摘要
以《山水情》这部经典水墨动画代表作品为美学样本,能够更好地研究水墨动画审美的结构性特征。上海电影制片厂的动画创作者使用"幕"作为动画创作的镜头结构构成元素。而这种幕与幕之间保持链接和融合的结构特征使得水墨动画美学体现出幕间美学的结构方式。整体"幕"与"幕"作用不是分割并转场气氛,而是保持统一的中国传统水墨审美的内在关系构成要素。使用这种创新性的结构组织设计,就能与画风细腻且水墨质感丰富的视觉画面恰当地融入合成在镜头画面之中。这种以多幕为构架搭建的美学结构,比较充分地融合了中国水墨绘画的平面美学特征。基于这种结构特征,基本的动画视听语言形成了一套以大远景全景为主的叙事镜头景别,贯穿以跟移镜头为主要镜头叙事角度的幕间结构。这样完全与经典日式动画或者是迪士尼模式不同的结构性美学特征,不仅能够突出具有中国水墨画面特色的视听语言结构,更能体现出艺术家在镜头视听美学设计上中国化、民族化的创新结构特性。
Taking the classic representative work of ink and wash animation,Landscape,as an aesthetic sample,we can better study the structural characteristics of the aesthetic of ink and wash animation.Animation creators in Shanghai Film Studio used"screen"as the structural element of the shot in animation creation.The structural characteristics of the link and integration between the scenes make the ink animation aesthetics reflect the structure of the aesthetics between scenes.The function of the whole"screen"and"screen"is not to divide and transfer the atmosphere,but to maintain the unity of the internal relationship of Chinese traditional ink aesthetic components.Using this innovative structure organization design,it can be properly integrated into the camera picture with the delicate painting style and rich ink texture of the visual picture.This multi-act aesthetic structure fully integrates the plane aesthetic characteristics of Chinese ink painting.Based on this structural feature,the basic audio-visual language of animation forms a set of narrative shots dominated by large perspectives and panoramas,which runs through the interact structure with moving shots as the main lens narrative Angle.Such structural aesthetic features,which are completely different from the classic Japanese animation or Disney mode,not only highlight the audio-visual language structure with the characteristics of Chinese ink painting,but also highlight the innovative structural characteristics of the artist in the design of the lens audio-visual aesthetics.
出处
《北京文化创意》
2021年第3期38-45,共8页
Beijing Culture Creativity
