هويت گرايي فرهنگي در ادبيات كودك با ورود عناصر بومي در تصويرگري ( با تاكيد بر آثار پرويز كلانتري)

(CULTURAL IDENTITY IN CHILDREN’S LITERATURE BOOK WHIT ENTERANCE OF NATIVE ELEMENTS IN ILLUSTRATION (WITH EMPHASIS ON THE WORKS OF PARVIZ KALANTARY

دهه چهل شمسي يكي از دوره هاي مهم و تاثيرگذار بر فرهنگ و هنر ايران است. در اين دهه روشنفكران، نويسندگان و هنرمندان در محافل خود براي يافتن هويت ملي، مذهبي در آثارشان تلاشي وافر داشتند زيرا به واسطه روشنگري هاي اين دوران ضرورت بازگشت به خويشتن يك نياز اجتماعي بود. حاميان خصوصي و ناشران كتب كودكان نيز، از تصويرگران مي خواستند تا با استفاده از عناصر هويت مدار آثاري همسو با اين تقاضا خلق كنند. در اين مقاله به بيان اين فرضيه پرداخته مي شود كه ورود عناصر بومي درتصويرگري كتب كودكان دهه چهل در راستاي ضرورت انديشه هويت گرا ايجاد شد و پرويز كلانتري، بومي گرا ترين تصويرگر اين دهه، توانست آثاري از خود به جاي گذارد كه بيش از نيم قرن بر فرهنگ و هنر جامعه ايراني تاثيرگذار باشد. پرويز كلانتري با شناخت ويژگي هاي بومي و بهره گيري از تزئينات،آرايه ها، آرايش چهره ها و پوشش ها به شخصيت سازي هويت مدار پرسناژهاي آثارش پرداخت.موفقيت او در تصويرگري هويت مدارش منتج به اين امر شد كه يادآوري خاطرات قومي و بومي گراي آثارش طي چندين دهه تاثيري ژرف بر تصويرگري ايران داشته باشد.

Illustration is an art that in accordance with cultural structures and educational needs of different societies establishes a close link between visual arts and literature. In Iran، this art has enjoyed a long and bright history that with a boom in children literature in post-constitutionalism era as well as the use of lithography could acquire an independent identity. The works presented in the twenties were accompanied with western and non-native feedback and that was the reason our writers and artists focused on indigenous feedback relying on the Iranian culture in the forties. That is one of the important periods and effective on the national Iranian art and culture. The need to return to national self literature in the literary field led to valuable results and following to that children literature and illustrated books، too، with a realistic approach and influenced by the native culture could open its space among other existing arts. The current paper tries to explain the hypothesis that the emergence of native elements in children illustrations during forties was in accordance with the necessity of the national identity and hence; Pervez Klantari is the most prominent native Iranian illustrator. Documents have been collected through library resources. The results of this study indicate that the need for the Iranian cultural identity in the work of writers and illustrators and to promote reading culture by intellectuals most of whom were writers of that time as well as the support of private publishing houses and entry of printing machine led to the growth of children books and transformed the illustration of the forties into an era the most effective on the history of children illustration books.