fatherland in art (1 hour).Heroes of fairy tales are like the embodiment of the people’s dream of an ideal defender who can handle any feats in the name of peace and goodness on his native Earth. The desire of people in terrible days for our Motherland to always stand up for its defense and save their native land and their people. The image of the defender of the Motherland in the works of artists. Images of different generations of defenders of the Russian land in contemporary art. The image of a hero of the Great Patriotic War. Correspondence of features characteristic of fairy-tale heroes to the images of real heroes.

Artistic activity.Create an image of a hero - a real defender of the Motherland (gouache or plasticine).

Characteristics of student activities.To empathize with the desire of people to stand up for its defense in terrible days for the Motherland. Consider and analyze images of the defender of the Motherland in works of art. Have an idea of what the defenders of the Motherland looked like at different times. Correlate the features characteristic of fairy-tale heroes with the images of real heroes. Create the image of a hero - a real defender of the Motherland.

Ideal images of fairy-tale heroines (1 hour).The main heroines of Russian fairy tales. Endowing the fairy-tale heroine with the qualities that, according to the people, should have been present in an ideal woman: beauty, modesty, patience, perseverance, loyalty, kindness, caring, hard work, skill, self-esteem. The role of clothing in characterizing the female image: headdress - kokoshnik or scarf, sundress, shirt.

Artistic activity.Create an image of the heroine of a Russian folk tale, try to convey the main qualities that correspond to the ideal female image (gouache or pastel).

Characteristics of student activities.Know the ideal qualities of a woman’s character, established by traditional folk culture.

Understand the role of clothing in characterizing a woman’s image. Create an image of the heroine of a Russian folk tale.

Ideal female images in art (1 hour).The idea of the ideal woman, reflected in art. The qualities of women - heroines of works of art: tenderness and fortitude, kindness and courage, hard work and caring, modesty and optimism, skill and good taste.

Artistic activity.Create a modern ideal female image. You can portray a mother or a teacher.

Characteristics of student activities.See and comment on the qualities of women depicted in works of art in portraits and genre paintings. Create the ideal image of a modern woman.

Reality and fantasy (12 hours)

Images of negative characters (2 hours).The struggle between two main opponents - opposite in spirit, appearance and goals - is the basis of any fairy tale plot. Confrontation goodies in fairy tales to evil, cunning, insidious characters. Empowerment of negative characters (Baba Yaga, Koschey the Immortal, Serpent-Gorynych, evil queen, etc.) enormous power, strengthened by witchcraft spells. Conveying character through appearance. Ominous images of evil heroines, associations with the image of an angry bird or a wary, aggressive animal. Color and character of the line in creating an image.

Artistic activity.Create an image of a negative fairy tale heroine.

Characteristics of student activities.Understand that the basis of the content of any work of art is the opposition of opposite pairs: truth and lies, life and death, beautiful and ugly, etc. Realize that a character's character can be conveyed by his appearance. Understand the specifics of creation and create an expressive image using color and line character. Create an image of a negative fairy tale heroine.

Images of monsters . The emergence of images of monsters as a result of the transformation of real animals and birds, adding to them real view various parts: heads, paws, fangs, wings. Images of fantastic monsters in carvings decorating huts and temples. Wood carving. Stone carvings of the Dmitrievsky Cathedral in Vladimir, the cathedrals of Chernigov and Yuryev-Polskaya. Images of monsters on tiles. Decoration of stoves, facades of stone temples and chambers with colored tiles. Acquaintance with the methods of making tiles.

Artistic activity.Make a tile model from plasticine or sculptural clay, decorated with images of fantastic animals.

Characteristics of student activities.Understand how fabulous, fantastic images are born in the fine arts. Observe images of fantastic monsters in the carvings decorating huts and temples. Know what a “tile” is, have an idea of how it was made and where it was used. Create a model of a tile in relief. Use contrast to enhance the emotional and figurative sound of the work.

The image of a road in a fairy tale and the road in life (1 hour).The road as a symbol of life's path. The image of a road in fairy tales. The connection in the form of a road of three worlds - underground, earthly and heavenly. The path along a tree trunk to the sky, the path across the river to the other world, etc. Meetings and adventures awaiting the hero on the road. The image of the road in the works of artists I. Levitan, N. Roerich, I. Shishkin, in illustrations by I. Bilibin. Using perspective rules when depicting a road. Skyline.

Artistic activity.Do exercises in your notebook to construct the perspective of the road.

Characteristics of student activities.Understand the ambiguity of the concept “road” in art. Interpret the image of the road in works of art. Know and use the rules of perspective, the vanishing point on the horizon line when depicting a road. Complete tasks to construct the perspective of the road.

There, on unknown paths... (1 hour).The role of the crossroads (crossroads, crossroads). The hero's choice of his life path, making a vital decision. Signs of a crossroads: A worship cross or a huge boulder. The image of the path-road is a symbol of the hero’s fate. Road along the river or across the sky.

Artistic activity.Teamwork. Choose or come up with a fairy tale plot. On a large sheet of cardboard, draw a plan diagram of the fairy-tale road that the fairy tale hero must follow to achieve his goal.

Characteristics of student activities.Have an idea of the meaning of a crossroads in the traditional consciousness, its symbolic meaning. Know the signs and symbols of road intersections. Participate in teamwork. Choose or invent fairy-tale plots. Draw a plan diagram.

Traveling through different worlds (1 hour).The road connecting the three worlds - underground, earthly and heavenly. The hero's journeys through different worlds.

Human life is like a journey along the road of life. An image of a road as long as a person’s life, his entire life’s journey in a painting by K. Petrov-Vodkin. The virtual presence of the road in the picture. An idea of the road along which the hero walks, its characteristics,

an idea of what path the hero took, what his path was: easy or hard, long or short, etc.

Artistic activity.Continue your teamwork. Let everyone depict various obstacles that may occur on the hero's path. Follow the path of the main character of the fairy tale using dice and chips.

Characteristics of student activities.Understand the role of the road in connecting the three worlds in a fairy tale. Interpret the image of the road in art as a life path. See, understand and be able to explain the virtual presence of the road in the picture. Interpret the image of the road in the landscapes of Russian artists. Participate in teamwork, find your place in the common cause.

Image of the Fairytale Forest (1 hour).Road through an enchanted forest. Images of a fairytale tree: a mighty oak, a delicate birch or mountain ash, a prickly spruce. The similarity of trees in spirit to the characters of fairy tales. Methods of depicting trees and their features.

Artistic activity.Imagine that an evil sorcerer turned a hero or a beautiful maiden, or maybe Baba Yaga or another villain, into a tree. Determine which tree is more suitable to characterize the image. Draw a tree and give it the expressive features of a fairy-tale character (pencil, rollerball).

Characteristics of student activities.Understand and create in your imagination images similar in spirit to fairy tale characters, inspired by different tree species. Understand the characteristics of trees and know how to depict them. Interpret the image of a tree as an image of a fairy-tale character in your own artistic and creative activity.

Enchanted forest (1 hour).The image of Baba Yaga's gloomy forest as an impersonation for the hero of another world. A hut on chicken legs. Images of trees that can grow in an enchanted forest. Expression in the images of these trees of the character and thoughts of Baba Yaga. Baba Yaga's hut, created according to a drawing by V. Vasnetsov in Abramtsevo. Illustration by I. Bilibin for the fairy tale “Vasilisa the Beautiful.” Transfer by the artist using surrounding nature character and thoughts of the riders. The gloomy appearance of the spruce thicket and the thorny branches of these trees corresponds to the character of the negative characters.

Artistic activity.Do exercises on depicting fir trees in your workbook.

Characteristics of student activities.Understand the symbolic meaning of the forest in fairy tales and in the visual arts. See the characters and thoughts of various fairy tale characters in the images of various trees. Recognize the role of the surrounding nature in conveying the character and thoughts of the characters. Depict spruce and thorny bushes.

Magic forest (1 hour).Image snowy forest in V. Vasnetsov’s painting “The Snow Maiden”, its correspondence to the image of the Snow Maiden. Images of the Snow Maiden by M. Vrubel and N. Roerich. Character traits of the Snow Maiden, seen by every artist. Imagine what kind of trees can grow in the Snow Maiden’s forest. Tell us about V. Vasnetsov’s painting “Snowy Forest.”

Artistic activity.Depict the Snow Maiden's forest. Use gouache and tinted paper.

Characteristics of student activities.Find a match between the image of the forest and the image of the hero of the fairy tale. Understand the subjectivity of the interpretation of the character’s image by different artists, find common and specific features in different images. Talk about the plot of the painting depicting a forest. Create an image of the forest as Snow Maiden or Father Frost. Convey movement and emotional state in a composition on a plane.

The image of a home in a fairy tale and in life (1 hour).The hero's journey from the threshold of his home: a hut, stone merchant chambers or a royal palace. Izba is a Russian peasant dwelling, made of logs and covered with a gable roof. The attitude of peasants towards their home. Elements of construction and decor of a hut. The expression in the decoration of the hut is the desire to save the family from various misfortunes - diseases, evil spirits, natural phenomena. The use of images of protective symbols in wooden carvings: the sun, birds symbolizing the sky, lions and mermaids symbolizing the underwater and underground worlds. On the roof, the ridge represented the solar deity and symbolized wealth and prosperity in the house. Decorating the space around doors and windows - carved frames. Decoration of rich mansions and royal mansions.

Images of fairy tales in different types of folk art: in the decor of houses, in embroidery patterns, in carvings and in the painting of household items.

Artistic activity.Draw the window casing. What symbols need to be depicted for good luck to come to the residents of the house? Where will they be located: above the window, below the window or on the sides?

Characteristics of student activities.Have an idea of the image of a Russian peasant dwelling - a hut, its symbolism expressed in decor. Find ancient amulets in the decorative elements of the hut and explain their purpose. See and interpret fairy-tale images in the forms and ornaments of traditional decorative and applied housing. Sketch the decorative elements of the hut, understand their purpose and meaning, and determine the location.

Image of a village (1 hour).A journey from the threshold of a rural house. Living in harmony with the nature of the villagers, knowing and respecting its laws. Village street, repetition of the contours of the terrain. A variety of huts: rich and poor, decorated with carved ornaments and blackened, lopsided with age. The location of the village is on a picturesque bank of a river or lake, among fields or on the edge of a forest. V. Vasnetsov - sketches of the scenery for N. Rimsky-Korsakov’s opera “The Snow Maiden”.

The image of a village street in artists’ paintings: a feeling of sleepy silence or bright festive fun. Harmonious connection of traditional rural buildings with the surrounding area.

Artistic activity.Teamwork. Depict a rural street lined with elegantly decorated peasant houses. Show the nature, among which the village is comfortably located. The background can be painted in gouache. Construct houses, wells and other buildings from paper and glue them to the background.

Characteristics of student activities.Understand that a person must live in harmony with nature, know and respect its laws. Have an idea of the appearance of a village street, of the harmony of housing with nature. Perceive the image of a village street in V. Vasnetsov’s scenery sketches. Participate in teamwork. Depict village street among nature, using the rules of perspective. Construct from paper and decorate buildings. Convey an emotional state in a three-dimensional composition.

Image of the city (1 hour).The ancient city is an impregnable fortress. Mighty walls, watchtowers, passage gates, drawbridges, a moat surrounding the city on all sides. The main cathedral in the city center, a wooden or stone palace and mansions or chambers of the boyars and famous people. Houses of rich merchants. Huts of poor and artisan people on the outskirts of the city (N. Roerich “Putivl”, “Rostov Kremlin”; A. Vasnetsov “Moscow Kremlin”).

Artistic activity.Teamwork. Create a model of a fairy-tale wonder city. Choose methods of working with paper that suit your design to build models of buildings of various shapes.

Characteristics of student activities.Have an idea of the ancient city as an impregnable fortress and its structure. Participate in teamwork. Create a model of an ancient fortified city. Use different ways to work with paper.

Image of a fairy-tale city (1 hour).The image of a fabulous miracle city “with golden-domed churches, towers and gardens.” The legend of the invisible wonderful city of Kitezh.

Artistic activity.Perform collective work in volume or in relief on the theme “Fairytale City” or “Wonderful City of Kitezh”.

Characteristics of student activities.Have an idea of the images of fairy-tale cities in literature, fine arts, and cinema. Participate in teamwork. Use different methods of working with paper or plasticine.

Images of fairy-tale attributes (7 hours)

The role of objects endowed with magical powers in fairy tales: a saucer with a blue border, rejuvenating apples, a ball, running boots,

self-assembled tablecloth, magic beads, invisible hat, doll, spinning wheel, magic mirror, ring, comb, spindle, crown, treasure sword, etc. Symbolism and features of the image of fairy-tale objects.

My light, mirror... (1 hour).The special role of the mirror, the reflection of the heroine, events occurring with other characters in the fairy tale. A mirror is like a mysterious world and like an expensive thing.

Artistic activity.Develop a sketch of a frame for a mirror for some fairy-tale character.

Characteristics of student activities.Realize the magical role of the mirror in the fairy tale, understand why there is a special attitude towards mirrors in life. Develop a sketch of the product, taking into account the characteristics of its future owner.

Doll... (1 hour).The doll is used in fairy tales and in ancient rituals and ritual games. Making dolls in ancient times (carving from wood, knitting from straw, modeling from clay, twisting from rags). Dolls - swaddle, twist, haircut, kuvatka. Helper dolls, wedding dolls, etc. Ritual dolls. A doll that replaces a person who has left home for a long time (the fairy tale “Vasilisa the Beautiful”). Endowing a fairy-tale doll with special protective magic. Belief in the protective power of the doll. Sequence of making Kuvatka. Making a doll from straw, thread, rags and even candy wrappers.

Artistic activity.Create a ritual doll, and then combine all the dolls into a single solar composition.

Characteristics of student activities.Have an idea of the history of the doll, its role in the life of peasants. Know the different types of traditional dolls. Understand the symbolic role of dolls in folk tales. Know the methods and sequence of making a simple doll. Create a simple ritual doll. Know how to use it in decorating a modern interior.

Apples and apple tree (1 hour).A magic apple or from an apple tree and the development of a fairy tale plot. There is a special attitude towards the apple tree in Rus'. Feast of the Apple Savior. Lighting the new fruit harvest. The secret of fairy apple trees. The good or evil power of an apple in fairy tales. Helping heroes choose their path, gain youth and power, and see events happening on the other side of the world. Harming the heroes (poisoned apple). Illustrations by artists A. Kurkin and B. Zvorykin.

