The peculiarities of pupils’ artistic tastes formation in fine arts and architecture

The article is devoted to the inclosure of peculiarities of formation of pupils' artistic tastes in the sphere of fine arts and architecture. The analysis of the concept “artistic preferences” is made. It is determined that the efficiency of the use of fine arts and architecture in formation of artistic preferences of pupils mostly depends on consideration in educational technologies the patterns of interrelated psychological processes of aesthetic impact and aesthetic perception. It is emphasized that the ability to understand the language of architecture and fine arts, to perceive spatial and structural shapes, proportions, rhythms, colors and lines, feel their harmony or disharmony develops aesthetic taste, imagination, emotional sensitivity, understanding other arts, deepens the artistic perception of reality and attitude man. Much attention is paid to the psychological aspects of the impact of arts and architecture on people and their perception. The grounds of social origin artistic tastes are emphasized. It is also proved that the potential positive or negative emotional response in the process of perception of a work of art or phenomena by specific person provides valueable character to aesthetic perception. Evaluative nature of aesthetic perception determines the nature and value of aesthetic education. Teaching guidance of this process should be aimed at developing the capacity of individual, personal and valueable perception of imaginative world of works of arts and architecture to divergent thinking, expand intellectual capability and ideological boundaries, and as a result - the formation of their own spiritual and intellectual world of man, formation of unique personality. Pedagogical conditions for forming artistic tastes of students is providing opportunities to acquire new knowledge, expanding information field of art, causes reflection, oral and written statements, discussions, exchange of views. It was concluded that teachers who accompany and direct their students on their artistic path should pay attention to students' understanding of individual reactions, the desire to understand why do they like this or that work, what emotions, thoughts and feelings emerge that inclination, desire, especially they have discovered in themselves.