中国民间艺术形式在三维动画形象中的运用
|
摘要
动画产业作为大众文化生活的一个载体,在人们的现代文化和社会生活中占据着越来越显著的地位。研究者们时常感叹中国动画曾经在世界动画史上创造过那么多的艺术辉煌。但是,当中国动画在经历了文化大革命时期和二十世纪八十年代末的两个动荡期后,一直没能进入到一个良性发展的道路上。
中国动画的“民族化”道路,从来都是众多学者所探索的方向。目前,中国动画的“民族化”问题主要反映在两个方面上:一、民族和民俗性的表现需求,民族性自我特点的产业化进程。二、“怎样合理的进行民族化”的问题,尚无科学、系统的研究和分析。因此,关于中国动画民族化的技术运用研究,是目前动画业界极为缺乏而又相当重要的论题。本文研究认为,民族化进程首先要以剧本编写为根,更需要深入挖掘民族动画的艺术表现形式。通过总结中国动画界过去的经验和教训,重点是研究民间艺术形式在民族动画中的题材表现。把这点看作是中国动画的再度兴盛和健康发展的正解。
基于以上原因,本文首先对国内外民族动画的研究现状进行了总结和分析。民族化绝不是简单的拿来或者一直。更非是一味排外的固守,而是在继承传统和借鉴外来的基础上,对当时市场诉求进行了详细的调研后,针对消费群,创作的适合当代受众审美情趣的动画影片。总结到来,就是以中国传统民间艺术形式的精神、种类、形式这三个方面,对中国民间艺术形式进行由内到外的剖析。并找出传统民间形式与民族动画的结合点。在技术当先的今天,如何将高科技技术融合到中国动画之中,也是我们不可忽视的方面。由此可见,既要从国外动画中借鉴寻求启示,也要在民族传统和时代先韵中找准结合点,才能最终走出一条符合中国国情的民族动画之路。
As a carrier of the popular culture types, the animation industry has an increasingly significant position in the modern culture and social life. It is regretful that the Chinese animation which once created resplendence in the history of world animation experienced the two fracture period---the Cultural Revolution and the late 80's, which has made the Chinese animation weak and difficult to recover.
‘Nationalization’of Chinese Animation is a direction explored by a large number of scholars. Based on this situation, we have to research and analyze the current issues related to the problem, which mainly manifested at two levels: first, the inherent demand of the national character, the creation of personality, and the direction of the animation industry under global impact; second, systematic and theoretical analysis of‘How to nationalize’. The present study shows that, besides the script, we should also explore the explicit form of the folk animation. Therefore, the Nationalization of Chinese animation should currently be an extremely important theme. By summing up Chinese animation industry’s lessons and experience, exploring the use of folk art forms in the folk animation deeply the Chinese are the most urgent tasks of flourishing and developing Chinese animation industry.
This thesis reviewed and summarized the history of the studies on the‘Nationalization’of animation, and explained the expressions of‘Nationalization’creatively. Nationalization is not simply following the tradition, or just exclusive, but inheriting the tradition and using the alien as references, fully embodied the spirit of the times. Then on this basis, he traditional Chinese folk art forms were analyzed completely from three aspects of the spirit, species, and form in order to identify the link between folk art form and national animation. Finally, how Chinese animation would combine with the high-tech under today’s background would be suggested. look at the number of technology today will be how to the for the integration of art and technology to provide a feasibility study.
To sum up, we should not only seek inspiration from foreign animation, but take advantages of the tradition, and ultimately find a way suitable to the national animation.