Characteristics of student activities.Have an idea of the special relationship to the apple and the apple tree in the culture of different nations. Understand the meaning of holidays dedicated to apples. Distinguish between the good and evil powers of an apple in fairy tales. Know a few fairy tales where the apple was given special role in the development of the plot, select illustrations for these fairy tales.

Roll, roll, apple...The ambiguous attitude of people towards the apple since ancient times Apples in myths are a symbol of evil or a symbol of knowledge, wisdom and solar warmth. The expression "apple of discord".

The apple is like a forbidden fruit in Christianity. Rejuvenating apples in Slavic fairy tales. The meaning of the Apple tree in the fairy tale “Little Khavroshechka”. The equivalence of the expression “roll, roll, apple” is the path along which it rolls, and the irrevocably passing time. The meaning associated with the ancient meanings of this fruit is in the depiction of apples in artists’ paintings. Consider still lifes depicting apples, revealing their content.

Artistic activity.Draw a still life with apples.

Characteristics of student activities.Know the different symbolism of the apple in the culture of different nations. Have an idea of the symbolic meaning of the apple in Russian folk tales. Interpret the images of an apple and an apple tree in artists’ paintings. Draw a still life with apples. Use the compositional center, be able to separate the main from the secondary.

Feather of the Firebird (1 hour).The firebird is a symbol of immortality. Magic properties feather of the Firebird. Plots of fairy tales with the feather of the Firebird.. Plots of fairy tales connecting the Firebird with a cage containing golden apples inside. Artists are interested in the image of a magical bird that illuminates space and gives warmth. Illustration by I. Bilibin for “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf.” Appearance and habits of the Firebird. Type of feather and its similarity peacock feathers. Properties of feathers: flexibility, plasticity, resemblance to plant branches or flower stems.

Artistic activity.1. Make sketches of the feathers of different birds. 2. Make sketches of branches or flowers and give them the image of the Firebird’s feather (tinted paper, charcoal, chalk, sanguine). 3. Create an image of the Firebird’s feather from drawn branches and flowers. Pay special attention to the plasticity of the form.

Characteristics of student activities.Understand the symbolic meaning of the image of the Firebird in fairy tales. Interpret images of fairy-tale birds in works of fine and decorative art. Know and name fairy tales in which the magic bird plays an important role. Correlate objects that are different in function and material, but similar in appearance. Draw sketches of the feathers of different birds. Make sketches of branches and flowers, giving them plasticity and the decoration of the Firebird's feather. Create an image of the Firebird's feather from drawn branches and flowers.

Crown (1 hour). The crown is a symbol of greatness and power. Royal and imperial crowns made of precious metals and stones. Ancient symbols in the decor of the royal crown. Correspondence in fairy tales of the crown to the character and intentions of the owner. Features of the crown of a king, a good or evil queen, a princess, Koshchei the Immortal?

Artistic activity.Make a model of the crown from paper, wire, plastic and other suitable materials.

Characteristics of student activities.Know the symbolic meaning of the crown, find and explain ancient symbols in the decor of royal crowns. Understand the correspondence in illustrations to the crown's tales with the character and intentions of the owner. Create a model of a crown from scrap materials, using ancient symbols in the decor.

Treasure sword and shield (1 hour).Sword, shield, spear - the weapons that our ancestors used. The magical power of weapons in fairy tales. Solar symbolism of the Treasure Sword and its use by heroes from Russian folklore. A bright glow around the sword in illustrations for fairy tales. The treasure sword is a symbol of courage, justice, power, fighting for a just cause. Its meaning is wisdom, which determines deceit and ignorance and punishes criminals. The sword could also signify power and dignity. The second important attribute of a warrior is a shield. The shield is a symbol of protection and safety. Interpretation of the word "protection". Decorating the shield with the warrior's emblem, communicating his ideals. Weapons of invaders - evil characters from fairy tales. The sword is a symbol of fate, and the shield is the terrifying calling card of the villain. The meaning of the images placed on the shield: sun, oak, raven, owl, lion, snake, spider, dragon, etc. Images of swords and shields, the symbolism of which reveals the character and intentions of the character, in modern films fantasy and games.

Artistic activity.Invent and depict the decoration of a shield, a quiver for arrows or a sword hilt for a hero - a defender or his enemies.

Characteristics of student activities.Have an idea of the shape and decoration of ancient weapons. Explain the symbolism of the decoration of the sword and shield. Understand the connection between the words “shield” and “protection”. See the difference in the images of the weapons of good and evil heroes fairy tales Understand the meaning of the images placed on the billboards. Invent and create the shape and decoration of a shield, quiver for arrows or hilt of a sword of different nature for the hero - the defender or his enemies.

Spinning wheel and magic ball (1 hour).The defining role in fairy tales is of spinning, spinning wheels, weaving, a ball of thread or a spindle. The importance of spinning in peasant life. The fate of a spinner depends on her dexterity, skill and taste. In myths and fairy tales, spinning, weaving and everything connected with them are endowed with magical powers. Heroines of fairy tales associated with this activity: Vasilisa the Wise wove a magic carpet in one night; Baba Yaga spun, twisting the thread into a ball, and the ball helps the hero find his destiny. The ball is a symbol of time and infinity, a symbol of fate. Goddesses of Fate, spinning the thread of human life in the culture of different peoples (Moira among the Greeks, Dolya and Nedolya among the Slavs, Srecha and Nesrecha among the Serbs).

Artistic activity.1. Select and sketch objects that reveal the ideas of the ancients about the life and fate of man.

2. Create a composition from objects symbolizing the ancient people’s idea of the cycle in nature and the fate of man (pencil, rollerball, felt-tip pen).

Characteristics of student activities.Understand the symbolic, fateful meaning of the decisive role of spinning, spinning wheel, weaving, ball of thread or spindle in fairy tales. Select and sketch objects that reveal the ideas of the ancients about the life and fate of man. Create a composition from objects that symbolize the ancient people’s idea of the cycle in nature and the fate of man.

Soon the fairy tale will be told, but it will not be done soon... (2 hours)

Depiction of the holiday and its attributes in art (1 hour).Happy fairy tale ending. Holiday, folk festival in the paintings of artists. Festive table, dishes, treats. Samovar, ladles, bratins, bowls, tues, jugs. The dishes on the peasant table are wooden and clay. Copper. The dishes on the royal table are silver, covered with colored glazes. The spirit of Russian antiquity in still lifes with objects of peasant life (V. Stozharov).

Artistic activity.Make sketches of peasant household items and decorate them with symbolic patterns. Paint a still life created by the teacher in gouache.

Characteristics of student activities.Consider a holiday, a folk festival in the paintings of artists, find in them what is common and special with a modern holiday. Identify ancient dishes by appearance, know the name and functions. Feel the spirit of Russian antiquity in still lifes with objects of peasant life. Make sketches of peasant household items and decorate them with symbolic patterns. Create a still life created by the teacher using pictorial means.

A feast for the whole world (1 hour).Compositions on the theme of folk festivals in painting and in illustrations for fairy tales (B. Kustodiev, I. Bilibin, V. Vasnetsov).

Artistic activity.Do group work on the theme of a national holiday, for example, “Feast for the whole world”, “Fair”. Prepare a background - a village street or a palace room. Separately draw the participants, the holiday, decorate their clothes, draw a variety of dishes and dishes. Assemble a composition from the resulting elements.

Characteristics of student activities.Have an idea of traditional folk festivals from their depictions in paintings and illustrations for fairy tales. Participate in group work on the theme of a national holiday. Convey the atmosphere of a holiday in a person’s movement, color and decor of his clothing. Get acquainted with the folk ritual holiday. Understand the symbolism of the holiday. Compare the interpretation of the holiday in the paintings of different artists.

Symbolism of the national holiday (1 hour).National holiday - Red Hill. Round dance games. Spring songs and spring calls. Symbols of the Red Hill holiday. Round dances in the works of artists A. Savrasov, B. Kustodiev.

Artistic activity.Take part in the integrated event “Spring Festival” (literary reading, music, visual arts). Make holiday costumes and decorations. Create a group work on the topic “Round Dance”.

Characteristics of student activities.Take part in an integrated activity (literary reading, music, visual arts). Create a costume for the holiday, decorations. Participate in group work on the theme “Round Dance”. Recognize the common roots of fairy-tale images and images of folk art. Understand the unity of symbolism in ancient and modern art.

Fairy tale images are the basis of any art.Common roots of fairy-tale images and images of folk art in ancient myths. Unity of symbolism. The role of understanding ancient symbols in understanding real professional art.

3. Educational and thematic plan.

No.		Number of hours
No.		theoretical


	Storytelling artists. Fairytale images
	Reality and fantasy	12h	12h
	Images of fairy tale attributes
	Soon the fairy tale will tell, but not soon the deed will be done
	Total:	34 h	34 h

4. Requirements for the level of training of students enrolled in this program

Know: methods and techniques for processing various materials (clay, plasticine); individual works outstanding artists and folk craftsmen; basic means of expressiveness of painting; safety rules when working with tools (scissors, needle, awl); organize your workplace;

primary and mixed colors, basic rules for mixing them; features of the construction of the ornament and its meaning in the image of an artistic object; meaning of words: composition, silhouette, shape, size, collage; methods and techniques of paper processing; the main means of expressiveness of decorative and applied art.

Understand the emotional meaning of warm and cool shades; features of the construction of the ornament and its meaning in the image of an artistic object.

Be able to draw elements of floral patterns with a brush without prior drawing; master the basics of drawing and be able to create models of objects in a person’s everyday environment; master basic papermaking skills; be able to perform stitches with a “forward needle” seam; apply elementary methods of working with painting (watercolor, gouache) and graphic (felt-tip pen) materials to express ideas and moods; express your own opinion when evaluating a work of art; construct from fabric based on twisting and binding; mark on paper according to the pattern, along a ruler, use straight and curved cutting using scissors; be able to use the simplest sculpting techniques: pull from a whole piece, smear parts, make moldings, smooth the surface; be able to compose a composition taking into account the design.

Form a UUD

Use your observations of natural phenomena in artistic and creative activities.

Convey the nature of natural phenomena using expressive means of fine art (color, line, spot, shape, composition).

Use various artistic materials and means to create expressive images of nature.

Have an idea about picturesque landscapes Russian artists.

Use the expressive capabilities of various artistic materials to convey your own ideas.

Identify and briefly characterize the emotions that color evokes in painting.

Perform compositions to convey the mood and impressions received from a literary work.

Perceive art and the surrounding reality figuratively.

Find associations of natural forms.

Model shapes using various materials.

Model fairy-tale and fantastic images using artistic means.

Design simple shapes of objects using the paper plastic technique to decorate a holiday or theatrical performance.

Design and create household items.

Distinguish between the works of the leading centers of folk artistic crafts in Russia.

Recognize individual outstanding Russian works and name their authors.

Draw, sculpt, model and construct from paper based on ideas on designated topics.

Create simple artistic items for gifts.

Know the traditions of your people, captured in art.

Use art materials (gouache, colored pencils, watercolors, plasticine, clay, paper and other materials).

Apply means of artistic expression in drawing and painting, decorative and constructive works.

Distinguish and use primary and composite, warm and cool colors.

Think over and build the composition of the drawing and appliqué.

Isolate basic forms and use them in drawing, modeling and paper plastic.

By the end of grade 3, students should

know:

the purpose of the palette and how to use it in work;
features of working with watercolors and gouache paints;
types of fine arts;
names of colors and shades, three primary colors;
rules for mixing paints and obtaining composite colors;
outstanding representatives of Russian and foreign art and their main works;
basic information about graphics, painting, sculpture, decorative and applied arts;
the importance of fine arts in artistic culture;

be able to:

express the simplest judgments about paintings and objects of decorative and applied art;
strive to convey correctly and expressively in drawing simplest form, basic proportions, general structure and color of objects;
sit correctly at your desk, without tension and freely draw lines in the right directions, without rotating the sheet of paper;
use the sheet format in accordance with the task and plot;
use layout skills;
make patterns in stripes, squares, circles from decorative, social and recycled forms flora, from geometric shapes;
sculpt simple objects;
create appliqué compositions from different materials.

Personal results are reflected in the individual qualitative properties of students, which they must acquire in the process of mastering the academic subject in the “Fine Arts” program:

a sense of pride in the culture and art of the Motherland, one’s people;
respectful attitude towards the culture and art of other peoples of our country and the world as a whole;
understanding the special role of culture and art in the life of society and each individual;
formation of aesthetic feelings, artistic and creative thinking, observation and imagination;
the formation of aesthetic needs - the need for communication with art, nature, the need for a creative attitude towards the surrounding world, the need for independent practical creative activity;

mastering the skills of collective activityin the process of joint creative workin a team of classmates under the guidance of a teacher;
ability to cooperate with colleagues in the process joint activities, correlate your part of the work with the overall plan;
ability to discuss and analyze one's own artistic activity and the work of classmates from the standpoint of the creative tasks of this topic, in terms of content and means of expression.

Meta-subject results characterize the level of development of students’ universal abilities, manifested in cognitive and practical creative activities:

mastering the skill of creative vision from the position of an artist, i.e. the ability to compare, analyze, highlight the main thing, generalize;
mastering the ability to conduct dialogue, distribute functions and roles in the process of performing collective creative work;
use of funds information technologies to solve various educational and creative problems in the process of searching for additional visual material, performing creative projects and individual exercises in painting, graphics, modeling, etc.;
the ability to plan and competently carry out educational activities in accordance with the assigned task, find options for solving various artistic and creative problems;
the ability to rationally organize independent creative activities, the ability to organize a place of study;
conscious desire to master new knowledge and skills, to achieve higher and more original creative results.

Cognitive UUD

Navigate your knowledge system: differ new from what is already known with the help of a teacher;

Make a preliminary selection of information sources:navigatein the textbook (on the double page, in the table of contents, in the dictionary);

Gain new knowledge: find answers answer questions using the textbook, your life experience and information received in the lesson; use reminders (given at the end of the textbook);

Draw conclusions as a result of joint work of the whole class;

Process the information received: compare and group objects and their images.

