The exhibition is bright**.
The inside page of the children's picture book "The Deer Boy" is painted by Tang Xiaochun Bright**.
A festively dressed frog sedan chair bearer strides forward with a sedan chair, a naughty orange dog chases butterflies in the garden, and the newly appointed little Fengbo and Xiaoyushi are playing and frolicking ......in the cloudsWalking into the exhibition hall of the China Millennium Monument, the pictures full of fun seem to open a "random door" to the fairy tale world for the audience. A few days ago, 100 Chinese children's drawings carefully selected by the Chinese Artists Association were exhibited to the public. This exhibition of "Children's Picture Book Creation 100", which is full of Chinese originality and shows Chinese aesthetics, invites parents and children to go on a children's dream journey during the winter vacation.
Complex themes highlight the power of originality.
Picture books are a kind of combined cultural books, and in the past, the popular picture books on the market were often created by foreign authors, and cultural differences were inevitable when reading. As a large country with rich cultural resources, China's original children's picture books are in the first place. I think these 100 excellent works are the best answer. Ma Fenghui, secretary of the party group and vice chairman of the Chinese Artists Association, introduced that the 100 children's picture books on display were created by more than 100 young artists over a period of several months, with rich and diverse themes, showing the original power of contemporary Chinese children's picture books and becoming a highlight of the exhibition.
Jia Xiaotong's "Snow Child" uses the expression of watermark woodcut to tell the story of three children building snowmen. As the children play in the snow, the snowball gets bigger and bigger, and the image of the snowman becomes clearer. The morphological changes of geometric figures, the visual perception of spatial directions, and the linear and smooth reading experience are the contents of this book.
Tan Tan's "Let Me Smell" helps children understand that dogs know the world through sniffing. The work does not use a serious science popularization method to narrate, but integrates the dog's sniffing behavior into various life scenes. "The protagonist and his playmates, as well as the scene elements, are based on real life. Tan Tan said.
Water in ** is a picture book with the theme of protecting water resources, the picture allows children to identify and understand water by expressing the characteristics and characteristics of water, so as to complete the interaction between readers and the material world. The page is in the form of a question and answer, and the right page shows the form of water in the visual senses, and when you turn the page, you will find that it is actually just a part of a daily product. Creator Zhang Xuan said that such a design not only enhances the pleasure of reading, but also satisfies children's desire to explore.
In addition, "Mulan", "Seven Sesame Officials" and "Jiangnan Gift Cake" are based on Chinese folk tales, operas and traditional folk customs, while "The Boy in Deer", "Looking for the Sun as a Friend" and "My Mother" draw inspiration from traditional Chinese art forms such as Dunhuang murals, Huaiyang mud dogs, and silk gongbi. In addition to traditional themes, many young creators also set their sights on the ever-changing development and changes of contemporary China, such as "Great Power Heavy Weapon: Go! "Go Deep Diving", "Polar Regions: South of the Far Sky", "Little North Shore", etc., not only let children gain scientific and historical knowledge, but also nourish their inner pride and patriotism through inspiring construction achievements and touching ordinary stories.
Innovative forms broaden the path of aesthetic education.
Mulan's headdress can be embellished with more colors, but try to apply it evenly when painting. On one side of the exhibition hall, many parents and children sit around the table, using colored pencils to complete coloring cards with line drawings of "Mulan" illustrations. On the other side, in front of the two film projectors, children can "self-direct" and act out an animated story in the projection on the wall by freely selecting picture book characters and scene films, and gently moving their fingers.
In order to fully display the story content of the 100 children's picture books and give full play to their aesthetic education value, the exhibition not only set up special experience areas such as painting, collage, rubbing, and pinching, but also created an immersive theme scene based on 10 works such as "The Little Cabin in the Great Xing'an Mountains", "Hello Maomao" and "Firefly". 24 wonderful animations** selected and produced by 24 colleges and universities, including Beijing Film Academy, from 100 children's picture books, were also interspersed and broadcast in the exhibition, bringing the audience an interactive and interesting viewing experience.
This exhibition allows us to see that innovative exhibition design can greatly broaden the path of aesthetic education, open children's aesthetic channels from different dimensions and in different ways, and cultivate their perceptual ability. Tian Zhongli, director of the Illustration and Binding Art Committee of the Chinese Artists Association and dean of Beijing Institute of Graphic Communication, said that the creation of China's original children's picture books still has a long way to go, which not only requires the creator to have a solid art foundation, good aesthetic taste, rich knowledge reserve and high cultural accomplishment, but also needs to use the comprehensive strength of different disciplines to present the high-quality content of the book in a richer and more delicate way in front of children.
Picture books may be small, but they contain a large world, and children's dreams take root in this vast fairy tale world, thrive, and eventually bear fruit that can nourish a lifetime. As Huang Xiao, deputy director of the Illustration and Binding Art Committee of the Chinese Artists Association and president of Hunan Fine Arts Publishing House, said: "Reading in the children's enlightenment stage carries children's beautiful yearning for the future. It is not just a book, but also a window for children to see the beauty of the world. ”
Reporter Rong Chi).
*: Bright**).