Illustration of Classic Literary Works —— What do you think of the lack of works in the International Andersen Prize World Illustration Exhibition?

Which light novel illustration do you like best? In my opinion, I like the illustrations of these two light novels best: The Box of Voids and Zero Maria, and The Abnormal Prince and the Laughing Cat.

First of all, the novels I want to recommend are The Box of Voids and Maria of Zero. When I came into contact with this book, I happened to catch a glimpse of it on the shelf of the bookstore. Seeing that the heroine Hei Changzhi is very beautiful, this novel should be regarded as a mystery novel. Personally, I don't like spoilers, so I skip the plot introduction and directly talk about the advantages of this light novel. First of all, as far as the master-slave status is concerned, both men and women are Japanese high school students, and the common sense and lifestyle of ordinary passers-by are the same as those of the real world. But there are some unscientific things in this novel. Men and women mainly oppose that unscientific thing.

However, it does not belong to the power struggle department. This man and this woman have no special abilities. They mainly rely on intelligence to solve problems. The biggest attraction of this novel lies in the revolutionary friendship between men and women that transcends superficial love and the difficult struggle against "zero". The final result should be a happy ending. This man is neither useless nor Aotian Long. They have the qualities of good people, but what they should do is not ink. The female host is not melodramatic, charming or clingy, but I like her interaction with the male host very much. In a word, this is a good novel with beautiful illustrations. Sagara Sou's The Abnormal Prince and the Laughing Cat, I believe many people have seen this animation.

. This animation is well-made, and the design is even better than the illustration, which is really surprising. But to be fair, I don't think this animation has any special feeling, nor does it arouse my desire to fill this novel. I just think this novel may be a comedy of wives and concubines. Some volumes of this light animation may be full of comedy atmosphere, but the atmosphere in the last few volumes is heavy and depressing. Many jokes think that men take pleasure in suffering, and men are surprisingly likable.

This novel is centered on the characters, the characters are well portrayed, and the author's skill is also good. The protagonist is a fragile man wearing a perverted mask. Therefore, in my opinion, I like the illustrations of these two light novels best: The Box of Voids and Zero Maria and The Abnormal Prince and the Laughing Cat. In the field of novels, the famous works illustrated in Making a Red Flag, as a conventional saying, refer to "revolutionary historical novels" with revolutionary historical themes. In a narrow sense, it only refers to a large number of "revolutionary historical novels" created between 1949 and 1966 in the early days of New China. In red classic novels, images such as covers, illustrations and maps have formed a wonderful interaction with the novel text. Li Yueli, a professor at College of Literature, Shaanxi Normal University, is a doctoral supervisor and a director of China Modern Literature Research Association. He is the author of "A Study on Revolutionary Discourse of Modern Literature in China —— Centered on 1930s" and "Deep Interaction between Revolution and Literature —— A Study on Revolutionary Discourse of Modern Literature in China". Recently, at the "2022 China Fiction Forum", Li Yueli gave a wonderful explanation on the interaction between characters and pictures in "Red Classics". Cover and illustrations are important parts of red classics. Red classic novels often have image sub-texts such as covers, illustrations and maps. These sub-texts and the original text of the novel penetrate each other and complement each other, thus constructing a new comprehensive text with integrity. Especially in the "seventeen years" period, the publishing house used various forms of art works to constantly update the visual design of the novel cover, illustrations and so on, and accumulated a wealth of essays. Among them, the cover and illustrations of Hongyan created by Sichuan artists Song Guangxun, Wu Fan, Xu Kuang and Li Huanmin are more representative. Tucker and the illustration of "Red Sun" created by him, and the illustration of "Forest Garden" created by Sun Zixi; Gu Yuan and He Youzhi's woodcut illustrations and comic books were created for the great changes in mountainous areas respectively. It can be said that these covers and illustrations, together with the original text, constitute an inseparable part of the red classics. In fact, the literary and art circles have gone through a process of attaching importance to the covers and illustrations of these works. 