Problem Statement:
In recent years, one of the prominent approaches in children's literature has been the return to ancient literature and folk tales from different cultures, reinterpreting them in a way that aligns with the contemporary concerns of children. These efforts have gained particular attention in countries seeking to revive their culture and identity. Along with the introduction of national and religious concepts into children's literature, the illustration of children's books in Iran has also undergone changes. The use of native, national, and religious elements in the illustrations of these books reflects the illustrators' interest in the culture and beliefs of their homeland. Ancient literature, besides familiarising children with their cultural roots, helps them better understand their national identity and connects them to the historical past of their country. Therefore, the presence of native elements in the illustrations of these stories strengthens the recognition of identity through images.
One of the stories that has been widely reinterpreted by children's and young adult writers is The Thousand and One Nights. This book, due to its diverse themes and magical tales, has been re-written many times over the years for young audiences. The Thousand and One Nights is a collection of oral stories from the lands of India, Iran, and the Arab world, compiled into a single narrative. Despite having Iranian roots, the illustrations created for The Thousand and One Nights rarely feature native Iranian art symbols, often depicting Arab and Ottoman symbols instead. This discrepancy prompted the current research to examine the structural elements of localisation by Iranian illustrators in the illustrated editions of The Thousand and One Nights and to investigate the sources of inspiration behind their work.
This paper is based on the examination of 103 illustrated rewritings, with sampling done purposefully due to the vastness of the sample population and the differences in the visual representations of these stories. Two books were selected that best reflect native and national characteristics in their illustrations.
The first book, Arous-e Qessegou (The Storytelling Bride) (2016), written by Mohammad Kazem Mozaffari and illustrated by Alireza Goldouziān, presents Shahrazad’s stories with a child-friendly language and captivating illustrations. Goldouziān uses simple colours and shapes to depict the imaginary world of The One Thousand and One Nights in a modern style. This book, utilising contemporary Iranian illustration art, seeks to engage children with the stories and cultural and social concepts embedded within them.
The second book, Shahrzad (2005), written by Farideh Khalatbari and illustrated by Farshid Shafiee, delves into the complex and rich narratives of The One Thousand and One Nights. This book employs more precise and intricate illustration styles, combining Iranian and Western techniques to visually present Scheherazade’s stories. Designed mainly for teenagers and adults, this book aims to reinforce Iranian cultural identity while preserving the core essence of the original tales.
The criteria for selecting these two books include the use of cultural and national elements, illustration methods that align with Iranian identity, and adherence to traditional styles. These two books were chosen to provide a deeper analysis of how native visual traditions are represented in the illustrated editions of The One Thousand and One Nights. The analysis focuses on the details of each book’s illustrations, their connection to national culture, and their impact on young readers.
The main objective of this study is to explore the various types of localisation in the illustrations of these books through the analysis of visual structures and to show how these elements contribute to strengthening national and cultural identity in the illustrated editions of The One Thousand and One Nights. The research aims to answer the following questions: What structural elements have Iranian illustrators used to achieve native spaces in their illustrations? And which periods of Iranian art have inspired them, and for what reasons?
The article begins with a review of The One Thousand and One Nights and its history in Iran, followed by an introduction to illustrated books and the incorporation of native elements into their illustrations. The analysis of the illustrations in Arous-e Qessegou and Scheherazade will focus on the sources of inspiration for the artists in creating a native atmosphere. In the conclusion, based on the analysis of the illustrations, the article will discuss the methods of localisation and the sources of inspiration for Iranian illustrators in achieving native spaces.
Methodology:
This research is applied in nature and qualitative in terms of data. The necessary studies were gathered from library and internet sources. The research followed a descriptive-analytical method, utilising observation and checklists. The statistical population of the study includes all illustrated books based on The One Thousand and One Nights published in Iran between 1961 and 2021. The study shows that 103 illustrated books based on The One Thousand and One Nights were published during this time period. The selected samples were chosen based on different approaches to localisation found in these books. These approaches include the use of motifs and visual elements, historical, geographical, and cultural characteristics, attention to native architecture and spatial design, and native and regional character development in the illustrations. The selection of these two books was based on several factors from both textual and illustrative perspectives, as well as the illustrators’ approaches. These two books are exemplary of a contemporary and multi-layered view of traditional arts in children's illustrated books. Both works draw inspiration from Qajar period art, lithography, and miniature painting to create new illustrations, a trend clearly seen among contemporary illustrators.
Conclusion:
In today’s world, the issue of identity and national belonging has become an important subject, leading to new approaches across social, political, cultural, and artistic fields, drawing artists' attention to the representation of their national and native identity. Iranian artists and illustrators have benefited from this trend, especially since the 1940s with the formation of the Saqqākhāneh movement, which gradually influenced children's book illustration. These artists, by incorporating native, national, and religious elements into their illustrations, have showcased their connection to their homeland.
Both Scheherazade and Arous-e Qessegou are contemporary representations of the fundamental one Thousand and One Nights story, employing specific artistic and narrative elements to retell familiar tales while presenting new perspectives. Both books clearly reflect the traditions of Qajar art and court illustration. In Scheherazade, the illustrator draws inspiration from the portraits of Fath Ali Shah and Qajar lithographic elements to create characters and scenes that represent royal power while highlighting the delicacy of Scheherazade's character. In Arous-e Qessegou, the exaggerated faces and symmetrical compositions emphasise the sense of violence and its endless cycle. In both books, the characters' exaggerated designs reinforce the implicit meanings and moral messages of the stories.
The use of Iranian architecture in the backgrounds of Scheherazade creates a native and abstract space that enhances visual comprehension and communicates a sense of cultural belonging to the audience. These illustrations, while preserving the tradition of Iranian miniature painting, have transformed into a decorative and child-friendly space, reflecting classic Iranian art.
In both books, the authors have made changes to the original narrative, offering new interpretations of characters and themes. In Scheherazade, the transformation of the king's character from a tyrant to a figure full of love and affection reflects a form of redemption and victory in the narrative. In Arous-e Qessegou, the open-ended conclusion invites the reader to reflect on the fate of the characters and the impact of Scheherazade's storytelling.
These two books demonstrate how classic stories can be reinterpreted through contemporary readings, using visual arts and narrative changes to create a platform for new interpretations and reinforce cultural identity. Courtly portraiture, along with native elements and modern spatial designs, has successfully made familiar tales appealing and meaningful to a new generation of readers.