چکیده:
بیان مسئله: بدون تردید، هنر یکی از مؤثرترین شاخصه‌های توسعه فرهنگی در طول تاریخ بشری بوده است. از سوی دیگر پایداری و رشد هنر در متن فرهنگ، در گرو آموزش علمی میسر بوده است. یکی از بهترین شیوه‌های آموزش هنر هم، آشنایی دانش‌آموزان با نحوه سیروسلوک اخلاقی بزرگان هنر و شناخت و بررسی آثار ارزشمند آن‌ها است. در این میان زندگی و آثار استاد محمود فرشچیان به عنوان مصداق بارزی از این بزرگان مورد تأمل بوده است. هدف مقاله: هدف در گام نخست، معرفی و توصیف دقیق و مستند کتاب‌های درسی آموزش هنر با موضوع استاد فرشچیان و در گام بعدی، آسیب‌شناسی و شناخت نقاط قوت و ضعف این منابع، جهت اتخاذ سیاست‌های راهبردی و مؤثر در این زمینه بوده است. سؤال مقاله: آیا کتاب‌های درسی آموزش هنر با موضوع استاد محمود فرشچیان به طور مستند و جامع معرفی و توصیف شده‌اند؟ و آیا این منابع حساس به لحاظ نقش آموزشی و پرورشی‌شان، آسیب‌شناسی و تحلیل شده‌اند؟ روش تحقیق: این مقاله، با روش توصیفی-تحلیلی و با اسناد و اطلاعات کتابخانه‌ای و میدانی، ضمن معرفی و توصیف نسبتاً جامع کتاب‌های درسی آموزش هنر (با محوریت فرشچیان)، به ویژه کتاب‌های مقطع راهنمایی، از سال 1362 تاکنون که توسط آموزش‌وپرورش منتشر شده‌اند، به آسیب‌شناسی فرم و محتوای این منابع پرداخته است. نتیجه‌گیری: ضمن تحسین وزارت آموزش پرورش در بازتاب دادن زندگی و آثار فرشچیان در کتاب‌های درسی آموزش هنر، مطالب و آثار درباره هنرمند، دارای کاستی‌ها و کمبودهای جدی علمی-پژوهشی هستند که فهرست آن‌ها در پایان این مقاله درج شده است. آسیب‌شناسی اصولی این کتاب‌ها، می‌تواند بر غنای این نوع از منابع آموزشی بیفزاید.
Undoubtedly, art has been one of the most influential features of cultural development throughout human history. On the other hand, the sustainability and growth of art in the context of culture has been possible depending on scientific education. One of the best ways to teach art is to acquaint students with the moral course of the greats of art and to recognize and evaluate their valuable works. In the meantime, the life and works of Master Farshchian have been considered as a clear example of these great men. Master Mahmoud Farshchian, as the most famous contemporary Iranian painter and as a world-renowned artist, has made a significant contribution to the revival and promotion of Iranian painting and traditional arts in general in the contemporary period. Throughout his professional life, he has always defended the lofty and eternal position of Iranian painting, both by writing early articles and by the works he has created during his career. He has never, in fact, degraded the status of Iranian painting, both nationally and internationally. Farshchian brought the fame of Iranian culture and art to the attention of the world, especially Europe and the United States, by teaching, lecturing, and setting up his exhibitions at major universities and art centers around the world. The artist has earned such a status during his lifetime that he has received inscriptions from high-ranking kings and officials, presidents and prime ministers of various countries, as well as museums, libraries, personal collectors and art enthusiasts. Prominent university professors and internationally renowned artists, although they consider Farshchian to be the origin of Isfahan and Iran, consider him to belong to the world's cultural and artistic heritage with great insight and his works in interaction and understanding between people of different civilizations. They have been considered effective and efficient. In this regard, the United Nations Educational, Scientific and Cultural Organization; UNESCO has published selected works by Mahmoud Farshchian in two voluminous volumes by Homai Publications in New York and in the printing presses of Zalborg, Germany (1991) and Florence, Italy (2004). The German edition of the book has been introduced as the most exquisite art book of the present age. Federico Mayor and Quichiro Matsura, former UNESCO executives, have also written valuable introductions to the work. The artist's name is registered in the list of 21st century intellectuals and now in Iran, the style and method of Farshchian is well known and due to its wide and undeniable effects, it has countless followers who have created a certain school of this style. Of course, in addition to influencing contemporary Iranian painting trends, it has also had significant effects on Iranian national and traditional arts. However, given such a position, one of the most appropriate and strategic measures of the Ministry of Education has been to appreciate and protect the personality of this famous artist in the form of assigning lessons or chapters to his life and works in textbooks. Target: The first step was to introduce and describe accurately and documented art textbooks on the subject of Mahmoud Farshchian, and in the next step, pathology and recognition of the strengths and weaknesses of these resources, to adopt strategic and effective policies in this field. Question or hypothesis: Basically, from the beginning until now, have the textbooks for teaching art on the subject of Mahmoud Farshchian been documented and comprehensively described and described? And have these sensitive resources been pathologically analyzed in terms of their educational role? Research Methods: This research, with a descriptive-analytical method and with library and field documents and information, while introducing and describing the relatively comprehensive textbooks of art education textbooks (with Farshchian focus), especially middle school textbooks, since 1983 by teaching and Breeding has been published, addressing the pathology of the form and content of these resources. Conclusion: In this research, an attempt was made to introduce and describe the relatively comprehensive textbooks of art education, especially middle school textbooks, which have been published by education since 1983, to analyze and pathology of the form and content of these resources. As mentioned in the text, the reflection of the life and works of Master Mahmoud Farshchian in the form of art education books has been a very correct and worthy action by education, which in addition to the technical and educational dimension of the artist's works can be inspiring and encouraging. Students and students should be talented, on the other hand, it is a reminder to honor and the enduring figures and artistic figures who have always been emphasized by human and Islamic teachings. From this point of view, the measured action of the "Educational Research and Planning Organization" of the Ministry of Education, especially about a high-profile and global figure such as Mahmoud Farshchian, is highly commendable. From another point of view, along with these advantages, there are shortcomings and disadvantages that the author has obtained by carefully observing the publication of educational books on the art of life and Farshchian's works in recent decades. It is hoped that this pathology and recognition of strengths and weaknesses, which is based solely on sincerity and compassion, and based on the original expertise of the author (Farshchian Studies), at least as a scientific and research proposal to the "Educational Research and Planning Organization" Be considered and followed up. If these shortcomings were raised by a not-so-prominent and irresponsible organization, as well as by a not-so-prominent artist, perhaps it would have been tolerated. However, we are dealing with the most sensitive and fundamental organization responsible for the education of the country and with the most prominent Iranian painter or artist. Undoubtedly, if this research is an example of pathology or scientific and constructive critique, it can be effective and efficient in adopting macro and strategic policies of the Ministry of Education on the subject of this article.
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