迷失与寻迹—论动画创作方法中的“象思维”
发布时间：2018-10-18 07:19
【摘要】：“象思维”,是中国传统的思维模式,其特点是原发创生性。“象思维”研究近年虽然在哲学领域内展开,却没有直接与动画艺术创作联系在一起,但实际上中国的艺术精神深受其影响,所以研究象思维对阐发中华独特的艺术思维有重大意义。回顾中国传统艺术创作方法中,“读万卷书,行万里路,始可以言画”。在连环画和传统刀马人物绘制中,象思维的运用更是无处不在。连环画属于国画中的白描手法,偏重写实、传神,具有强烈的艺术感染力,场面要求连续,道具、建筑、服饰等必须符合历史,注重对景物、道具以及人物神态等细节的描绘,特别是反映古代战争故事连环画中刀马人物更是创作、绘制中不可缺少的要素。 现如今的中国动画,也已经发展成为了“读图时代”下的现代化产物。作为看日本和欧美动画成长起来的一代中国动画人,受“以图传图”的思维模式影响,在思考创作的时候已经习惯性地从日本和欧美动漫里寻找范例,做的东西也只能是在那个模具的范围之内,创造性被压抑的结果可以说是致命的。因此,想创作出优秀的动画作品,我们必须回到古典,去挖掘我们传统中的悟性的,原创性的思维。
[Abstract]:Elephant thinking, a traditional Chinese mode of thinking, is characterized by originality. Although the study of "Xiang thought" has been carried out in the field of philosophy in recent years, it is not directly related to the creation of animation art, but in fact, the Chinese artistic spirit is deeply influenced by it. Therefore, the study of image thinking is of great significance to elucidate the unique artistic thinking of China. Looking back at the Chinese traditional art creation method, "read ten thousand volumes of books, walk thousands of miles, before you can talk about painting." In comic books and traditional swords and horses, the use of thinking is everywhere. Comic books belong to the white drawing technique in traditional Chinese painting. They emphasize realistic and vivid, have a strong artistic appeal, and the scene requires continuity, props, buildings, costumes and so on must conform to the history, pay attention to the scenery, props and personages and other details of the description. Especially reflecting the ancient war story in the comic book knife and horse characters is the creation of the indispensable elements in the drawing. Nowadays, Chinese animation has also developed into a modern product under the era of Reading Pictures. As a generation of Chinese animators who have grown up in Japan and Europe and the United States, influenced by the thinking mode of "passing pictures by map", they have been habitually looking for examples from Japanese and European anime and European and American anime when they think about their creation. What is done can only be within the scope of that mold, and the result of being repressed in creativity can be said to be fatal. So if we want to create good animations, we have to go back to classical, to tap into our traditional savvy, original thinking.
【学位授予单位】：沈阳航空航天大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J218.7
本文编号：2278397
[Abstract]:Elephant thinking, a traditional Chinese mode of thinking, is characterized by originality. Although the study of "Xiang thought" has been carried out in the field of philosophy in recent years, it is not directly related to the creation of animation art, but in fact, the Chinese artistic spirit is deeply influenced by it. Therefore, the study of image thinking is of great significance to elucidate the unique artistic thinking of China. Looking back at the Chinese traditional art creation method, "read ten thousand volumes of books, walk thousands of miles, before you can talk about painting." In comic books and traditional swords and horses, the use of thinking is everywhere. Comic books belong to the white drawing technique in traditional Chinese painting. They emphasize realistic and vivid, have a strong artistic appeal, and the scene requires continuity, props, buildings, costumes and so on must conform to the history, pay attention to the scenery, props and personages and other details of the description. Especially reflecting the ancient war story in the comic book knife and horse characters is the creation of the indispensable elements in the drawing. Nowadays, Chinese animation has also developed into a modern product under the era of Reading Pictures. As a generation of Chinese animators who have grown up in Japan and Europe and the United States, influenced by the thinking mode of "passing pictures by map", they have been habitually looking for examples from Japanese and European anime and European and American anime when they think about their creation. What is done can only be within the scope of that mold, and the result of being repressed in creativity can be said to be fatal. So if we want to create good animations, we have to go back to classical, to tap into our traditional savvy, original thinking.
【学位授予单位】：沈阳航空航天大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J218.7
【参考文献】
相关期刊论文 前10条
1 谢明;我们的动画时代何时到来[J];编辑之友;2002年04期
2 罗江玫;卡通影视制作──商业艺术设计的重要表现手段[J];重庆商学院学报;2000年S1期
3 尹岩;动画电影中的“中国学派”[J];当代电影;1988年06期
4 陆勤;唠唠动画片儿[J];电影评介;1991年10期
5 姚桂萍;;浅析歌曲在动画电影中的作用[J];电影评介;2006年24期
6 常光希;田夷;;国际动画走向与中国动画对策[J];电影新作;1997年05期
7 吕律;;对话:中国动画电影的困惑和解脱[J];电影艺术;1989年11期
8 武珉;中国动画片复兴之路如何走好——一部法国动画影片带来的思考[J];中国广播电视学刊;2004年10期
9 朴松花;如梦如幻田园曲——水墨动画片《牧笛》赏析[J];吉林艺术学院学报;2004年02期
10 马欣;对中国动画片民族化的反思[J];美术;2003年07期
，本文编号：2278397
本文链接：https://www.wllwen.com/wenyilunwen/dongmansheji/2278397.html
