10: Fostering Aesthetic Appreciation
- Page ID
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Defining Aesthetics
The term aesthetics refers to the sensitive perception, appreciation, and creation of beauty. In early childhood education, aesthetics involves the way children experience beauty and sensory richness through materials, nature, art, culture, and thoughtfully designed environments. (Fox, 2018)
Below are just a few things you might notice in an ECE program that values aesthetic development.
- Children perusing beautiful picture books, like Watercress by Andrea Wang (2025), and later using magnifying glasses to explore growing plants during a nature walk. (develops a sensitive perception and appreciation of beauty)
- A teacher who grows wildflowers in a small plot on the children’s play yard and allows the children to pick a few each day for *Ikebana at lunchtime. (Develops a perception and appreciation of the natural world)
- Music from various cultures and regions of the world is playing, with guidance to listen with intention. (Develops appreciation of beauty within diversity)
Children’s individual artwork is displayed thoughtfully on a complementary mat board (The environment facilitates and encourages artistic expression)- Unit blocks are displayed in an inviting way to encourage creative building and may include photos of great works of architecture or engineering as inspiration for children’s block-building explorations. (The environment encourages attention to the aesthetic of the manufactured world)
What can you add to this list? What have you seen in ECE environments that supports the sensitive perception and appreciation of beauty?
Aesthetic Sensitivity Is Individual, but It Can Be Cultivated
People pursue aesthetics with varying levels of interest for a multitude of reasons, influenced by their personal experiences and innate tendencies. Some individuals possess a heightened sensitivity to the sensory richness of the world around them. For instance, they might find themselves captivated by the fragrance of a blooming rose, pausing to fully engage their senses and appreciate its beauty. These individuals often have a natural inclination to explore their environment more intimately; they may struggle to resist the urge to touch various displays in a museum, even when signs discourage interaction, or they might unconsciously run their fingers over the smooth, luxurious fabrics while shopping for clothes, savoring the tactile experience.
In contrast, there are others who may not have developed the habit of recognizing and appreciating these moments of beauty. This could be due to limited exposure to art, nature, and other aesthetic experiences during their upbringing. Alternatively, their attention may be more inclined toward practical matters, such as utility and functionality, causing them to overlook the beauty that surrounds them.
For many, these moments of beauty remain unnoticed, perhaps because they lead busy lives focused on daily responsibilities, which diminishes their awareness of such sensory experiences. Nonetheless, it is important to recognize that actively seeking beauty can significantly enrich one’s life, leading to greater satisfaction and a deeper connection with the world.
This is where early childhood education (ECE) teachers play a crucial role. They are uniquely positioned to introduce the concept of beauty to young children and cultivate an appreciation for the aesthetics in their environments. By incorporating music, art, nature exploration, and sensory play into their curriculum, ECE teachers can help children cultivate a sense of wonder and a habit of noticing the small, beautiful moments in everyday life. In doing so, they contribute to the children’s overall emotional and social development, enriching their experiences and fostering a lifelong appreciation for beauty.
Challiyan, CC BY-SA 4.0 via Wikimedia Commons
Aesthetic awareness is not just an optional addition; it is essential for the holistic development of a child. This aligns with the philosophy of Rudolf Steiner, the founder of the well-known Waldorf Schools, who stated, “Only when our sense of beauty enters the fullness of life are we able to experience the practical realm in a right and balanced way” (Steiner, 1922, para. 22).
Steiner believed that nurturing children’s aesthetic sense is not about frivolity or ornamentation but about allowing beauty to permeate their experience of the world. This leads to a balanced development of all human faculties. For those of us who are interested in building aesthetic appreciation, we must do all that we can to teach children to see the world and all it’s beauty with all of their senses!
Why Are Aesthetics Important in ECE?
Aesthetic Awareness Is Part of Being Human
The inclusion of aesthetics supports an age-old humanistic philosophy of education. Unlike other animals, humans possess a unique capacity to recognize and appreciate beauty. Just as we nurture physical, cognitive, social, and emotional growth, it makes sense to intentionally foster aesthetic development as a vital domain of the human experience.
