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The Little Mirror /
Ogledalce

Grigor Vitez, Tomislav Torjanac (illustrator)
Mozaik knjiga (HR) 2016.


EN Like Antuntun before it, The Little Mirror picture book is based on the classic text by Grigor Vitez, first published in 1965.   HR Kao i Kako živi Antuntun, slikovnica Ogledalce nastala je prema klasičnom tekstu Grigora Viteza, prvi put objavljenom 1965.


The Little Mirror, front and back cover   Ogledalce, naslovnica i zaslovnica

The front cover shows the little mirror from the story, with reflective foil applied onto its surface, so kids can actually see their reflection in it. Apart from the obvious allusion to the picture book’s title, by using this device I tried to invite children to become a part of the story.   Naslovnica slikovnice prikazuje ogledalce na čiju je površinu aplicirana reflektirajuća folija u kojoj čitatelji mogu uistinu vidjeti svoj odraz. Osim očite aluzije na naslov, tim sam efektom nastojao potaknuti djecu da i ona postanu dio priče.


The Little Mirror, pages 2-3   Ogledalce, stranice 2-3

The story begins when the hare comes across the little mirror in a forest clearing and, upon seeing his reflection in it, thinks it is his picture. Soon, a quarrel arises between him, the squirrel, the jay and the bear, because they each claim it's their picture. Guess – or better yet, read – who eventually took the little mirror home with them, and what happened to it.   Priča počinje tako da zec pronađe ogledalce na proplanku i, vidjevši u njemu svoj odraz, pomisli da je to njegova slika. Ubrzo nastane svađa između njega, vjeverice, šojke kreštalice i medvjeda jer svatko od njih tvrdi da je slika njegova. Pokušajte pogoditi – ili, još bolje, pročitajte – tko je na kraju otišao kući s ogledalcem u ruci i što je s njim učinio.


The Little Mirror, pages 4-5   Ogledalce, stranice 4-5

The animals in the story share a common trait with children, who – encountering something unknown to them – give it the most obvious and the simplest of meanings, “unspoiled” by life experience that comes with becoming an adult. This is one of the main reasons for the timelessness of the Vitez's text, and an additional reason for the aforementioned reflective foil on the cover.
Visually, the major part of the picture book functions as a series of scenes from a theatrical play – an art form children are familiar with at a very early age – with characters who, one after another, enter the “stage”, i.e. the forest clearing with the mirror lying in the grass and with trees in the background.
  Grigor Vitez dao je životinjama u priči psihološke odlike djece, koja pri susretu s nečim nepoznatim tomu pridaju njima najočitije i najjednostavnije značenje, “neokaljano” životnim iskustvima iz svijeta odraslih. To je jedan od glavnih razloga za bezvremenost Vitezova teksta, ali i dodatan razlog za postojanje spomenute reflektirajuće folije na naslovnici.
Vizualno, veći dio slikovnice funkcionira kao niz prizora iz kazališne predstave – oblika umjetnosti koji je djeci poznat u vrlo ranoj dobi – s likovima koji jedan za drugim ulaze na “pozornicu”, odnosno proplanak s ogledalcem u travi i s drvećem u pozadini.