5. Criteria and norms for assessing the knowledge, skills and abilities of students in this program.

Stages of assessing children's drawings:

1. How the composition is solved: how the plane of the sheet is organized, how all components of the image are coordinated with each other, how the general idea and content are maintained;

2. The nature of the shape of objects: the degree of similarity of the image with objects of reality or the ability to notice and convey the most characteristic in the image;

3. The quality of constructive construction: how the constructive basis of the form is expressed, how the details of the object are connected to each other and to the overall form;

4. Mastery of technique: how the student uses a pencil, brush, how he uses a stroke, stroke in constructing an image, what is the expressiveness of a line, stroke, smear;

5. General impression of the work. The student’s capabilities, his successes, his taste.

Criteria for assessing knowledge and skills

Rating “5” - the assigned tasks were completed quickly and well, without errors; the work is expressively interesting.

Rating “4” - the assigned tasks were completed quickly, but the work is not expressive, although there are no gross errors.

Score “3” - the assigned tasks have been partially completed, the work is not expressive, and gross errors can be found in it.

Score “2” - the assigned tasks were not completed

6.List of educational and methodological support.

Workbook. 2 classes Kashekova I.E. Art.
Methodological manual for teachers. 2 classes

7. References:

1. Educational and visual aids in the form of tables and posters in A4 format

2. Readers of literary works for art lessons

3. Art albums

4. Books about artists and art museums, on styles of fine art and architecture

5. Dictionary of art terms

6. Portraits of Russian and foreign artists in the main sections of the course. Can be contained in a wall-mounted version,

Printed publications (art albums) and on electronic media.

7. Tables on color science, perspective, ornament construction

8. Tables on styles of architecture, clothing, household items

9. Tables on folk crafts, Russian costume, decorative and applied arts All tables and diagrams can be presented in demonstration (wall-mounted) and individual handout versions, in printed publications and on electronic media

10.Game art computer programs.

11. Music center or audio tape recorder with the ability to use audio discs, CD-R, CD RW, MP 3, as well as magnetic recordings

12. CD/DVD players, VCR

13. DVD - films: on architectural monuments; for art museums; by types of fine arts; on the work of individual artists; on folk crafts; in decorative and applied arts; on artistic technologies

CALENDAR - THEMATIC PLANNING

In fine arts

Class: 3 A

Teacher: Kulebyakina Svetlana Pavlovna

Number of hours:

Only 34 hours; per week 1 hour.

Planned control lessons: - , tests: - , tests: - hours;

Use of ICT – 14, project-1

The subject program was developed in accordance with the requirements of the Federal State Educational Standard for primary general education, exemplary programs for academic subjects, based on the concept of the “Prospective Primary School” system. Particular attention is paid to achieving the planned results of mastering the basic educational program of primary general education (second generation standard). The programs are the basis for the development of working educational programs.

Educational and methodological kit:

Program for the academic subject “Fine Arts” (grades 1-4). I.E. Kashekova, A.L. Kashekov
Workbook. 3 grades Kashekova I.E. Art.
Methodological manual for teachers. 3 grades..
Design of the basic general education program of a general education institution / under the general editorship of the prf. Churakova R.G. _ M.: Akademkniga/Textbook, 2011.
Sample programs for academic subjects. Elementary School. At 2 o'clock - M.: Education, 2011.

Additional literature:

How to design universal learning activities in primary school. From action to thought: a manual for teachers /edited by A.G. Asmolova. - M.: Education, 2011.

No.	date	Name of sections and topics	Total hours	Correct calibration	Lessons With ICT	View control	Planned results
No.	date	Name of sections and topics	Total hours			View control	Subject	Metasubject UUD (personal, regulatory, educational, communicative)
		A magical world filled with wonders
	03.09	Where did the fairy tale come from?			Presentation "Fairy tale"		Will learn: understand the role of myth and mythical characters in the development of culture and art	Development of the ability to navigate the world of artistic culture
	10.09	Where did the fairy tale come from? ...from the needs of life.					Will learn: understand the features of the depiction of animals and people by ancient artists	Gaining creative experience that predetermines the ability for independent productive creative activity.
	17.09	Where did the fairy tale come from? …. out of faith					Will learn: create a talisman, having an understanding of the ancient arts and crafts and the peculiarities of the image of animals	Formation of an active attitude towards cultural traditions Emotional-value and meaningful perception of images of reality and works of art
	24.09	The fairy tale was born from the desire to know the world and make it better					Will learn: understand the role of myth in the life of ancient man	Approach aesthetically to any type of activity. Developing Real World Observation
	01.10	Sign and symbol					Will learn: interpret the image as a sign and symbol, master the basics of the language of signs and symbols to understand art	Accept and tolerate another point of view, another perception of the world
	08.10	The fairy tale is a lie, but there is a hint in it			Presentation « The fairy tale is a lie, but there is a hint in it"		Will learn: understand the commonalities and differences between myths and fairy tales. Understand the significance of the composition of the work, the shape and color of objects in revealing the content	Emotional, valuable and meaningful perception of images of reality and works of art.
		Fairy-tale themes and plots in images body art
	15.10	Fairy-tale themes and plots in the visual arts			Presentation "Fairytale Tetas"		Will learn:	Emotional-value and meaningful perception of images of reality and works of art
	22.10	Fairy-tale themes and plots in the visual arts					Will learn: distinguish between “theme” and “plot” in art, create a generalized image of a fairy-tale animal using the silhouette technique	Gaining creative experience that predetermines the ability for independent productive artistic activity Mastering the basic means of artistic representation
		Ska artists connoisseurs. Skazoch new images (5h)
	29.10	Storytelling artists			Presentation "Favorite fairy tale artists"		Will learn: describe images of heroes, depict the clothes of Russian soldiers in different historical periods	Development of artistic and imaginative thinking as an integral part of a person’s holistic thinking Introduction to artistic culture as part of the general culture of people
	12.11	The hero of a fairy tale is the bearer of folk ideals					Will learn: analyze images of defenders of the Motherland in works of art	Introduction to artistic culture as part of the general culture of people
	19.11	The image of the hero-defender of the Fatherland in art					Will learn: understand the ideal qualities of a woman’s character established by the tradition of folk culture	Fostering respect for the history of one’s Fatherland, expressed in the visual arts
	26.11	The ideal image of a fairy-tale heroine			Presentation “The ideal image of a fairy-tale hero”		Will learn: see the qualities of a woman depicted in works of art	Ability to analyze and structure a visual image based on emotional and moral assessments
	03.12	Ideal female images in art						Formation of an active attitude towards personally significant value
		Reality and fantasy (12h)	12h
	10.12				Presentation « Images of negative characters		Will learn:	Gaining creative experience that predetermines the ability for independent productive artistic activity. Mastery of basic artistic means
	17.12	Images of negative characters					Will learn: understand the specifics of creating an image using color and line character	Ability to approach any type of activity aesthetically Ability to analyze and structure a visual image based on emotional and moral assessment
	24.12	The image of a road in a fairy tale and the road in life			Presentation "Fairytale Roads"		Will learn: understand the ambiguity of the concept “road” in art	Development of artistic and imaginative thinking as an integral part of a person’s holistic thinking. Ability for artistic knowledge of the world
	14.01	There, on unknown paths...					Will learn: road intersection signs and symbols	Readiness to make an informed choice. The ability for artistic knowledge of the world..
	21.01	Traveling through different worlds					Will learn: interpret the image of the road in art as a life path	The ability to apply acquired knowledge in one’s own artistic and creative activities.
	28.01	Image of a fairy forest			Presentation "Image of a fairy forest"		Will learn: convey the expressive features of a fairy-tale hero to a tree	Gaining creative experience that predetermines the ability for independent productive artistic activity. Mastery of elementary means of artistic representation.
	04.02.	Enchanted Forest					Will learn: see in imagesvarious trees characters and thoughts of various fairy tale characters	Development of artistic and imaginative thinking as an integral part of a person’s holistic thinking. The desire to use artistic skills.
	11.02	Magical forest			Presentation "Magical forest"		Will learn: understand the subjectivity of interpretation of a character’s image by different artists	Gaining creative experience that predetermines the ability for independent productive artistic activity The ability to use various art materials to work in different techniques
	18.02				Presentation « The image of a home in a fairy tale and in life		Will learn: find ancient amulets in the decorative elements of the hut	Fostering respect for the cultural history of your Fatherland.
	25.02	Village image					Will learn: use perspective rules	Accept and tolerate other points of view. The ability for artistic knowledge of the world.
	04.03	Image of the city					Will learn:	Gaining creative experience. Introducing to artistic culture as part of the general culture of humanity.
	11.03	Image of a fairy-tale city	1		Presentation "Image of a fairy-tale city"		Will learn: apply different methods of working with paper and plasticine	Accept and tolerate other points of view. The desire to use artistic skills to create beautiful things and jewelry.
		Images of fairy tale attributes	7h
26	18.03	Images of fairy tale attributes. My light, mirror...	1		Presentation "Fairytale attributes"		Will learn: develop a sketch of the product taking into account the characteristics of its future owner	Gaining creative experience that predetermines the ability for independent productive artistic activity. The desire to use artistic skills to create beautiful things.
27	01.04	Images of fairy tale attributes Doll...	1				Will learn: methods of sequential production of a simple doll	Development of artistic and imaginative thinking as an integral part of a person’s holistic thinking. The desire to use artistic skills to create beautiful things.
28	08.04	Images of fairy tale attributes Apples and apple tree	1		Presentation “Fairy-tale attributes (apples and apple tree)		Will learn: distinguish between the good and evil powers of apples in fairy tales	Development of fantasy, imagination, visual memory.
29	15.04	Images of fairy tale attributes Firebird feather	1		Presentation "Feather of the Firebird"		Will learn:sketch the feathers of the Firebird	Development of fantasy and imagination. The desire to use artistic skills to create beautiful things and jewelry
30	22.04	Crown	1					Development of fantasy, imagination, visual memory The desire to use artistic skills to create beautiful things and jewelry
31	29.04	Treasure sword and shield	1					Gaining creative experience that predetermines the ability for independent productive artistic activity The desire to use artistic skills to create beautiful things and jewelry
32	06.05	Spinning wheel and magic ball	1					The desire to use artistic skills to create beautiful things and jewelry
33	13.05	Depiction of the holiday and its attributes in art	1					Fostering respect for the cultural history of your Fatherland The desire to use artistic skills to create beautiful things and jewelry
34	20.05	Feast for the whole world	1					Fostering respect for the cultural history of your Fatherland The desire to use artistic skills to create beautiful things and jewelry
			34

The brilliant Gilbert Keith Chesterton once wrote a cute and witty short essay, “The Dragon's Grandmother,” in defense of fairy tales. I don’t consider myself entitled to imitate a classic, especially since I have a much more delicate task ahead of me. Chesterton defended fairy tales from crude pragmatists who do not believe in them only because they generally do not believe in anything that their reason cannot comprehend; my opponents are people who are highly respected by me and considered to be brothers in the faith, and even moreover, much more advanced in the field of church life. The last thing I would like is for this article to be regarded as a stone in the garden of Orthodoxy: counting myself among the most sinful and careless of its children, I am, nevertheless, with reverence ready to subscribe to every word of the Creed.

What made me take up writing was an unfinished discussion with an Orthodox journalist I knew. The main arguments in favor of the fact that fairy tales should not be read, much less written Orthodox person, my respected interlocutor had the following statements (we were talking mainly about Western European literary fairy tale twentieth century and authors such as J.R.R. Tolkien, A. Lindgren, T. Jansson and others, as well as my more than modest literary experiments in this genre). Firstly, the creatures that appear in these fairy tales: elves, gnomes, hobbits, Moomins, etc., are neither people, nor angels, nor animals, therefore, they can only be demons. And secondly, fairy tales often talk about magic and wizards - a clear preaching of the occult. In order to get rid of this pagan charm, my acquaintance strongly advised me to immediately burn all the above-mentioned texts and repent, and then never return to “sinful service to hobbits and elves.”

If my interlocutor had expressed the position of the entire Church, and the question of choosing between fairy tales and Orthodoxy had arisen before me, I would probably have prayed to the Lord to give me the strength not only to send half of my home library to the fire, but also to forget forever about how to connect two words on paper, thereby renouncing his profession - journalism. But here is the opinion of a clergyman, the director of the Moscow St. Vladimir Orthodox Gymnasium, priest Alexy Uminsky, who directly calls a position similar to that expressed by my opponent “pseudo-Orthodox.” In the article “Reflections on School and Children,” he quotes a letter to the editor of “Orthodox Conversation” from a certain reader, whose daughter at school was assigned an essay on the topic “What would I do if I were a wizard.”

What is the child talking about at this moment? Does he steadfastly profess his faith? No, this is not at all the principled confessional position that the mother is trying to find in the words of her daughter. This is a completely irresponsible and even cowardly reaction, dressed in an outwardly pious form. This is the verdict of the mother who took away his innocent childhood from the child. You see, if you tell children that all wizards are sorcerers, and elves and gnomes are demons, then nothing else can be achieved except to undermine their spiritual strength. This will not instantly change their idealistic childhood vision of the world into an adult one. It’s just that their childhood categories of good and evil, struggle, overcoming, and improving the world will be destroyed in their consciousness. They will simply be too lazy to invent anything, to dream about anything. Well, really, why waste time if magic is forbidden, and there are no real opportunities to bring joy to the world? That is, they may begin to reason like adults, but inside their souls there is emptiness. That emptiness that, as we grow older, will most likely be filled with cynicism, this time denial of mother’s values...”

Father Alexy Uminsky speaks about things that are obvious, probably, to any sane person, both secular and ecclesiastical. But, I’m afraid, the “zealous beyond reason” neophyte will immediately find a lot of counterarguments to this. “Okay,” my respected opponent will say. “But elves and gnomes are actually demons, and wizards are actually sorcerers!” And where have you seen a person who would work miracles without being either a saint or a sorcerer? What if a child, fooled by cartoons about Uncle Au and little brownie Kuzya, starts communicating with the “drummer”? Or, dreaming of making the world happy by becoming a wizard, will she turn out to be an easy prey for an occult sect? And in general, from daydreaming is a direct path to charm. Let him teach his lessons better!..” I know Orthodox people who stopped giving their children toys after hearing that dolls and Teddy bears- they are idols in which demons love to live, and they became ardent haters of dogs after the priest said that under no circumstances should they be kept in the apartment. But you cannot protect yourself from demons with stone walls; the enemy penetrates us in ways that we cannot even imagine, and the only way protect yourself from temptations - learn to actively resist them and pray.