1954, People's Fine Arts Publishing House held an exhibition on book binding design, and * * * exhibited more than 200 kinds of book covers. Subsequently, Art magazine published the views of Zou Ya, a famous printmaker, who pointedly pointed out the problems in the exhibited works: "Some cover designs are not only unsightly, but also have serious political and ideological errors in many places. Many cover designs are simple, sloppy and dull, with dull composition and monotonous colors." Literary theorist Wang Chaowen also called for the reform of People's Daily. It is in this context that the covers and illustrations of seventeen-year literary works have received unprecedented attention and development, and many classic works have emerged. It is worth mentioning that in 196 1 year, in order to create illustrations of the novel Hongyan, Sichuan Branch of China Artists Association set up a creative team to concentrate on the creation for more than one month. The painters read through the manuscript of the novel and looked up the historical background of the novel and the events of the early characters. Then they collectively study the creative plan, make overall arrangements for each person's specific creative tasks, draft manuscripts separately according to the distribution, and make suggestions to each other during the period. Finally, the creative team collectively examines the draft, and then engraves and rubbings it on the previous edition respectively. It can be said that the cover design and illustrations of the red classic novels gather the wisdom of famous artists such as Huangzhou, Hou Yimin, He Youzhi, Gu Yuan and Gu Bingxin, and also reflect the highest level of these artists at this time, which constitutes an important part of the red classic. Image is the freehand brushwork, abstraction and refinement of literature. When drawing materials from the complex aesthetic resources of red classic novels, images mainly follow the three principles of freehand brushwork, abstraction and prominence, thus forming a set of concrete visual languages and symbols full of metaphors. For example, red symbolizes revolution, sacrifice and justice; Black symbolizes adversity and reaction; Pine trees, red sun and mountains symbolize eternity, hope and greatness. A large number of image elements have become specific symbol systems corresponding to classic plots and classic characters in literary works because of their high metaphor. For example, scarlet red rocks symbolize the blood of soldiers, tall and straight pine trees symbolize eternity, and red tassels symbolize the struggle of land reform farmers. Almost all the landscapes in the red classics can be regarded as political metaphors, which are highly generalized and abstract, forming a fixed ideographic system. The name of the novel Red Rock itself is metaphorical. The cover designed by Song Guangxun expresses this profound connotation with concise painting language. He once recalled: "The title of Red Rock inspired me a lot. At that time, my studio was on the second floor of the compound of Chongqing Artists Association, with my back to the majestic Futuguan and Hutouyan in the mountain city. Standing in front of the studio window, I can see the mountains and trees on the other side of Jialing River. When the sun rises in the morning, the sky and rivers are dyed red, which makes people feel happy, refreshed and feel the beauty of nature. I decided to make a picture with three elements: towering rocks, proud pine trees and indomitable spirit. The background is the dawn sky, the sky is flowing, and the sky is almost bright! The heroism of the martyrs who died for the revolution and truth and the eternal existence of heaven and earth. I usually like to study in Weibei. The word' Hongyan' on the cover was collected by me from Weibei. " Therefore, the cover of Red Rock takes a pine tree proudly standing on the top of the mountain as the visual center, with the red sky and vast rivers as the background, and the colors are composed of red, black and yellow plates. The author symbolizes the harsh environment with tortuous rocks, the upcoming victory with red dawn, and the eternity of revolutionary spirit with Song Qinghe. Its internal political metaphor is integrated with the choice of external scenery, which constitutes an excellent example of literature freehand brushwork, abstraction and refinement with images. Most of the illustrations in red classic novels are mainly characters. The depiction of characters and the display of plots are not limited to the novel itself, but creative imagination and processing are carried out to recreate the characters. Huangzhou's figure illustration Chunlan is the most famous for Red Flag Spectrum. In the novel, Chunlan asked Yuntao to write "revolution" by herself, and embroidered these two words on the chest of her clothes to show that she was eager for revolution and was not afraid of difficulties. No Chunlan painted "revolution" on the ground. Huang Zhou adapted the plot of the novel and creatively portrayed Chunlan, a rural girl who wore black trousers and bowed her head slightly, writing "revolution" on the ground. The dress of Chunlan, the chickens around her, are all described in the novel, but Huang Zhou put these factors together to create a relatively independent artistic space, while Chunlan, full of anxiety and expectation, is consistent with the novel. In addition to expressing key figures, images often choose group images with natural characteristics and background of the times to express the overall understanding of the novel text, which is itself a generalization, refinement and abstraction of the text. This is highlighted on the covers of some red classic novels. For example, the cover of Song of Youth designed by Wang Rongxian intercepts the demonstration plot of the novel, and white scarves and red flags under the background of revolutionary young men and