Appreciation That Deepens Learning: Children who marvel at the beauty of the world around them develop a sense of appreciation that extends beyond nature and art. This sensitivity transfers to the beauty of letters, words, numbers, stories, poems, formulas, books, and symbols. It can even foster greater empathy and curiosity toward people of other cultures. This is the aesthetic of learning that lasts.
Concept Development and Focus: Aesthetic experiences sharpen children’s powers of observation and support the development of concepts. For example, when a teacher invites a child to notice “the tiny green flecks on the butterfly’s wing,” the child is not only drawn into the moment—they are learning to focus, compare, and describe. These are foundational skills for both scientific thinking and creative expression.
Enriching Lives and Environments: Being surrounded by beauty and engaging in beautiful experiences contributes to a child’s overall well-being and sense of wonder.
A thoughtfully designed aesthetic environment is pleasant and calming for both children and educators. Such environments support self-regulation, reduce stress, and encourage positive behavior in subtle yet powerful ways. Cultivating aesthetic awareness in early childhood enhances the child’s lifelong ability to experience joy, find meaning, and express creativity. Throughout history, educational philosophers have recognized the relationship between beauty, meaning, and human development. This connection is particularly visible in the Reggio Emilia approach, where aesthetics is woven into the very foundation of children’s learning environments.
Excessive visual and sensory stimulation, such as overly bright colors, visual or cartoonish clutter, constant noise, or an abundance of competing displays, may compete for children's limited attentional resources, making it more difficult to sustain focus, regulate behavior, and engage deeply in learning. In contrast, thoughtfully designed environments with balanced colors, natural materials, intentional organization, and a calm atmosphere support children's emerging capacity for self-regulation.
How Reggio Emilia Approaches Aesthetics
The Reggio Emilia schools, founded in northern Italy after World War II by educator Loris Malaguzzi, are internationally admired for their unique and deeply respectful approach to young children’s learning. Inspired by influential thinkers like Rousseau, Pestalozzi, Froebel, Dewey, Piaget, and Vygotsky, Malaguzzi believed that children are strong, capable, and full of potential, not empty vessels waiting to be filled.
This image of the child is the foundation of everything that follows in Reggio Emilia. When children are viewed as capable thinkers, creators, and meaning-makers, the role of the teacher changes. Rather than simply delivering information, teachers create environments, provide materials, observe carefully, and support children’s ideas as they unfold.
One of the most striking elements of a Reggio Emilia classroom is its intentional aesthetic. The learning environment is often called the “third teacher,” following the child and the adult. This means great care is taken to create spaces that are beautiful, orderly, and inspiring. Classrooms in Reggio are not flashy or overly decorated but calm, inviting, and filled with natural light, natural materials, and children’s own work. Plants, mirrors, soft lighting, wooden furniture, and documentation panels featuring photos and children’s words create a space that feels more like an artist’s studio than a typical preschool. In Reggio Emilia, the environment is not decorated for children; it is designed with a theory of childhood in mind. Every color, material, image, pathway, and invitation communicates an image of who children are and what they are capable of becoming.
Aesthetics in Reggio is not about making things “pretty” for the sake of appearance. Rather, it’s about cultivating an atmosphere where beauty supports thinking. When materials are arranged with care—loose parts thoughtfully displayed in baskets, paints in glass jars, a light table set up with translucent colored shapes—children are more likely to slow down, notice details, and become deeply engaged. This is part of a larger belief in the power of aesthetic sensitivity to awaken wonder, curiosity, and joy in learning.
Art in Reggio Emilia schools is not confined to a corner or reserved for certain times. It flows throughout the day and across all areas of the curriculum. Children use drawing, clay, wire, sculpture, collage, painting, shadow, light, movement, and sound to explore ideas, pose questions, and communicate their understanding.
CHILDREN are encouraged to revisit their work, refine it, and express their thoughts in what Malaguzzi called the “hundred languages” of children.
100 Languages
The child
is made of one hundred.
The child has
a hundred languages
a hundred hands
a hundred thoughts
a hundred ways of thinking
of playing, of speaking.
A hundred always a hundred
ways of listening
of marveling of loving
a hundred joys
for singing and understanding
a hundred worlds
to discover
a hundred worlds
to invent
a hundred worlds
to dream.
The child has
a hundred languages
(and a hundred hundred hundred more)
but they steal ninety-nine.