中国动画的“民族化”道路,从来都是众多学者所探索的方向。目前,中国动画的“民族化”问题主要反映在两个方面上:一、民族和民俗性的表现需求,民族性自我特点的产业化进程。二、“怎样合理的进行民族化”的问题,尚无科学、系统的研究和分析。因此,关于中国动画民族化的技术运用研究,是目前动画业界极为缺乏而又相当重要的论题。本文研究认为,民族化进程首先要以剧本编写为根,更需要深入挖掘民族动画的艺术表现形式。通过总结中国动画界过去的经验和教训,重点是研究民间艺术形式在民族动画中的题材表现。把这点看作是中国动画的再度兴盛和健康发展的正解。
基于以上原因,本文首先对国内外民族动画的研究现状进行了总结和分析。民族化绝不是简单的拿来或者一直。更非是一味排外的固守,而是在继承传统和借鉴外来的基础上,对当时市场诉求进行了详细的调研后,针对消费群,创作的适合当代受众审美情趣的动画影片。总结到来,就是以中国传统民间艺术形式的精神、种类、形式这三个方面,对中国民间艺术形式进行由内到外的剖析。并找出传统民间形式与民族动画的结合点。在技术当先的今天,如何将高科技技术融合到中国动画之中,也是我们不可忽视的方面。由此可见,既要从国外动画中借鉴寻求启示,也要在民族传统和时代先韵中找准结合点,才能最终走出一条符合中国国情的民族动画之路。
As a carrier of the popular culture types, the animation industry has an increasingly significant position in the modern culture and social life. It is regretful that the Chinese animation which once created resplendence in the history of world animation experienced the two fracture period---the Cultural Revolution and the late 80's, which has made the Chinese animation weak and difficult to recover.
‘Nationalization’of Chinese Animation is a direction explored by a large number of scholars. Based on this situation, we have to research and analyze the current issues related to the problem, which mainly manifested at two levels: first, the inherent demand of the national character, the creation of personality, and the direction of the animation industry under global impact; second, systematic and theoretical analysis of‘How to nationalize’. The present study shows that, besides the script, we should also explore the explicit form of the folk animation. Therefore, the Nationalization of Chinese animation should currently be an extremely important theme. By summing up Chinese animation industry’s lessons and experience, exploring the use of folk art forms in the folk animation deeply the Chinese are the most urgent tasks of flourishing and developing Chinese animation industry.
This thesis reviewed and summarized the history of the studies on the‘Nationalization’of animation, and explained the expressions of‘Nationalization’creatively. Nationalization is not simply following the tradition, or just exclusive, but inheriting the tradition and using the alien as references, fully embodied the spirit of the times. Then on this basis, he traditional Chinese folk art forms were analyzed completely from three aspects of the spirit, species, and form in order to identify the link between folk art form and national animation. Finally, how Chinese animation would combine with the high-tech under today’s background would be suggested. look at the number of technology today will be how to the for the integration of art and technology to provide a feasibility study.
To sum up, we should not only seek inspiration from foreign animation, but take advantages of the tradition, and ultimately find a way suitable to the national animation.
引文
[1]万籁鸣.万籁鸣导演谈《大闹天宫》的创作[N].北京:《解放日报》,1962-2-7(10)
[2]邢宇皓.第五次全国国民阅读调查[N].北京:《光明日报》,2008-6-16(2)
[3]齐切罗夫.《民间创造》[M].北京:人民文学出版社,1957
[4]李友友.《民间玩具》[M].北京:中国轻工业出版社,2005:25-26
[5]李友友.《民间玩具》[M].北京:中国轻工业出版社,2005:26-27
[6]左汉中.《中国民间美术造型》[M].湖南:湖南美术出版社,1992:284-285
[7]邱紫华.《东方美学史》(上)[M].北京:北京商务印书馆,2002:101
[8]柳冠中.《设计文化论》[M].黑龙江:黑龙江科学技术出版社,1997
[9]尹定邦.《设计学概论》[M].湖南:湖南科学技术出版社,2003
[10] (德)格罗塞.《艺术的起源》[M].北京:商务印书馆出版,1987
[11] (英)贡布里西.《艺术发展史》[M].天津:天津人民美术出版社,1998
[12]庞薰琹.《中国工艺美术史》[M].北京:东方出版中心,2005
[13]王受之.《世界现代设计史》[M].北京:中国青年出版社,2002
[14]李福顺.《中国美术史》[M].北京:高等教育出版社,2003
[15]王连海.《民间玩具图形》[M].湖南:湖南美术出版社,2000
[16]钟茂兰,范朴.《中国民间美术》[M].北京:中国纺织出版社,2003.
[17]张道一.《中国民间美术大辞典》[M].江苏:江苏美术出版社,2001.