women become excellent carriers of the characters' hearts and the theme of the novel. Strong contrast highlights the reappearance or reconstruction of the plot of red classic novels with dramatic images, and often chooses the moment when the positive and negative characters are in conflict, and strengthens the contradiction between them through the level of composition and the lightness of color, so that the whole picture is full of tension and drama. We can call the unique composition of this image "dramatic composition". The novel Song of Youth describes in detail the growing ideological rift between Lin Daojing and Yu Yongze, and finally the process of breaking up. However, when creating illustrations, illustrator Hou Yimin chose a reading scene to express their great differences in ideological pursuit. The novel describes the scene like this: "I read her spirit greedily with a book and flew into the vast world." But Yu Yongze, he didn't mind going to class these days, and stayed in the hut all day watching the movement. He secretly planned to find out her secret. But seeing that she looked so frank and natural, without another sign of pleasure, he was a little at a loss again. "Hou Yimin's illustrations broke the limitation of time and space and plot chain in the novel, and condensed the plots of different time and space in the novel into one time and space. Lin Daojing leaned forward and studied eagerly at his desk; Yu Yongze has a thread-bound book in his hand, but he doesn't want to read it. His eyes glanced blankly at Lin Daojing who was studying at his desk. Illustration is intended to describe their demeanor and highlight and strengthen the profound contradiction between them revealed by the plot of "reading". The picture is dramatic and the visual language is meaningful. In addition to concentrating the plot of the novel to highlight contradictions and conflicts, red classic novel illustrations often use positive and negative composition, supplemented by special light and color treatment, to highlight the contradictions between positive and negative characters. Liu Danzhai's illustrations for "The Red Sun" involve Shen Zhenxin's interrogation of prisoners. In the composition, the prisoner and Shen Zhenxin are treated as inclined shapes, with Shen Zhenxin facing the audience and the prisoner facing the audience. The candle on the square table just lit up Shen Zhenxin. Because of the backlight, the prisoner was in the dark. This composition shows the positions and hostility of both sides well. The composition of Lin Yuantu, which was created by Sun Zixi in 1958, is also quite dramatic. He made a fuss about the length of his composition. The center of the composition is Yang Zirong, tall and straight, with the tinker sideways on the side, extremely short; The mountain carving only shows half of its body. Tall heroes and short villains are visual effects caused by pictures. The huge contrast of this size forms the unique tension of the picture. Sun Zixi later concluded: "Putting people with completely different shapes and personalities together makes the characters more distinct in contrast, which is also my usual expression technique. Putting people of different shapes and personalities together will strengthen their image in contrast. This technique is also common in literature and drama, especially in China's classical literature and drama. "It is in the strong contrast that the plot and drama of the image can be revealed. The adaptation of "Gao Daquan" red classic novels by characters constructs the aesthetic paradigm of heroic narration, which is more strongly manifested in its image adaptation. The character image and value orientation established by the Red Classics have formed an image expression system with magical themes and magical characters as the main features in the secondary creation process of image adaptation. The charm here is not only reflected in the strengthening and deepening of mainstream ideology and heroes, but also has obvious apotheosis. In the content of the image, the specific characters and situations highlight the theme of heroism. Characters are the most famous and tragic characters or protagonists, and the scenes are mostly concentrated in dramatic and sensational plots such as victory, procession, sacrifice and struggle. Song of Youth describes Lu Jiachuan's speech at the "March 18th" commemorative meeting from the perspective of Lin Daojing, describes Lu Jiachuan's expression and language from a subjective perspective, and shows his heroic image. In Hou Yimin's illustrations for this scene, Lin Daojing was hidden, and the tall image of Lu Jiachuan was strengthened. He stood high in the crowd, dressed in a black robe, with his scarf waving in the wind and his hands clasped high, becoming the center of everyone and the visual center of the whole picture. "Red Flag Spectrum" describes Jiang Tao who appeared in the meeting of "anti-beheading tax" from the perspective of female Yan Ping. It is emotional but touching, which makes Jiang Tao's heroic image even more touching. Moreover, the female perspective also plays a role, which makes the heroic characteristics of the characters have a certain life foundation and emotional foundation, and the unique sensibility and delicacy of women reasonably strengthen the heroic characteristics. However, in Hongyan, Lin Yuanhe, whether Shao Jianbo, who is deified by ordinary