The words of Father Alexy are aimed at protecting a child’s vision of the world, but fairy tales are composed by adults; there are adults who like to read fairy tales fewer children. I am not a child, so I have more reasons to justify myself - children are protected by their spiritual innocence, they are little concerned about the question of who the fairy-tale heroes “really” are, it is much more important to know whether the character in front of them is good or evil. I may not be able to convince my friend, but I hope to support those whom such categorical statements have plunged into despondency and, perhaps, pushed away from the Church. We know that the Lord often allows trials on the way to Him. It’s a painfully familiar situation - a newcomer comes to church with a still timid, timid faith, and here is some church grandmother: you’re not dressed like that, you’re not standing like that, you’re not baptizing like that... And you can understand the grandmothers, because they wish the newcomer well, too, and they don’t know who they might unwittingly play into the hands of...

Of course, fairy tales (like any works of art) are different. There are fairy tales that are frankly unkind, glorifying cruelty, theft and deception, there are simply obscene ones, and there are those that can be called occult and even demonic. How does fairy-tale magic differ from the occult, why “The Chronicles of Amber” by Roger Zelazny or “The Chronicles of Deryni” by Katherine Kurtz are to a large extent occult works, and “The Lord of the Rings” by Tolkien and “Mio, my Mio!” Astrid Lindgren - no, although magic and fantastic characters are present in both books? I'll try to explain this as best I can.

Tolkien, whom I deeply respect, is often (and, in general, rightly) called the “father of fantasy” - a rather strange genre that combines the epicness of myth with the poetry of a fairy tale, the realism of characters and events with the fantastical realities of the world created by the writer’s imagination. Once upon a time, Chesterton, one of Tolkien’s literary predecessors, gave a very accurate description of a fairy tale as a work about what a healthy person does in a land of miracles. Authors of modern fantasy books, unfortunately, often talk about what a madman does in the cool world of virtual reality; they can talk abstractly about the “balance of good and evil,” because they know neither one nor the other. However, the works of Tolkien himself, “fantasy” in form and spirit, are what the author, a professor of philology, called a “fairy story” - a magical story. In his essay “On Fairy Stories,” Tolkien points out such features of fairy stories as fantasy, which is capable of creating what the writer calls a “secondary world” or “sub-creation,” within which the events described are perceived as real; recovery peace of mind, an escape - not from life, but from the evil and ugliness in it - and the consolation of a happy ending, joy, without which there is no magical story. I will try to explain this in more detail, translating, as far as possible, into a language close to an Orthodox person. I am afraid that my task will not be easy: I take upon myself the audacity to say that I understand fairy tales better than my interlocutor, but my experience of living in Orthodoxy and reading spiritual literature is immeasurably less. I’m not even a philologist, not an expert in the field of folklore and mythology, I’m just a professional journalist (that is, a generalist amateur) passionate about fiction. Therefore, if theologians object to me, I will have nothing to answer them. But to recognize the fairy tales of Tolkien and Tove Jansson as demonic charm means for me to slander the authors I respect (I don’t know about Mrs. Jansson, but Tolkien was a church-going Catholic and had a confessor with whom he consulted about his works). Slander is a sin that I do not want to commit even for fear of falling into temptation. If I am mistaken, may the Lord help me to understand my mistakes and come to repentance. If not, may He soften the hearts of other Orthodox parents and spiritual shepherds, in whose souls fear overshadows love.

Perhaps children like the youth Bartholomew do not need fairy tales, just as they do not need sweets and games with peers. But not every child will grow up to be St. Sergius of Radonezh. Not everyone is able to follow the path of monastic asceticism. Obedience is not cowardice or childishness; in order to renounce one’s own will, one must at least have this will. And to forcibly deprive a child of worldly joys, instead of teaching him to treat them rationally and sensibly, means pushing him either to rebellion or to burying the talents given to him by the Lord. An Orthodox teacher is not necessarily a person working in a parochial school; Orthodox writer does not necessarily write only Christmas stories and biographies of the ascetics of the Church. As a person who loves literature and mythology, I can say that from the moment I turned to Orthodoxy, I discovered a new and most joyful (sometimes unbearably painful) facet in reading - seeing the events described through the eyes of a Christian. It is a joy to find, even in absolutely secular (sometimes openly pagan or atheistic) works, a reflection of the Tabor light, even a weak, barely glimmering spark, confirming the truth found (and not at all because fiction I believe more than the Gospel!); pain - because the contradictions between divine and fallen nature in art are felt especially acutely. A smart shepherd, preaching to the pagans, will first of all try to find in someone else’s faith something on which his preaching can be based, that is in tune with the Word of God, in which, like in a mirror (even if distorted, crooked, clouded), longing and yearning for the highest Truth is reflected , according to a loving and merciful Creator - and there is no greater joy than the moment of a person’s insight: so this is what I was looking for, this is Whom I unconsciously worshiped, this is Whose voice I heard in my best moments in the voice of the wind, in the noise of the waves, in the rumble of the thunderstorm! .. The Apostle Paul was indignant in spirit at the sight of pagan Athens, but began not with denouncing the Athenians: they say, they set up idols here! the world and all that is in it, and about which he, Paul, came to tell them.

Fairy tales are not a religion (thankfully), but in the best of them, as in best works secular art, there is a religious thread - a clear line between good and evil, a criterion of truth, indicating the presence of a higher principle in the world; there is a depth addressed to the human subconscious, to the archetypes existing in it - that is why fairy-tale images are so organic and recognizable, no matter what strange or fantastic shell they are clothed in. You can be fascinated by this outer shell, you can be frightened by its quirkiness - and not see beyond it inner meaning or, conversely, be deceived by a dummy. I suggest looking deeper.

1. Elves, hobbits and others.

Chesterton's opponents (whom, by the way, he did not take seriously) naively believed that reading fairy tales was harmful, since elves and dragons did not actually exist. According to my respected interlocutor, the harm of fairy tales lies in the fact that fairy-tale characters exist in reality, they are just not who they say they are (once on the pages of a newspaper, in polemical fervor, he ranked the dear crocodile Gena among the direct descendants of the ancient serpent) . Despite the diametrical opposition of these two positions, the disadvantage of both lies in the fact that they deny a person the right to fantasy. Once upon a time, the wonderful English storyteller and Christian thinker C.S. Lewis, polemicizing on a completely different topic, warned about the danger of the insidious phrase “in fact,” citing as an example the following train of thought: “If an invisible cat lay in a chair, it would it would seem empty. It seems empty. Therefore, there lies an invisible cat in it.” It is very easy for a person who does not like fairy tales to believe that the main task of the storyteller is to mislead the gullible listener, forcing him to mix fantasy with reality. With the same success we can accuse any writer of lying who bases his plot not on documentary material. In Orwell’s novel “1984,” the reader of the early 21st century sees a cruel dystopia, a picture of a godless and dehumanized world, and not at all the failure of the author, who imagined himself to be “Nostradamus” and tried to predict the construction of socialism in England in the 80s. We experience a special feeling when we learn that the heroes of a book have real prototypes, but to be indignant at the arbitrariness of a writer who gave the characters other names or attributed to them actions that the prototype did not perform is, to say the least, primitive. A talentedly written novel touches us no less (and very often more) than a documentary essay, because it awakens the ability to feel and empathize, revealing deep meaning events and phenomena. We can shed tears over the ending of The Brothers Karamazov, but we will not include the name of Ilyushechka Snegirev in the memorial.

Children perceive a fairy tale in the same way as adults perceive literature: if a child is too small to distinguish reality from fiction, then from the point of view of reliability for him there is not such a big difference between the Serpent Gorynych and the prehistoric lizard: both are separated from him by an insurmountable distance time and space. When a child grows up and sees the skeleton of a dinosaur in a museum, this will not destroy his love for fairy tales (although not a single museum will show him the skeleton of the Serpent Gorynych). But if there is an adult who tries to convince him that all dragons are simply lizards, and a fairy tale is simply a fable, then this can break his soul, killing his taste for any fantasy; or - if this child was taught to love fairy tales - he simply will not believe this adult, although he is unlikely to be able to object. For - and children feel this very well - a fairy tale is a whole dimension more than just a fable; it contains something that is not found in a practical joke or a childish lie; something that is far from being limited to the external side of events. New Year tree They are also loved by those children who have long known that “Santa Claus is actually dad.” Contrary to popular belief, this discovery is not associated with severe disappointment: a normal child who knows how to play perfectly distinguishes fantasy from reality, and the fact that dad dressed up as Santa Claus does not mean that Santa Claus does not exist. Dad plays Santa Claus in the same way that a girl rocking a doll plays mom, and a boy leading a tin army into battle plays a commander. And the very image of a wonderful grandfather with a white beard for children is associated primarily with a holiday, mystery, surprise, and the fulfillment of their most cherished desires. The heroes of a fairy tale are judged by their fruits - for a child it is not so important that the bicycle he dreamed of was bought at the nearest store, and not brought on a sleigh drawn by four reindeer. For a child, a father is omnipotent, like a giant, and omnipotent, like a sorcerer - I knew a little girl who was sincerely convinced that her dad was a real good wizard (which, by the way, did not in the least interfere with the Orthodox upbringing of her daughter).

We will talk later about how fairy-tale wizards differ from real witches and sorcerers, although the difference between them is probably no less than between the three little pigs from a fairy tale and the Gadarene pigs. A person who sees demons in hobbits and Moomintrolls forgets that a fairy tale is, first of all, deeply symbolic. Miraculously transforming reality, a truly magical fairy tale does not close, but re-opens it for us. “In order not to slide into madness, never to achieve it, we need a Restoration,” wrote J. R. R. Tolkien in the essay “On Fairy Stories.” “We must be able to look at green again; should be amazed, but not blinded, looking into the bottomless blue, at the gold and red colors. We must meet a centaur and a dragon; and then, perhaps, like the ancient shepherds, suddenly see sheep, dogs, horses - and wolves...” We imagine a unicorn not in order to begin to despise the horse - but to see it for the first time and again be amazed at the miracle of God's beautiful creation. Reading about the adventures of the hobbit Frodo Baggins and his friends, we learn a terrible and beautiful story about the heroic struggle of an absolutely unheroic “little man” (read: an ordinary Christian) with the temptation of spiritual evil (after all, “The Lord of the Rings” is, first of all, a book about spiritual warfare, and the Ring of Omnipotence - isn’t this a symbol of those temptations that Dostoevsky spoke about in “The Legend of the Grand Inquisitor”?), and we see that it is possible to survive this battle.

The unusual appearance of the character is not a distortion of the image of God, but only a symbolic transformation of reality. There are high, sacred symbols, known to every Orthodox Christian; but they are expressed in simple things, which in themselves are neither lofty nor sacred. We know who is hiding in the form of the four animals of Revelation, and we bow before them with reverence (although we would consider it pagan to worship a bull grazing in a meadow, an eagle soaring in the sky, or a lion in a zoo). We do not put a sheep above a person - but in the image of the Lamb we guess the One who is above us all... There are low symbols that capture individual traits, sometimes the vices of people, most clearly reflected in fairy tales and fables about animals: for example, a fox or a cat personifies a cunning person for us , the bear is a simple-minded hulk and a strong man. A cheerful and witty fantasy by the Finnish artist Tove Jansson, who once painted a cute hippopotamus with long tail, and then invented a whole world for him, populating it with other characters with different characters - from the same series. In the inhabitants of Moominvalley - the dreamer and traveler Snusmumrik, the caring Moominmama, the down-to-earth pragmatist Hemulen, the reckless Little My - we see ourselves, our strengths and weaknesses - and we learn to laugh at ourselves, and laughter is a good cure for pride. We can say about someone: “He is greedy like Sniff” or “She worries about everything like Fillet”, but we do not mean that the person in question has a tail. What matters is not what the characters look like, but what they do (I think even books and cartoons that touchingly tell about the lives of various kinds of monsters, imps, little witches and ghosts testify more to spiritual ignorance than to the conscious satanism of the authors ).

Standing somewhat apart are the characters who came directly from pagan myths (I think this was the main reason for my interlocutor’s attacks on Moomintroll: although small, white and fluffy, he is still a troll...). Well, in this case, we will have to classify Lewis’s “Narnia” as a pagan work - because of the fauns, dryads and gnomes - and at the same time prohibit Orthodox children from reading ancient greek myths, discarding all the best that is in the history of Theseus and Ariadne, the adventures of Hercules and Odysseus. But, it seems to me, we should separate pagan cults and the poetry of myths; to tell the truth, for me the pagans are divided into two categories: those who unconsciously seek the true God, the righteous and merciful, in the gods and forces of nature, and those who seek to hide from Him; the first are driven by love for Creation, the second by worship of power in all forms. It is very easy for a person with a poetic perception of the world to imagine that if a tree has a soul, then it most likely looks like a flexible maiden with green hair; and the caves and rocks conjured up the image of a stocky man with a beard stubbornly crushing stone with a hammer. To worship and make sacrifices, and even more so to endow the personified forces of nature with the worst of human vices people became much later, and it must be assumed that cults and everything connected with them played far from last role the fact that beautiful nymphs, personifications of crystal springs, turned into cruel and lustful demons pursuing men. A tree or a stone does not need blood spilled in front of them - but those who desire it flock to it like flies, taking possession of the open souls of people, many of whom, perhaps, would be horrified to realize to whom they bring gifts... A common myth about We owe “bright paganism” precisely to poetry, and not to cult, but, as Lewis wrote, love, which has become a god for us, becomes a demon. Therefore, when we say that “pagan gods are actually demons,” we, on the one hand, are telling the truth, and on the other hand, we risk finding an invisible cat where there is none - in cultural archetypes, in poetic images free from worship.

A fairy tale is a myth freed from cult; As a rule, it makes no more sense to suspect a fairy tale lover of worshiping elves and dwarves than to ask whether he believes that a cat can wear boots and a hat, and a frog can marry a prince. If I were interested in whether elves really exist, I would read not fairy tales, but newspapers and brochures published by various kinds of “contactees” who personally met with supernatural beings. Fairy tales are too unreliable a source for this. Although here we reach another layer of people from whom, in my opinion, fairy tales also need protection. And not at all because they don’t like them. They just love them. True, in a very peculiar way, considering fairy-tale plots as some kind of encrypted messages, information about the inhabitants of the “subtle” and other worlds, similar to those described in “The Rose of the World” by D. Andreev. There are many articles and books whose authors, with manic persistence, try to prove the identity of Shambhala and the Slavic Belovodye or to connect Ivan the Son of the Cow with the sacred cow of the Hindus. This is somewhat reminiscent of esoteric interpretations Holy Scripture, the authors of which are ready to hurt themselves, just to find out what exactly Christ wrote on the sand before forgiving the sinner, but do not see the main thing - Christ Himself. This harms the fairy tale (as well as Scripture) no more than the research of philologists and mythologists, who see in the hero’s visit to Baba Yaga only an allegory of the initiation rite; but it impoverishes the “esotericists” themselves, and sometimes misleads naive readers (including my respected interlocutor).

