【摘要】：“象思維”,是中國(guó)傳統(tǒng)的思維模式,其特點(diǎn)是原發(fā)創(chuàng)生性�！跋笏季S”研究近年雖然在哲學(xué)領(lǐng)域內(nèi)展開(kāi),卻沒(méi)有直接與動(dòng)畫(huà)藝術(shù)創(chuàng)作聯(lián)系在一起,但實(shí)際上中國(guó)的藝術(shù)精神深受其影響,所以研究象思維對(duì)闡發(fā)中華獨(dú)特的藝術(shù)思維有重大意義。回顧中國(guó)傳統(tǒng)藝術(shù)創(chuàng)作方法中,“讀萬(wàn)卷書(shū),行萬(wàn)里路,始可以言畫(huà)”。在連環(huán)畫(huà)和傳統(tǒng)刀馬人物繪制中,象思維的運(yùn)用更是無(wú)處不在。連環(huán)畫(huà)屬于國(guó)畫(huà)中的白描手法,偏重寫(xiě)實(shí)、傳神,具有強(qiáng)烈的藝術(shù)感染力,場(chǎng)面要求連續(xù),道具、建筑、服飾等必須符合歷史,注重對(duì)景物、道具以及人物神態(tài)等細(xì)節(jié)的描繪,特別是反映古代戰(zhàn)爭(zhēng)故事連環(huán)畫(huà)中刀馬人物更是創(chuàng)作、繪制中不可缺少的要素。 現(xiàn)如今的中國(guó)動(dòng)畫(huà),也已經(jīng)發(fā)展成為了“讀圖時(shí)代”下的現(xiàn)代化產(chǎn)物。作為看日本和歐美動(dòng)畫(huà)成長(zhǎng)起來(lái)的一代中國(guó)動(dòng)畫(huà)人,受“以圖傳圖”的思維模式影響,在思考創(chuàng)作的時(shí)候已經(jīng)習(xí)慣性地從日本和歐美動(dòng)漫里尋找范例,做的東西也只能是在那個(gè)模具的范圍之內(nèi),創(chuàng)造性被壓抑的結(jié)果可以說(shuō)是致命的。因此,想創(chuàng)作出優(yōu)秀的動(dòng)畫(huà)作品,我們必須回到古典,去挖掘我們傳統(tǒng)中的悟性的,原創(chuàng)性的思維。
[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.
【學(xué)位授予單位】：沈陽(yáng)航空航天大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J218.7

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