people, or Jiang Jie, who is tortured and determined, novels are often divorced from the connotation of life and the realistic foundation, and almost deified; However, its image unreasonably puts the characters on high places, exaggerates its body shape, creates a visual look-up effect, and shows a tall and powerful character, thus showing the characteristics of charm. Wu Qiangnian's illustration "Red Rock" used a lot of black space to represent towering rocks, and put Qi Xiaoxuan on the rocks as white. Although his figure is very thin, it creates a visual effect that he needs to look up to. Both the red classic novels and the protagonists are unrealistic, and they all go to "Gao Daquan" under the rendering and domination of ideology. However, in the process of image enchantment, some vivid and detailed backgrounds and storylines in literary works are hidden, as well as characters such as traditional peasant characteristics, basic human needs and expressions. The most shocking thing in Kevin·Z's A Confession is his two big fists held high, which the painter obviously enlarged. Not only that, the author also set a beam of light above the pen in Cheng Gang's hand, and the light enveloped Cheng Gang. The charm of the heroic image gradually changed from "Gao Daquan" to "noble". How to treat the International Andersen Prize World Illustrator Exhibition without a collection? 10 year10.4, the literary mother thought that the peak of the National Day trip had been perfectly staggered, and proposed to go to the Maritime World Culture and Art Center to see the international Andersen Award Illustrator Exhibition. However, no one responded. The elder sister looked at the younger brother: "The picture book illustration exhibition is too boring for primary school students. Let's go and have a look! " "The younger brother looked at his mother with a puzzled face:" Hmm, hmm ~ What exhibition? " My mother was prepared and pulled out the poster of the illustration exhibition "Ugly Duckling": Brother and sister were immediately moved: "Ugly Duckling, I'm going, I'm going!" So, my mother happily took her younger brother and sister to see the illustration exhibition. In fact, mom came prepared this time. Since I heard about this exhibition from my friends, my mother has done a lot of homework in advance, not only knowing the exhibition strategy of Mima, an artist from a local art education institution, but also sorting out a collection of picture books compiled by Denise, a famous American preschool educator. Along the way, I fantasized that my mother was telling the classic works of various illustrators in the exhibition hall in front of Kan Kan, and my mother couldn't help being satisfied. Walking into the exhibition hall, I was disappointed. However, I saw the old mothers who took pains in literature and art, crowding in front of the painting and anxiously calling for their babies: "Come and see, come and see, isn't this your favorite picture book illustration?" But Xiong Haizi turned a deaf ear and gathered in several interactive areas, rolling up and down, pushing and shoving. My baby is no exception. No sooner had my mother told my brother and sister not to get separated than my brother slipped into the interactive area. Mother had to leave her sister behind, and after successfully chasing her, she led her brother to find the ugly duckling. When my brother looked at the painting in a daze, my mother quickly opened the book: the author Robert Yingpan, a realistic illustrator in the southern mainland, is good at telling stories in a delicate and realistic style. Before the book was finished, my brother got tired of watching the ugly duckling and started an interactive game with his works. Interaction with the works of Russian folk art alchemist Tagina Marina: Interaction with the works of elegant Austrian picture book queen Lisbeth Zweig: electronic screen graffiti: From this perspective, it is very beneficial to take children to see exhibitions often. My younger brother, who used to run around, has now progressed to the stage of natural integration of posing and scenes. When my brother was exhausted from interaction, my sister, who was watching the exhibition, found us: "Mom, let's go, I have read all the works." Is it over? No, my mother smiled awkwardly and was very kind. It's time to start collecting: "How, which masters do my sister like best, take us to see?" My sister nodded and took us to Mr. Rabbit and the beautiful gift first. This is the work of maurice sendak, a famous children's literature picture book writer and illustrator, with a beautiful and delicate painting style. He won the Cadillac Award, the highest honor of American picture books, five times, and was also the first American to win the International Andersen Illustrator Award. Sandak, who was sickly in childhood, reflected all kinds of complicated emotions such as anxiety, fear and frustration in the process of children's growth in his picture book creation, which was a subversive revolution at that time. Sondak's three masterpieces, Animal Country, Rhapsody in the Kitchen Night and Far Away, were all mixed at first. The Country of Beasts was once banned in the library, but it was later adapted into an animation and musical, which became a highly respected classic and was hailed as "a strange and unprecedented picture book". Some psychological researchers interpret the image of Max in the Animal