SKU: 29929452773

童話國的郵票 (國際安徒生獎作家 安野光雅)

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童話國的郵票 (國際安徒生獎作家 安野光雅): : 19262020 19261968198419882020

作者 / 繪者: 安野光雅 |  譯者: 蘇懿禎


圖畫書大師安野光雅, 翻玩經典童話,以郵票串起的奇想一千零一夜。
 
它是一張小小的紙,也是一張小小的魔毯。
貼上郵票,讓文字和圖畫乘著想像力的翅膀,一起去旅行。
 
  很久很久以前,有一個國家的大臣向國王提出了建議:「臣認為有必要在我國推行郵政,不知您意下如何?寫完信之後,寫上收件人的姓名和地址,再貼上郵票,放入郵筒,信就會送到對方手上。只要貼上『郵票』這種小小的紙就行了。」
 
  為了繪製這張「小小的紙」,大臣尋遍了全國,卻只找到了一位還沒出師的畫家學徒佩達。雖然佩達交出的畫作屢遭大臣駁回,但他卻頗有天馬行空的說故事本領,總能為自己的作品娓娓道來一個「背景故事」。於是,負責郵票設計的大臣與超會說故事的半調子畫家,你一言我一語,奔馳想像,幽默交鋒,滿滿的童話哏,交織出郵票版的一千零一夜。
 
本書特色
 
  ▍以郵票串起的顛覆童話
  在這本奇特的童話繪本中,每個故事都如此似曾相識,卻又似是而非:小紅帽成了小紅緞帶、賣火柴的女孩賣起了雞蛋、拇指男孩和一寸法師傻傻分不清……在作者的穿針引線下,東西方的經典童話彼此解構再重組,一個故事引出下一條鋪陳的線索,不僅佩達與大臣在論戰,圖像與文字亦在互相對話,郵票給了故事新穎的詮釋,故事賦予郵票深層的寓意,一來一往之間,創造出更高層次的說故事藝術,
 
  ▍從對話中激發出美學探討
  《漢賽爾與葛麗特》中,遺棄孩子的是生母還是繼母有差嗎?童話裡出現「好孩子不要學」的行為時,該不該呈現出來?一幅「沒有含義」的畫,究竟算是好還是不好呢?大臣和佩達的對話既認真又詼諧,時而頭頭是道,時而令人莞爾,創意紛陳,卻又引人深思。透過佩達的巧手能言,一幀幀可愛的郵票隨著故事躍然紙上;而在大臣的品評與闊論之中,則可以一窺作者對於美學和藝術價值的探討,以及對童話故事寓意的反思。
 
  ▍重溫手作與書寫的溫度
  在《童話國的郵票》中,作者沒有明示故事的背景年代,雖然開篇便是「很久很久以前」,但故事中卻不乏例如「湯姆貓與傑利鼠」的現代哏。或許藉由刻意模糊的時代感,作者想傳達的是無論何時何地,只要在我們身處的這個當下,我們都可以試著放緩腳步,細細的思考、用心的下筆,並以期待的心,貼上一張小小的郵票,傳遞一絲誠摯的情感。藉由一張手繪郵票,一個精采故事,在書信漸漸式微的當代,找回一絲手作與書寫的溫度。

作者、繪者
 
安野光雅 (1926~2020)
 
  1926年出生於日本島根縣津和野町,年少時歷經戰爭和顛沛,退伍後到東京的小學擔任教師。1968年出版第一本繪本《奇妙國》後知名度大開,正式踏上繪本作家之路。安野並未受過正規的美術教育,但他腦海中充滿無窮無盡的創意和「空想」,他認為空想並非妄想,而是與事實結合,想像出一個有根據的虛構世界,因此他的作品常常揉合科學、數學、文學的巧妙,兼具美感與知性,引導孩子一步步探索與思考。曾榮獲日本藝術選獎文部大臣新人獎、講談社出版文化獎、小學館繪畫賞、菊池寬獎。1984年榮獲兒童文學界最高榮譽的「國際安徒生獎」,1988年獲日本政府頒發象徵終身成就的「紫綬勳章」。2020年病逝。
 
譯者
 
蘇懿禎
 
  臺北教育大學國民教育學系畢業,日本女子大學兒童文學碩士,目前為東京大學教育學博士候選人。熱愛童趣但不失深邃的文字與圖畫,有時客串中文與外文的中間人,生命都在童書裡漫步。夢想成為一位童書圖書館館長,現在正在前往夢想的路上。

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