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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