Country by combining the archetypes such as ego, shadow, personality mask and Anima in Jung's personality theory. Seeing the image of the beast in the illustration at the scene is quite scary, like a childhood nightmare, but Max, the protagonist, is carefree: knowing the terrible childhood that maurice sendak once had, it seems that we can further understand the meaning of the work: a child gradually learns to overcome his fears in exploration. "What really shapes us is the child that few of us have the courage to face-the impatient and demanding child who wants love and rights and is always angry and crying long before enlightenment reaches your heart." Maurice sendak's words may be his original intention of creating a series of classic works. My sister's favorite second husband is anthony browne, a surreal spokesperson for children's psychology. Anthony browne is listed as a British surrealist painter, and has won the International Andersen Illustrator Award and the British Kate Greenway Award for his achievements in the field of picture books. His works are neat in composition, bright in color, good at creating dramatic effects through comparison, and have surreal elements. Willie, the coolest gorilla, is the most popular character in anthony browne's works. "Willie" has all kinds of expressions that children are familiar with, such as anger, sadness and joy, just like a spokesperson for children's emotional psychology. Another poster of this illustration exhibition is taken from his famous picture book Gorilla and Little Star in 2008. Anthony browne said, "For me, designing a picture book is like making a movie. The structure of this book is a combination of close-up and prospect. And my job is a combination of talent (adventure) and thinking, and it is difficult to separate the two. " Seeing that the two children were fascinated, mother continued: "Every illustration is a work of art, and an illustrator can't make a successful work only by painting skills. He also needs to know more about the children's spiritual world. Moreover, a classic illustration will transcend national boundaries and times. Next, let's take a look at mom's favorite host! " My mother's favorite master is Scandinavian naturalist Swan Ott. Svan Ott's paintings have a fresh breath, and the layers created by transparent watercolors are subtle and rich, just like the cold air in Nordic countries. Just like facing the fog or warm sun in the forest, revealing clean light, realistic scenes also exude ethereal artistry. Swan Otto illustrated Andersen's classic fairy tales, such as Thumbelina and Ugly Duckling. He is especially good at capturing melancholy, sadness or humorous scenes in fairy tales and depicting them with fresh brushstrokes. Mom's favorite second husband is the elegant Austrian picture book queen Lisbeth Zweig. 1990, Lisbeth Zweig was only 36 years old when she won the International Andersen Prize. The sentimental feelings of aestheticism, fantasy, grotesque and pleasure are intertwined with action, dance, nature and fantasy, which together create Zweig's art. Her paintings have a dreamy quality, which is magical but subtle and elegant. When my mother was a child, domestic picture books had not yet started, and most of my peers had never been exposed to the concept of picture books, basically jumping directly from picture books to textbooks. The most profound childhood memories are the illustrations in Andersen's fairy tales and Grimm's fairy tales. Those beautiful princesses, dreamy scenery and touching stories give us great courage to pursue the beauty that the real world can't see. Under the banner of sharing our favorite illustrators, we carefully turned the illustration exhibition hall again. Finally, the children reluctantly left the exhibition hall with infinite expectations for the master's picture books. Eggs at the end of the text: the book of picture books reveals the picture book 1. What is a picture book? Picture books, that is, picture books, are taken from the names of picture books in Japanese. A picture book is a work of art, which is narrated by illustrations and words, shows the scene by facing pages, and presents the dramatic effect by turning pages. Kadik Award, the world's most famous picture book award, defines the picture book standard as: 2. Are books with illustrations also picture books? Picture books in a broad sense include books with illustrations, but what we usually call picture books and story books with illustrations are different. Generally speaking, pictures are more important than words, and pictures dominate the narrative. 3. Why should I read picture books? Does reading textbooks have the same effect as inserting books? Picture books can not only promote children's reading and writing enlightenment, increase children's aesthetic experience and artistic experience, but also develop children's visual literacy. The cultivation of visual literacy can not be achieved by written books or inserted books, and it is easy to be ignored by us. 4. What picture book do you choose to read? Method 1: Read all the works of a writer. Method 2: Select 10 or above works with the same theme/type. Method 3: Select all the winning works, such as Cadillac Award and Boston Global Horn Book Award. 5. How to learn picture books? Attachment 1: List of International Andersen Award-winning illustrators Attachment 2: Classic Works of Some Award-winning Masters