There is, however, a point that seems to me very important specifically for the Christian understanding of fairy tales. It concerns a certain type of characters, most clearly represented in Western European folklore and literature, in particular in the works of J. R. R. Tolkien, namely elves (I don’t mean tiny creatures with wings, but the heroic “fairies” who came from Celtic legends). If we compare the myths and fairy tales of different peoples, then each of them we will find something in common - tales about some extraordinary people (or individual characters) endowed with miraculous properties, among which we can highlight the following:

- immortality (or very long life);

- superhuman wisdom and insight, the ability to see and predict the future;

- unearthly beauty and nobility;

- the highest perfection in mastery of various arts: poetry, music, dancing, sewing, jewelry, blacksmithing, culinary and other crafts;

— closeness to nature, the ability to understand and subjugate animals, plants and elements;

- mastery of magic, which is not based on acquired knowledge and skills, but is inherent in them naturally, like speech or breathing.

First of all, these are not gods, although the mythologies of some peoples identify them with gods and demigods. It is difficult to classify them as personified spirits of nature, since, as a rule, they are not directly connected with any of the elements, although they are in friendship with, perhaps, everyone. These are also not ordinary people skilled in witchcraft, for magic Fairyland very different from human occultism (I would even say - diametrically opposed to it).

As a rule, the life of these characters is closely connected with some “blessed” country, something like earthly paradise. These are the “Isles of the Blessed” in Celtic mythology, which the medieval legend of St. Brandan, echoing the Irish legend of Bran’s voyage, directly identifies with paradise; Buyan Island or the wonderful “far away kingdom”, the habitat of the fairy-tale princess. But these are not saints in the Christian sense, despite numerous coincidences and similarities: Saint Fevronia of Murom is very reminiscent of the wise maidens of Russian folk tales (or they resemble her), and Father Christmas in the West is called Santa Claus (that is, Saint Nicholas).

These characters are closest to people; in fact, in most fairy tales they are directly identified with people, but special people, as if free from the shortcomings and imperfections of mere mortals. They are often on good terms with people, even marrying them: most often, a mortal hero wins the hand and heart of a wonderful maiden (Vasilisa the Wise and Marya Morevna of Russian fairy tales, Pushkin’s Swan Princess, Western European fairies, etc.). A person can live in a magical land, but, as a rule, he spoils something there, violates a ban, and as a result finds himself expelled or punished.

Perhaps, from all of the above, we can conclude that most of all these characters resemble the inhabitants of paradise - people as they were before the fall and as they might have become if they had been able to resist temptation. This comparison might seem blasphemous if not for one caveat: they resemble - but they are not. To identify them with Adam and Eve before the Fall is the same as confusing a portrait made by an inept artist with a living person. I dare to express one daring thought: a fairy tale is a dream of a fallen man about a lost Paradise, and - most importantly - a dream about an unfallen man. This dream is flawed, just as man himself is flawed and vicious after the Fall, endowing the inhabitants of a magical land with his own shortcomings (which is why elves in fairy tales sometimes look more like demons than the inhabitants of the earthly paradise), just as any creativity in general is flawed, for we create according to to your own image and likeness. But this does not mean that creativity in itself is a sin. For, as Tolkien wrote in the essay “On Fairy Stories”: “...we create as best we can, because we ourselves are also created - but not just created, but created in the image and likeness of the Creator.” To stop creating means for a person to disincarnate, to return to the Creator His gift of manifest life, recognizing Creation as a failure. The Lord doesn't want this.

2. Magic or miracle?

I would like to immediately avoid confusion: by the word “magic”, despite the obvious etymology, I mean the acts not of pagan magicians, but of the inhabitants of the Magic Land. The word “magic,” and even more so “witchcraft,” is hardly suitable here, although Father Sergius Bulgakov calls Adam before the Fall a “white magician,” to whom power over the world was inherent “not as an object of desire and an independent goal, but as one of the manifestations his spiritual height and holiness.” The very fabulous belief in the possibility of “white magic” is not a demonic charm, as some believe, but rather a genetic memory of lost grace; whereas occultism is an attempt to regain this power by force, to enter Paradise “through the back door”, by breaking some “code” or “cipher”. But, since we ourselves are not free from original sin, it is quite natural that our ideas about a person, what he could be if he had not lost grace, are very far from the truth, and, as C.S. Lewis wrote, “sparks heavenly power and beauty fall into the swamp of dirt and stupidity.” Therefore, perhaps a childhood dream: “I want to be a wizard to do good!” - and in adulthood it can result in real attempts to engage in the occult, especially since there are a lot of opportunities for this: from cheap manuals on book stands to seminars and trainings for the intellectual public. But, again, fairy tales are only indirectly to blame for this.

Oddly enough, for a kind and more or less sane person who came to occult sect out of the desire to “become a wizard,” the love of fairy tales can also become a kind of bridge to sobering up and salvation - the discrepancy between both is too great. This is how people who took up the occult for the purpose of spiritual development gain insight in order, as it seems to them, to understand Christ and Orthodoxy at a higher level (the author of these lines also had to repent of this sin). In the article by Deacon Andrei Kuraev “An attempt to be an optimist”, the story of the famous singer Zhanna Bichevskaya, who came to Orthodoxy in a very characteristic way for our time, is given: “It all began, as usual: occult literature, Blavatsky, the Roerichs, Vivekananda, Ramakrishna... And then one night I’m reading another occult book and come across a completely routine occult thesis: “The path up and the path down are the same... As above, so below... good and evil are one...” And suddenly I was overcome by such horror. The realization came - after all, this is an equation of God and the devil, this is, in essence, Satanism! confess and receive communion!”

I am absolutely sure that a person who sincerely loves fairy tales, who feels the very spirit of what Tolkien called a “fairy story,” will never miss, much less accept, such a thesis: as already mentioned, in a fairy tale the ethical accents are placed very clearly. There are only two types of wizards in fairy tales - good and evil (no matter how naive this may seem to other “intellectuals”). Moreover, the difference between them is not limited to the purposes they serve; the very nature of magic is different: if the magic of good wizards is by nature akin to the art of the indigenous inhabitants of the Magic Land, then evil wizards and fairies are simply sorcerers with all their inherent demonic attributes: a dark cave with a poisonous brew boiling over the fire, toads, snakes and other surroundings , attractive only to a perverted mind.

A wizard, even a good one, is rarely the main character of a fairy tale (Harry Potter was invented in our time); his role is often reduced to that of a wonderful assistant to the hero. Actually, the acts of fairy-tale wizards are only one of the forms of miracle, without which a fairy tale is unthinkable; From the variety of “fantasy,” which can be called “occult fiction” (by analogy with science fiction), a fairy tale differs in its attitude to magic. In the world of “occult fiction”, magic has a scientific nature - for example, we can read the following description of the hero’s actions: “He concentrated his energy into a dense fireball and, with an effort of will, directed it to the vital center of the enemy.” A fairy tale never seeks to explain the nature of the miraculous; it always appears as a gift. That is why there are realistic works that are much closer to Tolkien’s definition of a “magical story” than the most sophisticated fantasy, because miracles also happen in them, but these miracles, as in our lives, are not always associated with what we call “ supernatural." Very few Orthodox Christians have had a fiery angel appear in their room; very few of these phenomena were truly from God. But each of us can remember cases when help from above sometimes came in very strange, but completely natural ways, and sometimes we ourselves acted as its instruments in the lives of others. A miracle is when a timid teenager, overcoming the fear of being beaten, stands up for the weak; a miracle - when the driver of a car passing by turns around and returns to pick up a late traveler; a miracle - when in a stream of passers-by, disgustedly walking around a person who has fallen on the street, an experienced doctor suddenly appears, with a trained eye recognizing the symptoms of a heart attack or diabetic coma; when an old maid, stubbornly rejecting the “good” advice of her friends, suddenly meets her betrothed, who was really worth waiting for long years; when an unexpected glance, a smile, a dropped phrase instills hope in the soul of a person who has already decided to commit suicide, holding him back from the last step... Such seemingly random coincidences do not explain and, of course, do not cancel true miracles, but have the same nature. God loves to work in different ways.

Let us recall the plot of A. Green’s famous book “Scarlet Sails” (the genre of which, by the way, the author himself defined as “extravaganza,” that is, literally, “fairy story”): an eccentric collector of folklore (and not a wizard at all), meeting a little a girl with a toy boat in her hands, immediately makes up a story about a ship with scarlet sails, unwittingly planting a seed of a dream in her heart; and a few years later the young captain, sensing in a kind, pure girl close soul, embodies this dream for her, having no magic at her disposal except two thousand meters of scarlet silk, the art of a sailmaker and an orchestra of poor musicians... Nevertheless, the long path that Gray and Assol walked towards each other, the numerous circumstances preparing this the meeting of people destined for each other, finally, the climax itself, the almost transcendental joy of recognition, captured in such a bright, dazzlingly shining symbol as a scarlet sail sparkling on the horizon, make Green’s story a truly magical story. And of course, Gray, who utters his famous words about the need to perform so-called miracles with one’s own hands, is difficult to suspect either of witchcraft or of claiming to be the place of God; Gray is more of a grown-up child who has not betrayed his childhood dream of what he would do if he were a wizard (which for a child means if he had the strength and means to do so).

The words that sound at the end of another modern fairy tale, Paul Gallico’s story “Thomasina,” can also be called indicative. For those who haven’t read it or haven’t seen the movie “Crazy Laurie” based on it, I’ll briefly recap the plot: veterinarian Andrew McDuey, a lonely, embittered man who turned away from God after the death of his wife, euthanizes his little daughter’s beloved cat; The girl becomes mortally ill from grief. At this time, the cat, who by coincidence did not die, but only fell asleep under anesthesia, is saved by a strange girl Lori, whom some residents of the town consider a witch, others - a fool, and still others - blessed: she lives in a secluded house in the forest, treats animals and hears the voices of angels. In this deeply Christian story, which can be called the story of McDewy's conversion, there is also nothing that could seem fantastic even to a materialist (except, perhaps, visions of the cat Thomasina, who lost her memory under the influence of anesthesia and imagined herself to be an Egyptian goddess, and some of Laurie's abilities , which, however, influence the development of the plot only indirectly). However, what Tolkien called the term “eucatastrophe”, which he coined (a “good catastrophe”, a sudden turn for the better, a happy ending, which is an integral element of a magical story), happens in this story: the cat remembers its previous life and returns to the little to the hostess; the girl is recovering. When Laurie explains the sudden “resurrection” of the cat to McDewie (now to her future husband), he disappointedly says to his old friend, the priest:

“...So it’s not a miracle...

- And you feel sorry for it! — the priest smiled. - Very nice of you, you took pity on me. No, Andrew, it's not a miracle. But look around, remember how well everything was planned, huh?..”

Eucatastrophe, a sudden turn of events, the joy of a happy ending - this is the miracle without which there is no magical story, and it lies not so much in the fantastic nature of the events, but in the effect that the story has on the reader. To some extent, it is close to real catharsis: “This is the sign of a real magical story, complete and lofty: no matter how crazy the events described in it are, no matter how fantastic and terrible the adventures are - but when the “turn” is made, then the reader—no matter whether a child or an adult—takes his breath away, and his heart beats excitedly, and tears come (or even actually flow) - all this is as poignant as it happens in any genre of literature - and yet especially poignant.” At the same time, “...magical stories do not deny the existence of an Unhappy Ending, grief and defeat... But magical stories deny (in spite of everything) the universal final defeat, and therefore they are good news, bringing a faint reflection of transcendental Joy to this world, bitter as sorrow.”

Of course, Tolkien, being a Christian, would not have used the words “good news” casually, and, approaching this topic in the epilogue of the essay “On Fairy Stories,” he himself says that this topic is serious and dangerous. “It seems to me,” he writes further, “that the Gospels contain either a magical story, or something even more majestic - something in which the essence of all magical stories is hidden. The Gospels tell of numerous miracles - they are told very artistically, touchingly and beautifully... but hidden among their legends is the greatest and most complete of all imaginable Happy Endings. The legend that the Gospels brought to us was truly embodied in the History of the Primary World... The Birth of Christ is the Happy Ending of human history. The Resurrection is the Happy Ending in the story of the Incarnation. The Gospel legend begins with joy and ends in joy.”

To some extent, we can unexpectedly find confirmation of this in Vladimir Propp’s purely scientific book “The Morphology of a Fairy Tale.” Unlike Tolkien, who defines a fairy story based on its internal content and effect on the reader, Propp explores the morphological features of the genre and, analyzing the main functions of the characters in Russian folk tales from Afanasyev’s collection, comes to the unexpected conclusion that all fairy tales are the same in its form, which can be reduced to a certain set of plot moves, repeated in various variations from fairy tale to fairy tale. Let's highlight some of them.

- One of the family members (usually a representative of the older generation) leaves home and turns to the hero with a certain prohibition (order, request).

- The hero violates the ban (and this act is often associated with the actions of a certain “pest”, the hero’s antagonist; he either pushes the hero to disobedience, or appears in the plot as a result of it).

— The antagonist tries to deceive the victim in order to take possession of him or her property; the victim succumbs to deception and thereby unwittingly helps the enemy.

- The hero leaves home: he is expelled, runs away or goes in search of something (often lost as a result of the actions of the antagonist and a broken ban), wanders, suffers deprivation.

— A new person enters the fairy tale - a donor who supplies the hero with a magical remedy that allows him to subsequently eliminate the misfortune. Before giving a gift to the hero, he puts him to the test, questions him, or makes a request (It is worth noting that, despite this, communication between the hero and the donor is not in the nature of a transaction, although it does put the hero before a certain choice. More often than not, not so much is required of him committing any good deed, as much as admitting one's mistakes, trusting the donor (no matter how insignificant he may seem) or refusing a bad deed. A classic situation played out in several Russian fairy tales: a hero, hungry on the way, is going to eat a captured little animal (a little hare , lion cub, crow, etc.), but releases him at the request of his mother: “Don’t eat, Ivan, my cub, I will be useful to you!” - “How can you be useful to me!..” The hero does not receive (and does not demand ) no guarantees of future help, he is driven only by generosity and mercy, therefore the reward for good always appears as a gift, often unexpected. - N.L.).