[18]李砚祖.《工艺美术欣赏》[M].山西:山西教育出版社,1997
[19] (日)朝仓直已.《艺术--设计的色彩构成》[M].北京:中国计划出版社,2000
[20]黄景春.《民俗文化—民间传说》[M].北京:中国社会文献出版社,2006
[21]吕胜中.《造型原本》[M].北京:生活.读书.新知三联书店,2002
[22]张瑞瑞.《装饰图案创意与设计》[M].武汉:武汉理工大学出版社,2006
[23]路甬祥.《中国传统工艺全集--民间手工艺》[M].河南:河南教育出版社,2007
[24]李正安.《陶瓷设计》[M].北京:中国美术学院出版社,2003
[25]徐华铛.《中国彩塑泥人》[M].北京:中国林业出版社,2008
[26]王抗生,段建华.《民间石雕》[M].北京:中国轻工业出版社,2005
[27]张俊显.《面人制作技法》[M].北京:北京工艺美术出版社,2007
[28]户晓辉.《民俗解析》[M].广西:广西师范大学出版社,2005
[29]曹春生.《陶瓷雕塑造型与材料应用》[M].武汉:武汉理工大学出版社,2006
[30]栾伟丽.《动画造型与民间美术》[M].北京:中国传媒大学出版社,2007
[31] (英)帕特莫尔.《英国动画设计基础教程》[M].上海:上海人民美术出版社,2005
[32]刘志强.《三维造型艺术》[M].北京:中国广播电视出版社,2006
[33]贾否.《动画创作基础》[M].北京:清华大学出版社,2004
[34]张瑞瑞,涂凌琳.《动画角色形象设计》[M].湖北:湖北美术出版社,2006
[35]薛燕平.《非主流动画电影:历史·流派·大师》[M].北京:中国传媒大学出版社,2007
[36]杨永善.《装饰雕塑》[M].吉林:吉林美术出版社,1996
[37]王少军.《认识雕塑》[M].北京:人民美术出版社,2003
[38]徐华铛,张立人,宓风光,柳成荫.《工艺变形人物》[M].北京:中国轻工业出版社,1983
[39]吴向阳,马斌.《动画分镜头设计》[M].北京:清华大学出版社,2007
[40] Baldassarri Sandra,Cerezo Eva,Seron, Francisco J. A platform for embodied animated agents[J].Rev6,2008.
[41] Prendinger,Ishizuka.Social role awareness in animated agents[J].Rev2,2001.
[42] Prendinger Helmut,Ishizuka Mitsuru.Designing and Evaluating Animated Agents as Social Actors[J].August 2003.
[43] Csuri,Charles A.Art and animation[J].1991.
[44] Shu Linlin,Shi Minyong.A Chinese paper cut-out system based on decorative pattern recognition[J].2008
[45] Li Yan,Yu Jinhui,Ma Kwan-Liu.3D paper-cut modeling and animation[J].2007
[46] Xiaogang Yu, Yizhou.Shape-constrained flock animation[J].August 2008
[47] Chin E. Lin,Ying-Shing Shiao.Real-Time Remote Onboard Diagnostics Using Embedded GPRS Surveillance Technology[J]. 2001,Vol.56,No.3.
[48] Rossling,Guido.A First Set of Design Patterns for Algorithm Animation[J].2009
[49] Kramer,Jeff.Component-based modeling, analysis and animation[J].May 16-19 2006
[50] Zhibin Liu,Zhanli,Li.Dynamic cloth animation in virtual environments[J].Jul 5-7 2006
[51] Baran Ilya,Popovic Jovan.Automatic rigging and animation of 3d characters[J]. Aug 5-9 2007
[2]邢宇皓.第五次全国国民阅读调查[N].北京:《光明日报》,2008-6-16(2)
[3]齐切罗夫.《民间创造》[M].北京:人民文学出版社,1957
[4]李友友.《民间玩具》[M].北京:中国轻工业出版社,2005:25-26
[5]李友友.《民间玩具》[M].北京:中国轻工业出版社,2005:26-27
[6]左汉中.《中国民间美术造型》[M].湖南:湖南美术出版社,1992:284-285
[7]邱紫华.《东方美学史》(上)[M].北京:北京商务印书馆,2002:101
[8]柳冠中.《设计文化论》[M].黑龙江:黑龙江科学技术出版社,1997
[9]尹定邦.《设计学概论》[M].湖南:湖南科学技术出版社,2003
[10] (德)格罗塞.《艺术的起源》[M].北京:商务印书馆出版,1987
[11] (英)贡布里西.《艺术发展史》[M].天津:天津人民美术出版社,1998
[12]庞薰琹.《中国工艺美术史》[M].北京:东方出版中心,2005
[13]王受之.《世界现代设计史》[M].北京:中国青年出版社,2002
[14]李福顺.《中国美术史》[M].北京:高等教育出版社,2003
[15]王连海.《民间玩具图形》[M].湖南:湖南美术出版社,2000
[16]钟茂兰,范朴.《中国民间美术》[M].北京:中国纺织出版社,2003.