____________________________
The school and the culture
separate the head from the body.
They tell the child:
to think without hands
to do without head
to listen and not to speak
to understand without joy
to love and to marvel
only at Easter and Christmas.
They tell the child:
to discover the world already there
and of the hundred
they steal ninety-nine.
They tell the child:
that work and play
reality and fantasy
science and imagination
sky and earth
reason and dream
are things
that do not belong together.
____________________________
And thus they tell the child
that the hundred is not there.
The child says:
No way. The hundred is there.
Loris Malaguzzi (translated by Lella Gandini)
This belief reflects one of Malaguzzi’s most influential ideas: that children possess many ways of expressing their thoughts and making meaning. In his famous poem The Hundred Languages of Children, Malaguzzi challenged the idea that language exists only through spoken or written words. Children think and communicate through countless forms of expression, including art, movement, construction, music, dramatic play, mathematics, relationships, and scientific exploration.
Each school has an atelier, or studio space, and an atelierista, an artist who works closely with teachers and children. The atelier is not simply a place to make art, it’s a space where thinking becomes visible through aesthetic expression. The atelierista helps make connections between children’s ideas and expressive materials, documenting the evolving process of their projects and investigations.
Just as importantly, teachers in Reggio schools view themselves as researchers. They pay close attention to children’s words, gestures, and actions, using this information to co-construct curriculum alongside the children. Projects often emerge from a child’s passing comment or spontaneous observation—like the shadow a leaf makes on a wall—and evolve into deep explorations involving science, storytelling, and collaborative artwork. You don’t have to recreate a Reggio classroom exactly, but you can draw inspiration from its aesthetic values. Reflect on how your environment conveys messages to children. Is it calm or chaotic? Does it invite exploration? Do children’s creations have a place of honor on the walls? Can you offer materials in a way that sparks interest and respect?
Remember: when we treat children as artists, thinkers, and designers, and when we craft spaces that reflect beauty, care, and intentionality, we invite children to bring forward their most thoughtful, expressive, and creative selves.
Thought Leader: Vea Vecchi
Vea Vecchi (1935-2020) promoted a kind of beauty in the classroom that transcended simple cuteness. When Vecchi used the word aesthetics, she was not talking about making classrooms 'Pinterest pretty.' She was referring to environments that stir up wonder and curiosity, respect children's intelligence, and encourage careful observation by both children and adults.
She was the first atelierista (studio/art specialist) at the Diana School in Reggio Emilia and worked closely with Malaguzzi. Her work explores the aesthetic dimension of learning, not as decoration, but as a way children construct meaning. Vecchi talks about:
- Beauty as a vital condition for learning
- Careful arrangement of materials (see note on providing "provocations")
- The relationship between light, color, texture, and children's thinking
- Teachers as designers of environments
- The idea that classrooms communicate values before teachers ever speak
A common misconception in children's classrooms is that aesthetic environments are about cuteness and coordinated colors. Instead, take a look at your environment while asking this deeper question: “What does this environment allow children to think, feel, notice, question, and create?”
The Environment Has a Voice
A well-designed classroom communicates the teacher's beliefs about children. Rather than thinking of the space as a place that dispenses facts and controls learning, Vecchi encouraged us to make environments that invite children to explore, wonder, collaborate, and create meaning.
One way Reggio-inspired teachers act as researchers is through the use of provocations. Rather than directing children toward a predetermined outcome, teachers offer thoughtful invitations that encourage curiosity, exploration, and deeper thinking.
What is a provocation?
Provocations are deliberate, thoughtful curricular decisions made by the teacher in conjunction with children's ideas. They extend children's ideas. Teachers provide materials, media, and general direction as needed, but children take the ideas where they want. These provocations happen whether you are a Reggio Emilia-inspired teacher or not. They have to do with the questions we ask, the materials we put out, and the music we play; even we, as teachers, sometimes act as a provocation. Curriculum never gets old or stale when provocations are involved. It is important to note that children take the ideas where they want.
A teacher who implements a Reggio-inspired classroom in Auckland, New Zealand, was asked by a volunteer, "Do your provocations always work?" The teacher was taken aback by this; thinking what did she mean by "work"? Then the volunteer said, "I haven’t seen the children drawing crosses here."