— The hero receives a magical remedy (a miraculous helper). “With this, the hero outwardly loses all meaning: he himself does nothing, the assistant does everything,” notes V. Propp. “Nevertheless, the morphological significance of the hero is very great, since his intentions create the core of the story.”

- The hero and the antagonist enter into direct struggle, the antagonist is defeated, the initial misfortune or deficiency is eliminated.

- After this, pursuit and new attacks by the antagonist are possible. The so-called false hero can also come into play, who takes credit for all the merits, steals the hero’s loot, impersonates him, and in some cases, treacherously kills him. The hero is resurrected by a wonderful assistant, as a result of which he often acquires a new appearance, better than before. The hero is recognized by the mark he received during the adventure - a wound, a bandage, a ring - or he passes a test (answers a question, recognizes the bride in a crowd of identically dressed girls with covered faces, comes out alive from a boiling cauldron, etc.). The false hero is exposed, the antagonist is finally defeated.

— The hero marries and reigns.

From the functions of the characters noted by Propp, I highlighted those that, unexpectedly for me, formed a coherent picture (I think, well known not only to me, but also to those of the readers who already understood what I mean). The researcher himself, at the conclusion of his work, poses the question: “if all fairy tales are so uniform in their form, does this not mean that they all come from the same source?” Perhaps my assumption is too risky, but in the Proppian structure of a fairy tale I see a symbolic presentation of the main events of human history described in the Old and New Testaments - from the prohibition given to Adam and Eve, its violation and expulsion from paradise (=from home) to the Redemption and the coming Resurrection. Of course, this symbolism cannot be taken too literally, although some parallels simply suggest themselves, but it is very important that the hero of a fairy tale never wins without outside help. Comedians who disdainfully make fun of the favorite hero of Russian fairy tales (in fact, all nations have a similar character) - a fool who, in their opinion, was “undeservedly lucky”, simply do not understand the essence of Christianity, for we are granted mercy even more unheard of and undeserved than the luck of a fool who married the king’s daughter and received half the kingdom.

These are the thoughts that can sometimes lead to just one discussion about such a seemingly distant subject from Orthodoxy as fairy tales. Do not judge strictly: in fact, this entire long text was written with one single purpose - to prove that fairy tales are not dictated from the underworld. Nor are they Divine revelation; a fairy tale is not Holy Scripture and not even apocryphal. Fairy tales are composed by people and, like all human creations, have a dual nature, but God does not want from us inaction, but conscious and responsible action; The Fathers of the Church warn against evil philosophizing, but do not demand mental simplification from us. Art is addressed to the spiritual sphere, which means it is associated with increased risk; we can fall lower than the pagans, loving the human creation more than the Creator of men, but the trouble is not that we love art too much, but that we love God too little. In this case, everything that surrounds us can become a temptation - after all, not a single person with a living soul, unless he is a pervert or a philosopher, is tempted by something that is in itself terrible or disgusting. Demons have nothing of their own; any temptation is directed towards some good side, but in the depths lies corruption: for example, a thief craves money or things, but seeks to get them at the expense of another; the adulterer follows sexual desire, but does not want to bind himself to any obligations, forgetting about the spiritual side of the commandment “...the two shall become one flesh.”

Demons can appear to people in the forms of elves or aliens - or angels; The danger is not that we believe in both, but that we forget to test the spirits. To medieval man, demons more often appeared in the guise of angels or elves; our contemporaries see them in the guise of “humanoids,” but the dream of meeting the inhabitants of other planets was also not inspired from hell, it was just that hell used it for its own purposes. We do not know all the plans of the Creator - if there are other planets in the Universe, then why not assume that the Lord created other creatures on them? We can imagine them as ugly monsters or soulless biorobots with superhuman intelligence - then we will get a nightmare incarnate, a convincing picture of hell. But one can imagine that they were also created in the image and likeness of God and that they did not fall like man - and then fantasy itself can rise to the level of preaching; a wonderful example of a Christian approach to the genre science fiction— “Space Trilogy” by Lewis.

In the mouth of a Christian, a fairy tale can also become a form of sermon; I remember what effect reading Andersen’s “The Snow Queen” had on me in its complete version, not adapted for Soviet children, where Gerda, barefoot, in light clothing, wanders to the Snow Queen’s castle through a magical blizzard, where snowflakes condense into disgusting monsters. She reads “Our Father...” - and the flying angels disperse the snow monsters, and then warm the girl’s feet and hands... In this light, the previous episode, when the deer asks the Finnish sorceress to give Gerda the power of twelve heroes, and she replies that she cannot do it stronger than she is, that the power contained in her little loving heart is immeasurably greater, is filled with a new meaning: how can you make stronger the one whom God himself helps? “If God is for us, who can be against us?..”. In this one episode, Andersen said more about the place that magic occupies in the fairy-tale world than I could say in this entire long article: a good wizard is also good in that he is obedient to God... The light of Christ also enlightens the “secondary worlds” created by the imagination of Christians. storytellers; in them, as in the Primary World, nothing is impossible for the Lord - and the little mermaid, who sacrificed herself for her beloved, is given the hope of finding an immortal soul...

It’s wonderful when a child is brought up on the lives of saints, and from the point of view of the genre, many of the lives are real magical stories (which in no way diminishes them or casts doubt on their authenticity). A fairy tale cannot replace Holy Scripture, patristic and hagiographic literature, but it performs one very important function for Christian and human education: it gives us the grace-filled inoculation of a Miracle (for a miracle, if it is good, always has a gracious nature; only superstition is magical) and teaches distinguish a good miracle from an evil one. She doesn't pretend to be more.

That's basically all I wanted to say.

Fairy tales, as an inexhaustible source of wisdom, always contain knowledge about the world that the storyteller wants to convey. In addition to the fascinating plot - the external plan, they contain a hidden symbolic plan, the meaning of the work.
Fairy tales depict the basic law of nature, the unity of the masculine and feminine principles, in symbols of light and goodness (Ivan Tsarevich as an image of a protective force, Elena the Beautiful, Vasilisa the Wise - love and wisdom)
The fabulous Phoenix bird, reborn from the ashes, as a symbol of resurrection, speaks of the possibilities of internal purification of a person in the process of a spiritual journey into the unknown depths of his heart (“Go there, I don’t know where”).
"Turnip" shows the connection between different generations. ;;;; - to have a tendency, to incline. Through the continuity of generations, it is possible to master the vast experience of accumulated knowledge by representatives of the human race over many years.
The turnip symbolizes wisdom in the heritage of people, its roots, uniting the living with their ancestors; each of the heroes also has its own image hidden (grandfather - wisdom, grandmother - housekeeping, father - protection, support, mother - love and care, granddaughter - offspring, dog like protection of wealth, a cat is a blissful environment, and a mouse lives where there is a surplus of food, which symbolizes prosperity).
A scarlet flower as a symbol of higher spirituality, Nastenka (;;;;;;;; return to life) - a heroine with a kind heart and a pure soul, a dense forest as a reflection of many human thoughts, on the path of spiritual growth the heroine finds this flower and creates pure love transformation of a handsome prince.
The image of the sun in fairy tales symbolizes the human soul, the creative principle that fills with vitality.
Apples symbolized wisdom and youth, immortality, and had properties that transform human life. This universal symbol was associated with ideas about the world, space, the tree of life, the world tree, i.e. The axis of the world, the Universe, among ancient peoples was a sign of love, birth, fertility.
IN Greek mythology Hercules in the twelfth labor steals golden apples from the garden of the goddess Hera, which was guarded by Ladon and the nymph sisters Hesperides. Hercules gives them to Athena, and they are returned to the Hesperides; the fruits that give eternal youth must remain in the cherished garden, for eternity and immortality are the lot of the gods.
In one of the fairy tales, a young man chooses the wrinkled yellow one from three apples on an apple tree (yellow - wisdom, red - wealth, green - happiness). He reasoned that if you were a wise man, you could create wealth and happiness, and the king, marveling at his wise choice, gave him his daughter as a wife and half a kingdom in addition.
“Geese and Swans”, a fairy tale in which a girl and her brother escaped under the branches of a tree after tasting the fruit wild apple tree. Human souls have long been compared to birds that fly away and arrive, cruising between the world of the living and world of the dead, the designation of waterfowl indicates the role of water as the sphere separating life and death. The swan can symbolize the flow of this water. A fairy tale about the return of the hero (ancient Hebrew Ivan - “the mercy of God”), sacrificed by Mashenka, who embodies the life-giving and deadening principle, to the world of the living. In the other world, Mashenka encounters a milk river with jelly banks (milk as the beginning, the origins of life, and jelly as a necessary dish at a wake indicated the proximity of the kingdom of the dead). The milk river can be seen as Milky Way or Belovodye (the country of pure energy and freedom of spirit). The hedgehog, as a mediator between worlds, points the way to Baba Yaga, curled up in a ball. The hut's chicken legs are symbolically associated with fire and the hearth, and Baba Yaga's spinning is associated with the birth and cessation of life. Gold of the unearthly world figuratively means shining light, powerful energy. Hiding in the oven (maternal symbol) on the way from the kingdom of the ancestress is associated with birth, return to the world of people.
In the fairy tale “About the Golden Saucer and the Pourable Apple,” the apple acts as a symbol of knowledge; this fruit knows about everything that happens in the world and shows its beauty.
The image of the "Firebird" is personification eternal youth and ideal beauty. The singing of this bird heals the sick and restores sight to the blind. Taking her luminous feather means catching luck by the tail. Presumably this fairy-tale character with fiery feathers is based on a peacock.
Because of its round shape, the apple is perceived as a cosmic symbol; kings and kings, along with the scepter, hold in their hands the “sovereign apple” (power) representing the whole world, crowned with the figure of the goddess of victory (Nike, Latin Victoria). In the Christian era, the place of Nike was taken by the cross, so even the astronomical symbol of the Earth is a circle with a cross placed on it.
The fairy tale Cinderella attracts with pictures of a magnificent ball in the palace and wonderful transformations. This is a story about an orphan girl, an overly demanding stepmother and sisters, a fairy godmother and a prince with a slipper, which is found in the folklore of different nations.
This is a story of self-education and overcoming all the difficulties and hardships of fate, where all the characters are presented as projections of different aspects of the personality of the same person.
The hard work of the stepdaughter, who has been burdened with household duties, her seemingly passive submission to fate and hidden hope for a miracle, or the strength of the individual’s faith and correct perception of positive qualities, the image of Cinderella, whose face is stained with dirt, but shining with inner beauty, a character describing the spiritual the growth of a person in the fight against envy, pride, laziness, with rejection and arrogance, the formation of personality under the yoke of external adversity and internal strength, which at a certain moment of growth will be in time to put on a ball gown, shoes, without false embarrassment, affectation and caprice (the image of fashionable sisters), answer the prince’s proposal and become queen.
Snow White is a fairy tale where the shadow archetype is also found in the image evil stepmother, but here the character is trying to escape from fate.
The shadow, as the opposite of what a person loves and recognizes in himself, wins a temporary victory. Feminine and curious Snow White, wanting to hide, wanders through an unknown forest with magical creatures, agreeing to cover her, but the stepmother, with the help of the classic attributes of femininity - a belt, a comb and an apple, lulls her vigilance and reigns as a beauty queen.
The fairy tale about an enchanted princess, who is dealt with by a dark witch, calls for awareness of one’s inner feelings, without identifying oneself with them, for distinguishing two aspects in oneself - positive, open to attention and kindness, wisdom (mother archetype), and hidden, dark, devouring , poisoning and seducing the personality (archetype of the shadow, image of the stepmother). The soul of a person, being in the center of the events of life, must learn to distinguish in itself the features of one and the other character, not to hide from the frightening, dark places of its consciousness, not to succumb to the soporific charm of fantasies and not to allow false, unrelated beauty to be glorified in itself as something beautiful - envy, deceit, the power of dark passionate manifestations.
The small stature of the dwarfs signifies significant psychological powers that seem insignificant, they can be considered the embodiment of a beneficent force that helps Snow White resolve the conflict.
The plot of the fairy tale can also be compared with ancient ideas about the structure of the cosmos, like a chronological metaphor, where the seven celestial bodies are comparable to the seven days of the week (Snow White's Moon, accompanied by the Sun, Earth and five planets on the ecliptic).
An accident brings Snow White back to life: one of the prince’s servants, who was carrying the coffin, tripped over a stone, a piece of a poisoned apple fell out of her mouth and she came to life. This may mean that having lost oneself, the last means of salvation is a shock that will turn human feelings upside down and this will make it possible to live.
, Sister Alyonushka and brother Ivanushka - tales about brother and sister looking for and saving each other, stories about the unconscious feminine and masculine principles of a person’s personality. In order to reunite the two sides of the personality searching for each other, Gerda, searching for Kai, by the end of the story turns from a quiet girl into a courageous, creative heroine, courageous and capable of independence.
In one of the interpretations of the fairy tale about the seven little goats, the wolf initially personified the first ancestor who was supposed to eliminate the seven deadly sins, God helps him in the form of a blacksmith, the surviving little goat is difficult to overcome pride, the goat is the indestructible Satan.
In A.S. Pushkin’s fairy tale “About the Fisherman and the Fish” one can consider the sacred meaning. As a rule, an old man and an old woman symbolize the spirit and soul of a person, or the mind and feelings with emotions. Fishing in the ocean means the mind's attempt to find a connection with the soul, to become the mind. Fish as a conscious contact of the mind with the soul, in which one has to choose the needs of the body (eat the fish) or spiritual development (let go). Old man - the mind makes the right choice, but when he comes home, he is faced with emotions and more mundane problems that the fish performs. Gradually the mind is overwhelmed by emotions and becomes unable to maintain its own status. Contact is broken at the moment when the old woman-soul desired to dominate the spiritual world, to become the mistress of the sea.
The fairy tale about Emelya examines faith and motivation, how receiving the benefits of life motivates a person to act. The stove is the personification of a saint, the pike reflects the human soul, the hero knows himself and determines his desires, and their fulfillment means achieving the unity of soul and spirit.
The Ugly Duckling is a fairy tale about the gradual growth of a person, physical formation, closely related to the formation of personality, overcoming trials associated with differences from others, the motive of loneliness in an outwardly prosperous but alien environment, when a suffering soul matures in its quest, struggles with the fear of difference from others, copes with the anxieties of abandonment, abandonment, grows, and finally, from the awkwardness of apparent inferiority, turns into a beautiful swan, gaining selfhood.
Ancient legends say that a swan sings only before death (hence the expression “swan song”), and therefore it symbolizes the end of life. The song of the dying swan signifies the last creation of an outstanding man. The concept of a "swan song" dates back to Aeschylus (525 -456 BC), who mentions the prophetic gift of a bird that knows that it is about to die and makes amazing sounds.
In Christian symbolism, the swan is associated with the Virgin Mary. Among the ancient Slavs, the highest being of the divine world was the Bird Mother Sva. Swa inspired heroic deeds and helped defeat enemies. From the root “Sva” comes the word “Swan” in English and Scandinavian languages - Swan.
There are ideas about the ability of the soul to wander through the sky in the form of a swan.

