Interpretation of Haruko

To tell the truth, when I first came into contact with Haruko, I was a little disdainful. Although I know that this only represents my adult instinct, I also know that children must be instinctive and will be deeply attracted by those hats with "long legs" and "the world's first" immediately. The aftertaste of my adult "disdain" mainly comes from two points:

First, I will instinctively feel that this kind of imagination is so naive and meaningless. (That's just some Machamp gods. Compare the same imaginative mice. )

Secondly, I will instinctively feel that this kind of imagination is very cheap and artistic. (compare some picture books in France and Europe, such as Eye, Sam and David digging holes, Duray)

But after accumulation and comparison, I have a more positive understanding and understanding of the style and value of this kind of works.

In the profile of Shen Jian Haruko, it is written that Japan is "the first person in absurd children's literature".

Absurdity, semantically, means hypocrisy and disbelief; In philosophy, it refers to the meaningless and contradictory state of life; Aesthetically, it is an aesthetic form of modern culture. I don't know much about "absurd children's literature", but when it comes to "absurd literature", I think the most prominent features should be the same except those nothingness and pessimism, that is, the whole absurdity is true in details, the exaggerated deformation in artistic means is the need of extreme themes, and the more essential truth can be achieved through "defamiliarization".

In fact, a more popular concept can be understood as "nonsense." Nonsense is no reason, no logic, no reason. For Japanese picture books, many are good at rich imagination, but they are all logical and reasonable. However, Chunfu's deep imagination is very much like a child's fantasy. It doesn't need reasonable logic. It always puts an inexplicable setting and turning point in front of you, and it is reasonable whether it is described as "nonsense" or "absurd".

For example, in Long Legs, Mr. Bumper is eating at home, and a green-faced man inexplicably sells an oversized broad bean. Mr. Bumper ate inexplicably, ate his legs and grew inexplicably. He walked through the forest, across the street, across the bridge and couldn't stop three times around the city. ...

For example, in Monster Cloud, a monster cloud suddenly falls from the sky to eat children who don't like vegetables. It's ridiculous that all the parents in the city are hiding under the table and shivering in the cupboard with their children in their arms. When a parent panicked and called the police station for help, saying that their children didn't like carrots, the police wiped their sweat and replied in the same funny way: I can't control you now, my children don't eat vegetables. Strange clouds seasoning in the sky several times will cause several families to be happy and several families to be sad. Finally, he thinks that the boy who meets the above conditions and has a mole on his ass is the best. There is only one such boy. At the critical moment when the whole family fled and was about to be caught up, my sister used her quick wits to make a "big move" and drew another mole on her brother's ass. This story is full of nonsense and joyful style regardless of the scene, plot and characters. You can even act out Stephen Chow's film style in your mind. This is my son's favorite book.

If you read more, you will find that, as I said at the beginning of the article, the imagination in Japanese picture books has its own characteristics compared with that in Europe and America. The feeling is "young" and "plain". The advantage is that it is very close to the child's perspective and mentality. Some shortcomings are that children are always coaxed like babies, rather than having independent and mature personalities like European and American picture books. I think this is the commonality of Japanese and even East Asian cultures, although I can't say anything profound.

We often hear that someone is childlike, which shows that adults cherish the mentality of perceiving the real and objective world like children. With the development of modern society, people's materialization is becoming more and more serious, and people's demand for true feelings is becoming more and more urgent. In Japan, where the society is highly developed, under the competition, pressure and population density, childlike innocence and childlike interest soothe the hearts of modern people. Perhaps this is the reason why Japan's cute culture, children's culture and anime movies are popular, indicating that the public's mentality needs to retreat to a younger age. I think the style and characteristics of Japanese picture books are unified with its overall cultural style in some aspects.

Shen Jian Haruko was born in 1937, and his works have influenced two generations of Japanese. I sometimes feel that I have seen him in many Japanese picture books of the new generation, but I just guess and find no conclusive basis. I hope to see some interviews one day and learn more about the influence of the old gentleman.

Looking back at my first intuition recorded at the beginning of the article, it represents my parents' tastes and pays more attention to works with profound connotations and classic artistic forms. But in children's world, a sense of humor and imagination are essential things. Therefore, I deeply understand that Chunfu's works must be loved by children, and it is also an invincible weapon for parents to open their children's hearts and establish close ties with them.

Born in Tokyo, 1937 is one of the first masters of picture books who grew up in a peaceful environment after World War II, and enjoys a high reputation in the picture book industry because of his distinctive personalized creation. He knows children's psychology well, portrays the strange and ever-changing world in children's eyes with amazing imagination, sense of humor and childlike brushwork, profoundly reflects children's life reality and psychological reality, and at the same time entrusts the author's infinite yearning for beauty and peace in his childhood, and is called "the first person in absurd children's literature". I deeply see that Haruko has created dozens of best-selling classics, which have influenced two generations in Japan. Many of his works have been selected into the bibliographies recommended by the National School Library Association of Japan and the Japan Library Association.

Peng Yi, a translator, graduated from Fudan University, Tokyo University of the Arts and Shanghai Normal University with a master's degree in education and a doctor's degree in literature, is a famous writer, translator and researcher of children's literature theory. His main academic works are: On Modern Western Fantasy Literature, A Guide to World Fantasy Children's Literature, On Kenji Miyazawa's Fairy Tales, Into the Magical Forest-A Study of Grimm's Fairy Tales, World Picture Books: Reading and Classics, World Children's Literature: Reading and Classics, Picture Books Should Read Like This, etc., and Don't Jump Rope with Frogs.

1, "Ah!" Series 2

2. "Beautiful Thinking" series of five volumes

3. "Sleep soundly" series of 5 volumes

4. Five "magic" picture books series.

5. Two "Big Man" picture book series.

6. Single product series:

Strange house, straight branches, straight legs 1, 2, the first hat in the world.

Why Shen Jianchun's Fu Series is Accepted by Parents in China —— Make Good Books and Sell Good Books.

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A brief talk on the profound understanding of the extension of Chunfu (1).

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On the Deep Understanding of Haruko (2)—— "Magic crutches" in the series of magic picture books

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On Haruko's "Magic Bread" (3)

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On Haruko's Little Snake Restaurant (4)

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