香港繪本研究（2012-2023）

香港學界對繪本的關注是以教育為中心的，對繪本的運用有兩種方向：其一是以繪本作為語文教育的媒介，強調閱讀策略﹑教學方法；其二是把繪本用作價值觀﹑情感教育等議題的載體。2012年，香港繪本作家高佩聰創辦「香港繪本文化」工作室，指出要推動香港優質的繪本創作，成為孩子的終身夥伴。在這之後，不少得獎的優秀作品出現，有更多的繪本融入香港的本土元素，童趣的提昇以及文化與環境關懷的提出。本研究以2012年到2023年間由本籍為香港人的創作者創作並在香港出版的繪本作為考察對象，分析香港本地繪本發展趨勢。論文以文獻分析為主要研究方法，透過梳理創作者的創作脈絡，就其創作手法﹑選取素材等，探究他們藉繪本所訴說的情感與想法；同時，詳細剖析繪本中的圖文關係﹑圖畫與文本的內涵，述說作者如何擴大及延伸彼此的意義。將依下列次序展開論述：第一章，釐清本論題的定義與範疇──以2012年作為香港繪本發展的分界線，將2012年至2023年期間出版，圖文關係密切的香港繪本作為重點研究對象，探討正在轉變的發展趨勢。第二章，說明2012年可看作「萌芽階段」的繪本發展趨勢，此時期的創作者從散文轉向嘗試繪本創作，在繪本意識及概念上都未及成熟；針對這段時期的圖文地位及教育功能作出分析。第三章，深入探討2012年到2023年間的香港繪本，對創作者的創作脈絡一一探討，概括其個人特色，並分析他們的繪本作品。本論文會研究的繪本創作者有高佩聰﹑張佩斯﹑張韻珊﹑劉佩佩﹑林建才﹑劉清華﹑温柏萱﹑貓珊及趙嘉雯。第四章，分析2012至2023年間的香港繪本出版趨勢。統整上述所分析文本，分別從本土特質﹑教育功能及兒童觀等三方面論述；與第二章香港繪本在2012年前的繪本特色相比，從繪本特質與功能的改變，顯示出創作者對繪本對象的覺察及至創作者對兒童的定義改變，反映香港的繪本發展前進。第五章為結論。本研究發現，政府對繪本創作的資源投入明顯增加，同時，私營機構也投入大量的資源，鼓勵了本地創作者，造就香港繪本發展。隨着本地繪本的成人兒童觀轉變，創作題材變得更多元，繪本需要回到「兒童需要甚麼」的反思上，以兒童為本位，在整理路向後繼續前進。

關鍵字

兒童文學；圖畫書；繪本；香港

並列摘要

The attention of the Hong Kong academic community towards picture books is education-centered, with two main directions for their use: the first is to use picture books as a medium for language education, emphasising reading strategies and teaching methods. The second is to use picture books as a vehicle for addressing values and emotional education. In 2012, Hong Kong picture book author Ko Pui Chung founded the Picture Book Cultural Industry (PBCI), highlighting the need to promote high-quality picture book creation in Hong Kong and to serve as a lifelong companion for children. Since then, many award-winning excellent works have emerged, with more picture books incorporating local Hong Kong elements, enhancing childlike fun, and raising awareness of cultural and environmental issues. This study focuses on picture books created by Hong Kong creators and published in Hong Kong from 2012 to 2023, analysing the development trends of local Hong Kong picture books. The thesis employs literature analysis as the primary research method, exploring the emotional and conceptual expressions conveyed through picture books by examining the authors' creative context, creative methods, and selected materials. Additionally, it provides a detailed analysis of the relationship between images and text in picture books, exploring how authors expand and extend the meaning of both. The discussion will unfold in the following order: In Chapter 1, the definitions and scope of the topic are clarified, with 2012 set as the dividing line for the development of Hong Kong picture books. This chapter focuses on picture books published from 2012 to 2023 that feature a close relationship between images and text, exploring the evolving development trends. In Chapter 2, the development trend of picture books in 2012 is described as the "germination stage." During this period, creators shifted from prose to experimenting with picture book creation, and the awareness and concept of picture books were not yet mature. This chapter analyses the status of images and text and the educational functions during this period. In Chapter 3, an in-depth exploration of Hong Kong picture books from 2012 to 2023 is provided, including an examination of the creative context of the authors, summarising their personal characteristics, and analysing their picture book works. The picture book creators studied in this thesis include Ko Pui Chung, Cheung Pui Sze, Shana Cheung, Janas Lau, Lam Kin Choi, Lau Ching Wa, Wendy Wan, Maoshan Connie and Karman Chiu. In Chapter 4, the publishing trends of Hong Kong picture books from 2012 to 2023 are analysed. This chapter integrates the analysed texts and discusses them from three aspects: local characteristics, educational functions, and views on children. Compared to picture books before 2012, changes in characteristics and functions reflect the creators' growing awareness of their audience and a shift in their definition of children, demonstrating progress in the development of Hong Kong picture books. In Chapter 5, the conclusion is presented. The study finds that the government’s investment in picture book creation has significantly increased, and private institutions have also invested substantial resources, encouraging local creators and fostering the development of Hong Kong picture books. With the change in local views on children, the range of creative themes has become more diverse. Picture books need to return to reflecting "what children need," focusing on their needs and progressing in response to evolving directions.