Pinocchio. The character of this fairy tale takes on various guises, often contradicts himself, does not know the rules, and in unconscious impulses of childish energy often does not understand or does not recognize the generally accepted, because... it...is carved from wood. This is a hero without hereditary innate qualities, detached, a figure of a cosmic child, curious, adopting the cunning and deception of others, aware of the manifestation of kindness and good manners, with manifestations of a sense of justice.
This is a kind of carnival jester, an image of a mask that allows a person to do something unexpected, non-standard, which allows him to relieve tension and see what is happening from an unusual perspective.
There is esoteric symbolism hidden in this tale. Pinocchio overcomes thorns, bushes, a water obstacle (water is a symbol of the unconscious soul, that which can be brought out and objectified), air, he is freed by ants when the cat and the fox hang him upside down on an oak tree. Malvina's house, four windows, the sun, moon, stars are drawn. Malvina finds him dead, Pinocchio comes to life and is given new clothes. In this you can see the symbolism of initiation into disciples.
The perception of the world and man is interesting using the example of the souvenir toy “matryoshka”. The plots of many fairy tales are based on the idea that the human body has seven bodies of power.
The visible body, reality, is often symbolized by Ivan the Tsarevich, who is helped by the elements of nature; a self-assembled tablecloth is used for food (food cooked in the rays of the sun in the bosom of Mother Nature), and the consecration of food occurs with a living magic wand - a combination of human fingers (the ray passes through radius in hand and finger, scorching color). A person actively uses his fingers in communication, consciously or unconsciously using their power.
The treasure sword is the strength of a slender spine, shaped like a pillar (i-shape), where the cervical vertebrae and collarbones are the handle, the thoracic and lumbar vertebrae are the blade, the tip of the sword is directed downwards. The Serpent Gorynych is the reptilian brain of a person, connects the spinal cord with the brain, with its dominance the human spine is flattened (s-shape), but with the correct structure of joints and bones, a person defeats the snake - instincts (aggression, fear, lust). The gray wolf (possibly the first ancestor), with the help of a raven (symbol of wisdom), which brings him living and dead water (consciousness), revives the chopped body, which speaks of the possibility of reversing death. The wisdom of Koshchei the Immortal is manifested in revealing the secret of the bones in which the living book of ancestors is stored. The bones contain blood, which carries wisdom throughout the body. In the center of this book is the Alatyr stone (Atlas vertebra).
The energetic, hot, human body is symbolized by the Firebird. Finding scarlet flower speaks of a person’s newly discovered ability to see the hot body of plants and animals. With its help, a person overcomes the force of gravity; in a fairy tale, this is depicted by controlling a flying carpet or Baba Yaga's stupa. Eating apples physically strengthens a person’s energy, the role of a person’s bodily eyes (eyeballs) is in contemplating the world, the third eye - the pineal gland - secretes melanin - the hormone of youth.
The dream body, the navy body, has the shape of a human body. A person capable of mastering his natural body sees lucid dreams. Waking up before dawn and analyzing one’s dreams was considered useful, because The first rays, hitting the retina of the eye, erase the awareness of sleep from memory.
The body of intuition and inspiration, the club, the guiding glomerulus, looks like a silver ball in the center of the head, is associated with the activities of the pineal gland, pituitary gland, thalamus and hypothalamus. Activation of this body is possible after putting the waking body in order (clean blood, proper nutrition, slender spine), zharyego (development of energy), navyego (lucidity of dreams). In the fairy tale, Baba Yaga fed the main character, steamed him in a bathhouse and put him to bed. In the fairy tale, the wolf (will as the key energy) helps Ivan Tsarevich catch the Firebird and save the rejuvenating apples. Walking along the secret path of life according to the correct movement of the guiding ball, tying memorable knots of relationships, revealing his talents along the way, a person benefits himself and the world around him.
The intellect body, the bell body, is shaped like a golden shining ball around a person's head. In fairy tales, it is symbolized by a bun (the logical and creative activity of the cerebral hemispheres, which was molded by an old man and an old woman - the mind and soul). The intellect encounters various tests on its way, in the fairy tale these are the hare (cowardice), the bear (power), the wolf (will), the fox (cunning and deception). The bun that left his grandparents was eaten by a fox (the proud and arrogant intellect was damaged by cunning).
The soul, the body of transformation, the divine body, is depicted in fairy tales as a bird (falcon) and helps the hero in difficult situations.
The spirit, the light body, symbolizes the energy of love and kindness.

