童谣·童画·童心——《竹久梦二童谣集》对中国儿童文学的借鉴意义

Nursery Rhyme, Children’s Paintings and Childlike Innocence: Referential Value of Takehisa Yumeji’s Nursery Rhyme to Chinese Children’s Literature

自处女作《梦二画集·春之卷》之始,诗画融合的艺术形式便成为现代日本诗人画家竹久梦二艺术的突出特色,《竹久梦二童谣集》中对“童谣”与“绘本”的结合则是这一艺术特色发展到成熟阶段的标志。“绘本”与“童谣”在中日两国都有着长久的发展历程,这其中伴随着绘本与童谣所发挥的作用的变化以及中日两国儿童观念的转变:从发现儿童到尊重儿童,从儿童文学应偏向于“教训”还是“艺术”的论争,到最终确立“儿童本位”的儿童文学观,这是一个漫长的发展过程,中日两国儿童文学在这一过程中一直存在若干差异,这在《竹久梦二童谣集》中有着较为鲜明的表现,而最近该作品的汉译与出版,对中国儿童文学创作与儿童教育也都有参照与启发价值。

Since the maiden work of Yumeji’s Painting Album·The Volume of Spring,Takehisa Yumeji,a Japanese modern poet and painter,has been famous for the artistic form of integration of poetry and painting,and the combination of“nursery rhyme”and“picture book”in Takehisa Yumeji’s Nursery Rhyme signifies the mature of the artistic form.“Picture book”and“nursery rhyme”have a long course of development in both China and Japan,along with which the roles played by picture book and nursery rhyme are changed,as well as the concept on children both in China and Japan are transformed.It is a long process of development from discovering children to respecting for children,from the dispute on whether children’s literature should be oriented to“lessons”or“art”,to the final establishment of“Childoriented”standard.There remains some differences in children’s literature between China and Japan in this process,which is clearly shown in Takehisa Yumeji’s Nursery Rhyme.The recent publication of the work’s Chinese translated version has a great impact on inspiring children’s literature creation and education in China.