[17]张道一.《中国民间美术大辞典》[M].江苏:江苏美术出版社,2001.
[18]李砚祖.《工艺美术欣赏》[M].山西:山西教育出版社,1997
[19] (日)朝仓直已.《艺术--设计的色彩构成》[M].北京:中国计划出版社,2000
[20]黄景春.《民俗文化—民间传说》[M].北京:中国社会文献出版社,2006
[21]吕胜中.《造型原本》[M].北京:生活.读书.新知三联书店,2002
[22]张瑞瑞.《装饰图案创意与设计》[M].武汉:武汉理工大学出版社,2006
[23]路甬祥.《中国传统工艺全集--民间手工艺》[M].河南:河南教育出版社,2007
[24]李正安.《陶瓷设计》[M].北京:中国美术学院出版社,2003
[25]徐华铛.《中国彩塑泥人》[M].北京:中国林业出版社,2008
[26]王抗生,段建华.《民间石雕》[M].北京:中国轻工业出版社,2005
[27]张俊显.《面人制作技法》[M].北京:北京工艺美术出版社,2007
[28]户晓辉.《民俗解析》[M].广西:广西师范大学出版社,2005
[29]曹春生.《陶瓷雕塑造型与材料应用》[M].武汉:武汉理工大学出版社,2006
[30]栾伟丽.《动画造型与民间美术》[M].北京:中国传媒大学出版社,2007
[31] (英)帕特莫尔.《英国动画设计基础教程》[M].上海:上海人民美术出版社,2005
[32]刘志强.《三维造型艺术》[M].北京:中国广播电视出版社,2006
[33]贾否.《动画创作基础》[M].北京:清华大学出版社,2004
[34]张瑞瑞,涂凌琳.《动画角色形象设计》[M].湖北:湖北美术出版社,2006
[35]薛燕平.《非主流动画电影:历史·流派·大师》[M].北京:中国传媒大学出版社,2007
[36]杨永善.《装饰雕塑》[M].吉林:吉林美术出版社,1996
[37]王少军.《认识雕塑》[M].北京:人民美术出版社,2003
[38]徐华铛,张立人,宓风光,柳成荫.《工艺变形人物》[M].北京:中国轻工业出版社,1983
[39]吴向阳,马斌.《动画分镜头设计》[M].北京:清华大学出版社,2007
[40] Baldassarri Sandra,Cerezo Eva,Seron, Francisco J. A platform for embodied animated agents[J].Rev6,2008.
[41] Prendinger,Ishizuka.Social role awareness in animated agents[J].Rev2,2001.
[42] Prendinger Helmut,Ishizuka Mitsuru.Designing and Evaluating Animated Agents as Social Actors[J].August 2003.
[43] Csuri,Charles A.Art and animation[J].1991.
[44] Shu Linlin,Shi Minyong.A Chinese paper cut-out system based on decorative pattern recognition[J].2008
[45] Li Yan,Yu Jinhui,Ma Kwan-Liu.3D paper-cut modeling and animation[J].2007
[46] Xiaogang Yu, Yizhou.Shape-constrained flock animation[J].August 2008
[47] Chin E. Lin,Ying-Shing Shiao.Real-Time Remote Onboard Diagnostics Using Embedded GPRS Surveillance Technology[J]. 2001,Vol.56,No.3.
[48] Rossling,Guido.A First Set of Design Patterns for Algorithm Animation[J].2009
[49] Kramer,Jeff.Component-based modeling, analysis and animation[J].May 16-19 2006
[50] Zhibin Liu,Zhanli,Li.Dynamic cloth animation in virtual environments[J].Jul 5-7 2006
[51] Baran Ilya,Popovic Jovan.Automatic rigging and animation of 3d characters[J]. Aug 5-9 2007
© 2004-2018 中国地质图书馆版权所有 京ICP备05064691号 京公网安备11010802017129号 地址：北京市海淀区学院路29号 邮编：100083 电话：办公室：(+86 10)66554848；文献借阅、咨询服务、科技查新：66554700 |