A teacher placed a printed photograph on a wooden easel stand near the art shelves to artistically inspire the students. The photograph depicted a scene related to a recent discussion another child had about their trip to Lake Lucerne (Vierwaldstättersee) in Central Switzerland.
Photo by Hugo Fergusson on Unsplash.
What the volunteer missed was the conversation that took place.
Jayden: Hey Kalen, that's an X, aye?
Kalen: Yeah, I don’t have an X, I have a K.
Jayden: Oh, I have a J and an A and a Y and a D and an E and an N.
The two boys then began searching for letters around the room, looking on the walls, in the artwork, and in the documentation panels displayed throughout the classroom. The boys did not see a cross; they saw an X. They did not feel compelled to draw the cross. Instead, the symbol became a point of curiosity and discussion. The discussion could be further elaborated on by the teacher, who might ask the children to look for additional symbols that represent the letters in their names. (Never a dull moment with provocations!)
The teacher talked with her volunteer about the importance of respecting the child’s agenda. She explained that this is a vital consideration when setting up environments or asking questions of children. Teachers should avoid preempting an experience by deciding what they think will happen. When adults enter an interaction with a predetermined agenda, they may unintentionally restrict children’s thinking, exploration, and expression.
It may be helpful to remind new teachers that children express themselves through a hundred languages. Take a moment to observe how children communicate, create, question, and make meaning. Their ideas may be expressed in ways that are different from what adults expect, but those expressions are often where the deepest learning begins.
Walk into Mariners Church Preschool Unee Kim's classroom on any day of the week, and it will be hard to miss the children's deep engagement in well-designed, playful learning experiences (science, literacy, logical-mathematical, etc.). Among the many experiences available for exploration are a few "provocations" meant to evoke thought and further discovery. "What will happen if white paint is added to these primary colors?" or "Can you draw what your face looks like when you feel happy, sad, lonely?" or...
Thoughtful elaboration is one of the goals and outcomes of provocations.
-Credit to Unee Kim (Personal communication July ... , 2026)
Activities to foster aesthetic appreciation
Examine the illustrations present in picture books.
- You can determine the artistic media, the technique the artist may have used or the overall style of the illustrations in children’s books
- Visual literacy skills can be developed by prompting emergent readers to carefully examine illustrations in the following ways:
- Encourage children to discuss what they see in the illustrations.
- Identify and discuss the type of artistic media used.
- Identify the artistic style used by the illustrator. Illustrators also use different artistic styles. (photography, impressionism, pointillism, etc.)
Artist Visitors
Consider polling your student's loved ones. Find out if you have anyone who plays an instrument and could bring it to a circle time one day. Does anyone have an artist, dancer, or craftsperson in their family who would like to share their work? Sharing their skills, products, and processes can be thrilling for young children and adults alike!
Read books that you appreciate for their beauty
Watercress by Andrea Wang is a beautifully illustrated, semi-autobiographical children's book about a young Chinese American girl. The book has received universal acclaim, earning the Caldecott Medal for its watercolor illustrations by Jason Chin and a Newbery Honor citation.
Look for "unusual beauty" during nature walks
Children can be encouraged to ferret out items that challenge the traditional view of beauty. A twig with undefinable bumps? Beautiful! A shell that is serendipitously broken into the shape of a heart? Surprising! When children look for beauty in the unbeautiful, they learn to see the world with a much bigger lens.
Reflecting Thoughts
Aesthetic growth starts with noticing. When we encourage children to pause and observe a painting, listen to music, explore a tiny detail in nature, or ponder the potential of an ordinary material, we help shape their way of engaging with the world. We show them that beauty isn't confined to museums, special events, or professional artists' work. Instead, it can be seen in a patch of sunlight, the texture of stone, a song's rhythm, the arrangement of materials, or a spontaneous idea during play. As teachers, we foster this sensitivity by creating environments and experiences that prompt them to notice, wonder, question, and decide independently. By honoring their 100 languages we demonstrate that their perspectives are valuable. Ultimately, perhaps the greatest gift we can give young children is not just teaching them to recognize beauty but helping them develop the eyes, ears, hands, and hearts to discover it on their own.