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中国传统水墨画以独特的民族风格和审美意蕴鹤立于世界绘画之林。1960年中国第一部水墨动画片《小蝌蚪找妈妈》诞生,在国内外赢得许多殊荣和好评。从此中国水墨画在当代动画片创作中占有重要的一席之地。《牧笛》《鹿铃》《山水情》等优秀之作蝉联而进。从造型艺术学科研究动态的视角看来,进入21世纪,特别是现代高科技三维动画技术的运用,中国美术学院创作的水墨动画片《潘天寿》《空城计》《十字坡》等创新之作鱼贯而出。只要坚持拓展思维,拓展题材、拓展形式,让单一型、复合型、元素型水墨动画兼容并包,群卉齐放,中国当代水墨动画的创作,必将迎来繁荣的艺术春天。
Traditional Chinese ink and wash paintings stand in the world of painting with unique national style and aesthetic implication. In 1960, China’s first ink cartoon “little tadpole looking for mother” was born, won many awards and praise at home and abroad. Since then, Chinese ink painting occupies an important place in contemporary cartoon creation. “Reed Flute” “Deer Bell” “Landscape Love” and other outstanding reelection into. From the dynamic perspective of the art of modeling arts, in the 21st century, especially the application of modern high-tech three-dimensional animation technology, the innovations of the ink-and-wash animation “Pan Tianshou”, “empty city meter” and “cross slope” created by China Academy of Art Out. As long as we insist on expanding our thinking, expanding our themes and expanding our forms so that the single, complex, and elemental ink and wash animations are compatible with each other and our group flowers are in full bloom, the contemporary Chinese ink and wash animation will surely usher in a thriving art spring.