The Realm of Imagination in the Illustration of the Children’s Book of the for the Age Group of 4 to 9 Years Based on the Theory of Samuel Taylor Coleridge* (Case study: The works of Glenda Sburelin, Natalie Pudalov & Nicoletta Ceccoli)

Document Type : Research Article


1 Ph.D. Candidate in Art research, University of Al-Zahra, Tehran, Iran.

2 ssociate Professor of Department of Art Research, Faculty of Arts, Al-Zahra University, Tehran, Iran.


Problem statement: literature and art is placed in the realm of thought. The subject of imagination in children’s literature in England dates back to the 18th century, and the first illustrated books were written with the help of the imagination at that time. At the same time, the subject of imagination was dealt with in detail in English literature by Samuel Taylor Coleridge. Concerning the Coleridge approach, this study examines the process of innovative creativity in the creation of art by the artist.
Research objective: Given the importance of the imagination in illustration, this paper seeks to identify the basis for Coleridge’s ideas in creating children’s books illustration which is relying on the association of creator’s imagination and the suspension of disbelief, in the creation of works to acknowledge the recognition of children’s books and discuss the imagination in Coleridge’s ideas. Research Question is Would the imagination shown in children’s literary book illustrations comprise the Coleridge ‘s views?
Research method: According to what has been stated, the research aims to understand the role of imagination in illustration and its relation to virtue ability, and the way an artist and audience’s mind perceive art and the audience’s mind by using a descriptive-analytical method based on the written sources. Therefore, the theme of imagination will be analyzed using visual examples of famous foreign illustrators.
Conclusion: The children’s book illustration as a dependent issue is a relatively new phenomenon in Iran, which less has been dealt with compared to the other visual categories.
There are many gaps and shortcomings in this area, that can mostly be justified by its novelty and uncommonness. Therefore, the first and most important factor in the author’s approach to this field, and the research necessity was to fill a part of these gaps. Some of the illustrations in the children’s book seem to contain elements of Coleridge’s imagination. By seeing the image element in pictures, the child can discover the meaning behind it, receive the quiddity of phenomena rather than just receiving sensory perceptions.


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