“The Snow Queen” with illustrations by Anton Lomaev: The possibilities of a creolized text

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Tekst Kniga Knigoizdanie-Text Book Publishing Pub Date : 2022-01-01 DOI:10.17223/23062061/30/7
Anastasiia N. Gubaidullina
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Abstract

In the 21st century, scholars are exploring book illustration not so much as one of the important components of a book, but as the basis of a book. In the newest culture, an attitude has been formed towards non-verbal signs of the text as the main, primary language addressed to the reader. The individuality of the artist is manifested in the fact that the same story, illustrated by different people, can become for the reader a new version of a single literary invariant. At the same time, a deep reception of an illustration requires visual literacy from the reader. The task is to overcome too simple, literal reading of the picture and isolate adequate meanings from the whole wealth of general cultural and personal experience, confirmed by the system of visual images. Many artists illustrated the fairy tale “The Snow Queen” by Hans Christian Andersen. An illustrator from St. Petersburg, Anton Lomaev (Loreta Publishing House, 2021), offered a modernized version of the fairy tale plot in illustration. The methods of visual semiotics help to interpret the signs and images of the creolized text of this book. Lomaev concretizes the conditional chronotope of Andersen’s fairy tale and transfers the plot to Europe of the 20th century. The main color in the book is blue. This color has complex semantics. On the one hand, in the fairy tale about the Snow Queen, it is the color of the Queen herself: snow, cold, ice fragments, lifelessness. Therefore, the influence of blue increases in those parts of the book where the mortal plot is more pronounced: the world of the evil troll (the beginning of the first chapter) and the world of the Snow Queen are made in blue tones. In general, the colors are in cold blue tones if the world is hostile and alien to the characters, and in warm restrained sepia tones if the space of home is depicted. On the other hand, in the world of the Snow Queen, cold is not only a physical phenomenon, but also a world of abstract rationality. The main conflict of the tale of Andersen, a deeply religious author, is the conflict between the spirit and the mind. Lomaev gives this conflict an additional perspective. The artist actualizes the change of thinking in the 20th century, from the patriarchal, organically combining spiritual and intellectual values, to the time of practical rationality, devoid of a spiritual beginning. Lomaev’s illustrations include many items of transport and military symbols (the figure of a soldier, a military uniform, cannons, a drum, aircraft, anti-tank hedgehogs, a military cruiser). Transport and signs of war are the leitmotifs that organize the illustrative series of the book, making the fairy tale plot more documentary, realistic, and tense. Thanks to the symbolic row, the artist clearly associates the Snow Queen’s palace with fascism. The illustrator’s intention is to point out that no social power is eternal. The artist makes the conflict of the fairy tale more universal, opposing the coldness of impersonal power to the warm tones of home: the image of a family, a small town, a familiar lived-in space. The author declares no conflicts of interests.
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安东·洛马耶夫(Anton Lomaev)的插图《冰雪女王》:克里奥尔文本的可能性
在21世纪,学者们正在探索的书籍插图,与其说是一本书的重要组成部分之一,不如说是一本书的基础。在最新的文化中,人们已经形成了一种态度,认为文本中的非语言符号是对读者说的主要的、主要的语言。艺术家的个性表现在这样一个事实:同一个故事,由不同的人来描绘,对读者来说可以成为单一文学不变的新版本。同时,插图的深度接收需要读者的视觉素养。我们的任务是克服对画面过于简单的字面解读,并从视觉图像系统所证实的一般文化和个人经验的整体财富中分离出足够的意义。许多艺术家为汉斯·克里斯蒂安·安徒生的童话《白雪皇后》画插图。来自圣彼得堡的插画家安东·洛马耶夫(洛雷塔出版社,2021年)提供了一个现代版本的童话情节插图。视觉符号学的方法有助于解释这本书的克里奥尔文本的符号和图像。洛马耶夫将安徒生童话的条件年表具体化,并将故事情节转移到20世纪的欧洲。这本书的主要颜色是蓝色。这种颜色具有复杂的语义。一方面,在关于白雪女王的童话故事中,它是女王本人的颜色:雪,寒冷,冰碎片,无生命。因此,蓝色的影响在书中凡人情节更明显的部分增加:邪恶巨魔的世界(第一章开始)和白雪女王的世界都是用蓝色调制作的。一般来说,如果世界对人物来说是敌对和陌生的,颜色就用冷蓝色调,如果描绘的是家的空间,颜色就用温暖克制的棕褐色调。另一方面,在冰雪女王的世界里,寒冷不仅是一种物理现象,也是一个抽象理性的世界。安徒生是一位虔诚的宗教作家,他的故事的主要冲突是精神与思想之间的冲突。洛马耶夫为这场冲突提供了另一种视角。艺术家实现了20世纪思维的变化,从精神价值与知识价值有机结合的男权时代,到缺乏精神起点的实践理性时代。洛马耶夫的插图包括许多交通工具和军事符号(士兵的形象、军装、大炮、鼓、飞机、反坦克刺猬、一艘军用巡洋舰)。交通和战争的迹象是组织这本书插图系列的主题,使童话故事情节更加纪实,现实和紧张。由于这一象征性的排布,艺术家显然将冰雪女王的宫殿与法西斯主义联系在一起。插图画家的意图是指出没有一种社会权力是永恒的。艺术家将童话的冲突变得更加普遍,将非个人权力的冷漠与家的温暖色调对立起来:一个家庭、一个小镇、一个熟悉的居住空间的形象。作者声明没有利益冲突。
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Tekst Kniga Knigoizdanie-Text Book Publishing
Tekst Kniga Knigoizdanie-Text Book Publishing HUMANITIES, MULTIDISCIPLINARY-
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