Fairy-tale space is an internal metaspace of growth, formation, it often includes the hero's descent into the other world, suffering and resurrection. In the inner world, what happens in the outer world is repeated. Images of the change of day and night, summer and winter, life and death. Koschey, as the ruler of the koschny, otherworldly world, where death reigns, personifies winter, takes the girl - spring - into his possession. His death in the egg at the end of the needle - the motif of the world tree and the axis of the world - spatially connects heaven and earth, in time - the summer and winter solstices. So the hero in the inner space meets himself, his shadow, and one of the two principles in this area of testing overcomes the other.
The Scarlet Flower, The Frog Princess are fairy tales in which the masculine or feminine principle is presented in a non-human form, in the form of reptiles, animals or monsters. The prince must accept his betrothed in the form of a creature personifying the mother's womb. The girl goes to the castle to the monster, who gifts her with treasures.
In the Old Testament, the acts of God are called the sons of the quiver - the Divine mind.
In the tale, the arrows that the brothers shoot symbolically represent their aspirations, according to the ideas of what is worth living for.
Harmony of the masculine and feminine principles in the inner world of the human soul, knowledge of the hidden frightening recesses of one’s own soul, overcoming false shame in front of the unknown formless unknown, victory over inertia, resistance and perseverance in one’s own searches, a fairy tale shows the path to happiness and inner peace, revealing strength in the language of images souls and the possibility of transformation through faith.
The archetype of a woman in fairy tales is characterized by inquisitiveness, endurance, intuition, and concern for offspring and others. They are characterized by the art of adapting to changing circumstances, loyalty and courage. The intuitive nature of a woman, the naturalness of the soul, is her true essence. She often appears as a wise, knowledgeable woman living on the edge of time. In the wild, there is a resemblance to a she-wolf, which is strong, cheerful, full of energy, knows its territory, is loyal and active. The woman knows the remedies for illnesses, is vigilant and attentive, sensitive and symbolic. She is like a world between worlds, a storyteller living her inner life. Able to revive feelings and show the way, transforms the work of the soul. In the image of Baba Yaga, the gifts of the old woman of death are seen. Fairy tales can become precious doors to the world of selfhood, and reflection on them opens the way to naturally acquired freedom, to spiritual purity and sparkling royalty. The varied clothes of a woman in a fairy tale allow her own nature to blossom and put on her true attire of knowledge and intuition. Entering the tale through the doors of the inner ear, the reader perceives instructions and acquires knowledge. A fairy tale is always intended for the attention of the soul; it demonstrates what will be good for the soul and helps it find its living appearance. The woman in the fairy tale is a gatherer and preserver, she demands rebirth and expresses the truth of her own power, often this is the work of a hermit, performed in the desert of the soul, where all the forces of the living are aimed at preserving nutrition. In the land of the soul is the immune system, which is strengthened by the power of conscious thought. The riches of the soul in everyday reality lead a person into creative activity, and the expressiveness of a fairy tale reveals to a person through thinking possible states of the soul. A fairy tale helps you act by choosing the best approach based on your innermost holistic nature. A woman is the creator of the home, the seeds of life are laid in her even before her birth. She is the keeper of the soul, who creates and maintains its form, sculpting its space with its hands. A person goes into research, searches in artistic creativity, seeks an answer in poetry and offers prayers for peace of mind, creation or recreation of the voice of his soul. Pouring out his soul in songs, he embodies the feelings of life, reviving and transforming them. The woman in the fairy tale is presented fully armed with her instinctive qualities, such as endurance and sensitivity, foresight and intuitive healing, keen hearing and creative fire. A fairy tale acts as a guiding map, on which all possible obstacles are marked; it awakens instincts that force one to notice danger and act differently, without becoming the prey of the evil one. She nurtures the soul center, accelerating the growth of the embryonic potential of the soul, personifies the various vital forces, where a walk through the inner forest occurs according to the voice of intuition, and develops a danger signaling system. If the instincts are damaged, then the soul, like flowers, turns in the direction where the sun appears. Doors in a fairy tale symbolize spiritual barriers placed in front of a secret, in front of the secret and hidden; the key, which must be found or hidden, makes the secret door a strengthening or an obstacle on the way. A fairy tale transforms, causes growth of consciousness, develops personality. The bloody key in the tale of Bluebeard symbolizes previous generations of women on the mother's side. The key question cannot be hidden or forgotten; the darkness of the soul that must be fought must be illuminated. The fairy tale teaches not to be afraid of the darkness in essence, but to see it in time, perceive it and come to the rescue, destroy destructive energy. A woman, as a vigilant and vigilant creature, when faced with a problem, following the example of animals, begins to meander and confuse her tracks in order to emerge behind the problem and see it from a different perspective. To avoid danger from destructive forces, she calls upon her brothers, the aggressive movers of the soul, the inner masculine energy. The masculine principle, personifying the grace of strength and action, helps her and neutralizes the destructive force. By taking away power from what threatens her, a woman is able to direct its energy to her own benefit. It is known that the blessing of intuition is passed on from generation to generation, from parents to children. This is lightning-fast inner knowledge, inner vision and hearing. The wisdom of intuition looks at everything that the soul sees in life and accurately determines the truth of it. This is the grace that every child needs in the process of growing up. In the fairy tale, the stepmother and daughters personify the cruel elements of the soul, the shadow in the personality that influences the talents, with its alienation and painful tension infringing on the vessels of the soul that feed it with vital force. Focus on destroying one's own shortcomings and alienation from surrounding cruelty, acute intuition, created mental tension shapes the soul and creates change. A flourishing soul needs beneficial tension in order not to lose spiritual guidance in an atmosphere of cold and loneliness (winter forest), in its adaptability to maintain the desire to be itself (snowdrops), and to regain the light in the process of initiation into own strength. The intuition of the soul is characterized by self-preservation, in its motivation it makes a choice that will cause the least destruction. An ember with fire in the wilds of the forest is like the insight of the feminine principle, which gives abilities and confidence in the outside world. In the fairy tale, the doll symbolizes the transfer of intuition from woman to woman; this is not a parental blessing, not a genetic connection, but the assimilation of intuitive natural wisdom, a symbol of acceptance of understanding. Meeting Baba Yaga, perceiving her values, eating her food, mastering her strength - the weakness of the inner child develops into resilience and gives its own strength. The house symbolizes the organization of mental space, and the hut on chicken legs speaks of verbal submission and the ability to twirl it by its conscious inhabitant. Respect for an unknown force and the ability to withstand it makes it possible to see its creative energy in oneself and gain access to it. The spontaneous self encounters a powerful force and gets along with it, learning to endure the acquired knowledge. Mastering the powers female soul , the fairy-tale heroine learns internal cleansing, washes (washes clothes, bringing fabric and patterns into consciousness), nourishes (cooks food), sorts (seeds, separating the good, making a difference in judgments) and builds internal energies, putting things in order in the house of the soul. Listening to the internal order of another house, the person is initiated into the knowledge of the power of the person at home, sees the material and cut of clothes (a symbol of the fibers of being), takes care of the neatness of the inner life (sweeps the house), lights a fire (sparkles with ideas and words), prepares food (original ideas for creative life, clearing away the rubbish from ideas and bringing them to readiness). A tidy abode of the soul, healthy nutrition, fresh thinking - order (warehouse and harmony) is necessary for the soul for a creative life. Gardening also provides lessons in spirituality, sowing seeds, caring for plants, harvesting, thoughts, observing the gifts of nature, are able to concoct a psychological cocktail, noting the beauty of the life cycle in its energies of flowering and ripening. When horses are used in a fairy tale, they symbolize fertility, and their colors correspond to fall, death and rebirth (black - the overthrow of values, the color of death, the promise of knowledge, the soil in which ideas are sown, red - deliverance from illusions, the color of sacrifice, transition, dawn ,the promise of sunrise, white - new knowledge, purity, the color of the spirit, mother's milk, the promise of filling the void). The symbol of the flaming skull in the fairy tale is associated with the worship of ancestors; bones were considered a means of summoning spirits. Having endured the initiation, the heroine returns home, having received knowledge, having learned to foresee the vicissitudes of the world and overcome them. She gained the ability to understand the powers of her soul and added knowledge of wild nature to her mother’s inheritance, the intuition of human nature. The resulting fire destroys the harmful shadows of the soul, helps to distinguish between mental processes and opens a connection with ancestors and memory. The heroine, having undergone initiation, becomes able to understand and maintain in order the abode of the soul, regularly refresh her thinking, tidy up her being, maintaining the fire of creative life, bringing plans and ideas to readiness on it. Separating the good grain from the rotten (making the right distinctions in life judgments), using the medicinal properties of food products (sorting out the healing agents of the soul), the heroine learned to understand the forces of her own soul, strain her will and evaluate hostile forces. The ability to distinguish the desires of the soul, not to allow life energy, thoughts, views and values to be suppressed, to use the instinctive self in reflection, all this develops sensitivity to inner being. The masculine instinctive nature in fairy tales is often personified by a dog with keen hearing, scent, and the ability to find and protect. The material of the fairy tale reflects the inner life of a person, the external world and the stages of maintaining balance. Catching the inhabitants of the underwater world speaks of the hidden nature of the soul, of its internal forces that nourish a person. When a person has knowledge and at the same time reaches for good, the basis of this desire is innocence. Its principles include immunity from harm, the ability to heal and restore, and the ability to correct the situation. In the fairy tale about the ugly duckling-swan, the mother duck personifies the role of the mother, who tries to remake the unlike child into the external environment. Her actions are guided by the desire to protect and self-preserve in the conditions of the generally accepted culture, in order to affirm the emerging self. A person feels like an outcast, bumping into the wrong doors until he finds the right door. A strong hero draws doors where there are none, opens them and enters a new life. In archetypal psychology, the cold of winter and an icy pond for a duckling signify insensitivity, to oneself and to others. This is a kind of self-defense mechanism, but the soul must be saved from the captivity of a chilling relationship by breaking the ice. After wandering in search of mental and spiritual kinship, the stranger finds his true relatives, acquires values and develops his talents. Own individuality, spontaneous, natural beauty, transformation of the soul into its true nature - the swan spreads its wings and sees its reflection in the water. Personal resilience, experiencing loneliness, surviving the process of individuation leads to healing and prosperity. The psychic value of the natural body in a fairy tale is symbolized by a flying carpet. The soul controls the body, and it, like a rider’s carpet, carries it to its destination. This is also a symbol of soaring in spirit, when the soul, giving verbal direction, is carried away to given values, views and knowledge. Shoes in fairy tales represent mobility and freedom. They protect your feet when walking, just as confidence in your actions is the shoes of the soul. Elderly people ideally portray dignity and wisdom, self-knowledge, tradition and boundaries. When these qualities are used to harm, the soul becomes numb, needing warmth. For a person, society is a multitude of individuals that promotes individual development if the environment is capable of perceiving the integrity and creative spirit of everyone in the team. This is not the desire to control thoughts and actions, establish preferences, or rigidly preserve the traditions and rules of a given organization, but the ability to develop and create in the living circumstances of collective thinking. Other people's values can both cloud their own vision of the world and complement and confirm their own worldview and ideas. Correct perception of rational boundaries and necessary conditions for survival promotes self-expression and spiritual saturation. To depict the hidden forces of evil in fairy tales, images of a shoemaker and an old soldier are used. New shoes, especially those made by yourself, symbolize a return to a meaningfully chosen life, to your own path. In the fairy tale, the power and energy obtained with the shoemaker's shoes is often deceptive, creating only a whirlpool in a fast-paced life that the hero wants to have time to truly live.
The carriage as a vehicle in a fairy tale is a symbol of the mood of the soul, capable of transferring from one state to another, from one thought to another, which does not require so much time and energy. It can be interpreted as the desire for material wealth and comfort, the desire not to make efforts to achieve the goals of a creative life, the desire to make life easier and the ability to achieve this.
The river in the fairy tale symbolizes the ability to live, the underground river - the spheres of the soul, its creative forces that nourish human life. A clean river in its free, free flow - creative life, striving within reliable boundaries.
Wounded animals reflect a state of mind, loss of instincts, and a breakdown in connection with nature.
Hair symbolizes a person’s thoughts, what comes from the head, voiced ideas.
Traveling to the mountain - high, unexplored areas of the soul, overcoming thickets, boulders - recognizing delusions and getting rid of them. Descending from the mountain and returning to your homeland suggests that it is important to bring the acquired knowledge into real life. The mountain is also understood as a symbol of mastery and intensive training. Anyone who climbs the mountains, strives for knowledge, must have endurance and determination to continue his journey. The top of the mountain is a meeting with wisdom, which in the fairy tale is personified by the wise bear.
In the tale of Goldilocks, her hair represents the bright inner life of the soul, the vital forces continue to grow and make their way to the surface even after the death of an idea that could not be captured, and the pipes show the true state of the soul when they cry if you direct your breath into them. Life energy is released, finds a voice and sings out the innermost. If the lifeless but dear is buried and forgotten, her ideas will be supported and revived, and rise above the ground, restoring the essential foundations.
The underground forest is a world of instinctive knowledge, helps to gain strength and stamina, endurance. The descent into this forest, discoveries and discoveries reflect the hidden inner life of the soul, the acquisition of necessary life qualities. Creative nature helps to perceive various states of being and knowledge, not to stumble upon impenetrable thickets, but to learn to pass through them, absorbing thoughts and impressions suitable for nutrition, and embodying creative ideas.
With an external ability to contemplate nature and an internal vision of the world, the soul processes ideas and uses the energy received. Physical beauty, intelligence and inner light reveal to the heart their significance and possibilities of use.
Tears in a fairy tale melt the ice of the heart, break stones, block the entrance of evil spirits who consider them holy water, heal, closing the gap through which spiritual energy flows.
Hands, a kind of human radar, were also used in ancient times to depict two human beings, where the fingers are arms and legs, and the wrist is the head. They could walk, dance and dialogue with each other. Through the hands, the skin of the palms, and the pads of the fingers, a person feels, understands the environment, heals, is able to speak with gestures, and perform work with the material world.
Going on a journey represents an inner journey to deeper levels of the soul. Another world, other value systems, loneliness and noise external life roads, descent forms the archetype of the stranger. Gaining new knowledge along the way, experiencing transformation in this recognition, a renewed relationship with the self, crossing the underground river of memories under which the eternal fog swirls, the goal of this immersion is individuation, gaining an inner spiritual sense and the ability to navigate the overwhelming environment of the unconscious.
The fruit tree represents the tree of knowledge in the fairy tale. They store water in their fruits; during the ripening process, the fruits become full and give those who feed on them the strength of restoration and saturation. This food, which satisfies hunger, symbolizes the nourishment of the soul that nature provides, a surge of internal strength, like water from stones or manna in the desert.
The archetype of masculinity is embodied by the gardener, the king, or the sorcerer. The gardener is like a farmer of the soul, renewing the soil and reviving spiritual energies. The King represents the ability to bring inner knowledge to life. The royal garden with trees as the underworld, the human unconscious, symbolizes the remnant of the old cult. Companion spirits help to find the way, and the fruits of the unconscious bend to nourish the soul psychologically. Nutrition gives a surge of inner strength, light and knowledge. The king is an admonishing being, the guardian of the growing soul. The maiden personifies a wandering, sincere soul. A sorcerer, the magic of power, the ability to manifest it in the outside world. He appears in different guises and helps the soul become what it wants to be. In the spiritual space, the underground garden, the elements of the soul are collected, giving rise to knowledge and internal energy. Fruits, as objects with a seed inside, are used as symbols of the feminine property of containing life. The fruit is also considered as an image of the cycles of flowering, growth and maturation, which reflect the process of individuation of the personality in its formation. Eating a fruit, getting enough, in a fairy-tale space, based on this, can be considered as enriching your life, satisfying your creative hunger, and fulfilling your needs. The birth of a child in a fairy-tale world, expressing the inner world of a person, means the state of inseparable elements of the soul of the individual, which were in their infancy and have now found themselves. The soul is still under the blanket for a strong rise, just as the dough is left under the blanket to allow it to rise. The veil is usually used for protection, privacy, hiding beauty from prying eyes, for inaccessibility and fencing off spiritual space into which one should not invade. And gradually, in the process of its own individuation, the soul acquires spiritual speech and a legitimate, unique appearance. What is learned will be reflected not only in the innermost soul, but will also find external manifestation. Immersion in the inner world of the soul through a fairy tale, tasting the fruits of the spirit gives the ability to correct damaged elements, overcome the unacceptable, revive spiritual strength and preserve acquired knowledge, making underground changes based on the search for one’s self. The created inner world throughout one’s life is like one’s own piece of land where cultivated plants and fruit trees are cultivated. A house is being built here, the plot can be expanded and, over time, a durable fence can be installed. The mental work from which a fairy tale grows reveals in literary processing the intense process of decision-making and concentrates forces on the rational distribution of everyday actions and the timely completion of tasks necessary for a person. A fairy tale, which gained its existence through figurative comprehension of real life, is able to grow, acquire integrity and in its action turn into a source of reflection, being initially an explanation of reality. The plot of a fairy tale can reveal both general pictures of life and smaller details. Personal impressions, own life, the search for the right path and the chilling revelations of mistakes in choice, for every fairy tale there is a fair amount of spiritual blood shed by its narrator. But a fairy tale introduces higher forces into events, which lead to a conclusion that builds the action in the best possible way, healing the problem that is in contact with the real story.
Psychology studies the possible elements of the soul, explores human nature in its diversity, and at the same time is able to set the direction for the source being studied. Each person goes through a unique path of individual development; by revealing the fairy tale, one can come to a generalized understanding of the contemplated life events. Attention to the nature of the soul and its development gives strength to carry out intentions, helps to find support points, strengthen the foundation of the soul, nourish it correctly and provide genuine care.
In turning to God, a person asks the Creator to give people their daily bread. This is not easy bread taken and obtained by theft, not a deviation into laziness, but a union of one’s own will with the will of the Creator about creation, Who knows created beings and what they really need to preserve the health of soul and body and continue the path of life. The heroes' search for satiety and contentment in the tale speaks of the spiritual hunger of its narrator, who is looking for opportunities to turn the state of affairs so that work nourishes the soul intellectually and puts little strain on the body. The search for happiness and well-being, the wanderings of seekers of a better place, fairy-tale constructions are a reflection of social and economic relations, where the storyteller sets out reality or builds history in the desired direction to solve a problem. Grow a pea to the sky, twist a string and throw it on a cloud - in these images the desire to rise above everyday life and find meaning in earthly life. Attempts to create wings for oneself speak of the desire to defeat the force of gravity and the attraction of the earth, and to cover distances without obstacles through the air. This is also an image of spirituality, when the soul, in its flight, expands the horizon of visibility and from a height takes in the world with its gaze, which changes its worldview. Under the impression of a fairy tale, a new feeling for life arises in its reader; everyday life, familiar everyday events appear in the mind in poetic images. The animal kingdom figuratively represents human feelings and various manifestations of the soul in its mental actions and emotions. Animals expect a law from humans that regulates their relationships, which in reality is seen as peace of mind. If the action comes into contact with magic, the hero is able to reincarnate into the creature that he pitied, and then there is a tendency to see in the beast a person languishing until the time of the spell. And later the plot turns into a warning about the danger - not to fall into the dark abyss of human animality, to remain in the sense of humanity, contemplating the splendor of creation and correctly arranging images of good qualities in your inner world. Of the characters, the image that especially stands out is epic heroes, winning through the power of natural human achievement, energy and fearlessness.
The help of prophetic animals helps to overcome the supernatural or protect the hero from forces hostile to him.
The image of a fool reflects the sacred madness known from ancient times. At the heart of such stories is distrust of common sense calculations, disbelief in the human mind. This hero, in his ignorance, is guided by a force that has found personification in various, animal or human, images, through prophetic words.
So God opens the mouth of the donkey on which Balaam rode to admonish him. In the donkey we see a body that turns off the path, falls and does not go further if the movement is against the will of God. An angel of God stands in their way and turns their actions for good.
There is no place for imagination in communication with God. By erecting an imaginary wall of the imaginary, a person leaves a window through which he sees reality. Closing himself in his self, he can turn the window into a mirror, and then in his communication mirages of the inner desert arise; the subconscious is guided by the illusions of the inner world and does not see reality. .

Wisdom and beauty, power over creation are personified by Vasilisa the Wise. Ants obey her, bees sculpt a church, people build bridges, she can take the form of a creature, indicating that wisdom also acts through created nature (the mind is able to control the psychic).
The pious tale imitates life in its style, but its difference is that the action ends with earthly happiness, peace and well-being of the heroes. Considering that the fairy-tale space reveals immersion in the subconscious, and the heroes reveal the feelings and mental manifestations of the soul, we can conclude that this is the calm, peaceful state to which the soul strives in the fight against forces unrelated to it. Similar to the attitude towards living creatures as such, a common feature of fairy tales is the gratitude of the animal and reward to man, which in Christianity is expressed as the solidarity of all created things and the state of the human soul.
The fabulous search for eternal youth and living healing water comes into contact with Christianity in its teaching about eternal integral life and perfect healing.
The nature of the relationship between soul and body finds echoes in the images of the wife’s things, the wisdom of beauty (life-giving) and power over created things (the ability to guide the body).
Fairytale poetry, images of spiritual qualities, these features inspire the reader who accepts the meaning of the images and perceives spiritual values through an analysis of the behavior of the characters presented.

Fairy tale symbols are valid for what the storyteller wants to reveal, but fairy tale symbols do not carry over into real life and have no symbolic meaning outside of the fairy tale itself. It is not the symbol that is transferred, but the received understanding and knowledge.
Fairy tales indicate that wisdom can be acquired through inner search, discovering friends and enemies, strengths and weaknesses. This is the path of transformation, where the movement from death to resurrection brings with it another grain of wisdom, like steps closer to the truth.

The morning misty white light floods the room, the reddening sky at the horizon, beyond the forest, where in these early hours the hum of cars passing along the highway can already be heard, heralds the beginning of the day. A cloudy dawn, bright green grass, yellow May flowers and the aroma of spring freshness, the chirping of birds gives the morning a touch of revival in the barely awakened nature. A walk in the park long before daylight, hot chocolate with nut cookies, floppy, full of strength the body enjoys the ease of awakening, sitting opposite the window in a warm kitchen. Outside the window, the wind rustles birch leaves, running in waves across the soft grass of a large field, bringing floral scents from the street. You need to feed the kitten and leave the house a little before seven o’clock. On the road to the stop there are rare passers-by walking with dogs. From the city center, a bus, passing suburban private mansions, takes you to the factory. This is a small building, almost unguarded, with a freight elevator. About 20 people work. People at sewing machines, making children's toys, may well sew women's skirts or children's dresses in their free time. A person working at the elevator brings large boxes and bags to work tables, where they are stacked by assortment workers and taken back to the elevator for shipment. The job of the office is to ensure that there are always stickers with the bar code of the product, labels with the article number for the corrugated box, plastic bags, tape, staplers, markers, working hole punches and sharp scissors. You can spend lunch time on the spot, preparing food at home, you can take tea with cookies, fruit, cottage cheese. The work done by each employee is recorded in the morning upon removal from the premises, and based on this data, wages for the month are calculated. Registration takes place in a few months labor code. The radio works, but there is no local one. The room is very bright, with large windows overlooking a quiet street with green trees. The wall facing the corridor is behind glass. There is a daytime cleaner cleaning up dust and debris flying from the boxes. The calm faces of the workers, systematically arranging bright toys into boxes, would cause boredom if not for their sleek appearance and the colorfulness of the products they are packing. While sorting through toys, you can remember all the famous fairy tales, put together a mosaic in your mind and explain what is put together. Move in your thoughts inside the eye and decompose its structure into the surrounding mosaic, cabinets behind glass and movement in them. But more important than all the explanations and remembered fairy-tale interpretations is the factory’s ability to sell the collected products and provide everyone who gave their time to it with a worthy reward.