Masters of the Art of Storytelling for Children (Part 2)

Con­tin­ued from the pre­vi­ous chap­ter: Mas­ters of the art of sto­ry­telling for chil­dren (Part 1)

The ori­gins of pic­ture books

Pic­ture book comes from the Eng­lish word “pic­ture book” and is called “ebon” in Japan­ese.

为孩子说故事的艺术大师们(二)
Come­nius
Orbis Pic­tus, pub­lished in Nurem­berg in 1658 by the Czech edu­ca­tor John Amos Come­nius (1592–1670), is gen­er­al­ly con­sid­ered the world’s first pic­ture book specif­i­cal­ly for chil­dren. Today, this book is lit­tle more than an illus­trat­ed chil­dren’s ency­clo­pe­dia, at most a pro­to­type of a pic­ture book, but at the time, it was of great sig­nif­i­cance. Come­nius con­ceived of this chil­dren’s text­book years before com­pil­ing it. He believed that chil­dren need­ed spe­cial read­ing mate­ri­als, and that com­bin­ing pic­tures and text could achieve remark­able results, both enter­tain­ing chil­dren and mak­ing teach­ing more effec­tive.

为孩子说故事的艺术大师们(二)
World Atlas

为孩子说故事的艺术大师们(二)
Inside page of World Atlas

As a 17th-cen­tu­ry schol­ar, Come­nius under­stood that chil­dren find plea­sure in pic­tures. He also devel­oped illus­trat­ed text­books and ded­i­cat­ed him­self to reform­ing chil­dren’s edu­ca­tion, focus­ing on respect­ing chil­dren’s per­son­al­i­ty and lib­er­at­ing them. This was quite avant-garde at the time. The World Map had a last­ing influ­ence. Orig­i­nal­ly pub­lished in Latin and Ger­man, it was trans­lat­ed into numer­ous lan­guages and was still being reprint­ed until at least 1780. Come­nius is also revered as the founder of ped­a­gogy.

In 1789, the Eng­lish poet and print­mak­er William Blake (1757–1827) cre­at­ed a beau­ti­ful­ly col­ored illus­trat­ed col­lec­tion of poet­ry for chil­dren, Songs of Inno­cence. How­ev­er, the col­ors in the book were hand-paint­ed, not machine-print­ed! In the first half of the 19th cen­tu­ry, col­or print­ing tech­nol­o­gy grad­u­al­ly devel­oped, and pub­lish­ers and illus­tra­tors began to explore how to use col­or to lure chil­dren into the world of books.

为孩子说故事的艺术大师们(二)
Blake’s “Songs of Inno­cence and Expe­ri­ence” cov­er

In the open­ing chap­ter of Alice’s Adven­tures in Won­der­land, pub­lished in 1865, there’s a clas­sic line: Alice laments the book her sis­ter is read­ing: “What good is a book with­out pic­tures and con­ver­sa­tion?” This line could almost be con­sid­ered a man­i­festo for mod­ern chil­dren’s books. It at least sug­gests that by the sec­ond half of 19th-cen­tu­ry Britain, the idea that chil­dren’s books should include illus­tra­tions had become a kind of social con­sen­sus.

At the time, there was a pub­lish­er named Edmund Evans (1826–1905), also a painter and engraver. He was adamant about pro­vid­ing chil­dren with beau­ti­ful­ly illus­trat­ed books, even in inex­pen­sive edi­tions. He col­lab­o­rat­ed with a num­ber of out­stand­ing illus­tra­tors to pro­duce a large num­ber of exquis­ite chil­dren’s books. Among the most famous were Wal­ter Crane (1845–1915), Kate Green­away (1846–1901), and Ran­dolph Calde­cott (1846–1886), all of whom are con­sid­ered the founders of the mod­ern pic­ture book. The Green­away and Calde­cott Medals, two of the most pres­ti­gious pic­ture book awards in the UK and US today, are named after the lat­ter two.

为孩子说故事的艺术大师们(二)
Wal­ter Crane illus­tra­tions
为孩子说故事的艺术大师们(二)
Illus­tra­tions by Wal­ter Crane

为孩子说故事的艺术大师们(二)
Ran­dolph Calde­cott
为孩子说故事的艺术大师们(二)
Calde­cot­t’s works cov­er
为孩子说故事的艺术大师们(二)
One of Calde­cot­t’s illus­tra­tions
为孩子说故事的艺术大师们(二)
Calde­cott illus­tra­tions

为孩子说故事的艺术大师们(二)
Kate Green­away
为孩子说故事的艺术大师们(二)
Kate Green­away Col­lec­tion
为孩子说故事的艺术大师们(二)
The last paint­ing of Kate’s long poem “The Pied Piper of Hamelin”

How­ev­er, before Peter Rab­bit came along, pic­ture books in the truest sense of the word had­n’t been invent­ed. Even those metic­u­lous­ly illus­trat­ed by mas­ter artists sim­ply com­bined pic­tures with text. Illus­tra­tions made read­ing more enjoy­able and eas­i­er for chil­dren to under­stand, but they did­n’t play a deci­sive, essen­tial role in the mean­ing of the work.

Japan­ese pub­lish­er Nao Mat­sui once defined pic­ture books in his mind as fol­lows: “Pic­ture books have a unique rela­tion­ship between text and paint­ing. They use a leapfrog and rich expres­sion method to express con­tent that is dif­fi­cult to express with just text or pic­tures.” If we use a for­mu­la to express it:

Text + Pic­ture = Book with illus­tra­tions
Text × Paint­ing = Pic­ture Book

Only from this per­spec­tive can we under­stand why “The Tale of Peter Rab­bit” is con­sid­ered the first pic­ture book in the mod­ern sense.

To know what hap­pens next, please wait for the next episode.
The mas­ters of the art of telling sto­ries for chil­dren (Three)