發(fā)布時(shí)間：2019-07-05 17:52

【摘要】：筆墨應(yīng)隨時(shí)代，我們的思維必須跟上甚至超過(guò)時(shí)代的步伐。對(duì)于善于博覽眾長(zhǎng)的優(yōu)秀藝術(shù)家來(lái)說(shuō)，不同的藝術(shù)表現(xiàn)語(yǔ)言互相吸收借鑒已是一種共識(shí)。在現(xiàn)在多元化的文化語(yǔ)境下，當(dāng)代的水墨人物繪畫正在受著各類相似藝術(shù)的影響，國(guó)畫藝術(shù)家們力圖為畫面注入新的表達(dá)語(yǔ)言，著眼于動(dòng)漫形象的藝術(shù)表現(xiàn)力不失為一條可供選擇的新道路。 隨著大眾文化的到來(lái)，傳媒技術(shù)的發(fā)展，使動(dòng)漫產(chǎn)業(yè)具有了無(wú)可比擬的強(qiáng)大生命力和優(yōu)勢(shì)。動(dòng)漫形象因其隨處可見(jiàn)、可感、可知，正在潛移默化中影響著人們的思維和生活。但目前我國(guó)動(dòng)漫產(chǎn)業(yè)卻不容樂(lè)觀，優(yōu)秀作品乏善可陳，對(duì)外國(guó)作品的抄襲，照搬，不成功的借鑒使動(dòng)漫現(xiàn)狀更加混亂不堪，要想改變這種現(xiàn)狀，就要從動(dòng)漫的核心要素——形象入手，而如何使動(dòng)漫形象藝術(shù)化、民族化是目前擺在動(dòng)漫藝術(shù)家面前的重要課題。越來(lái)越多的有志于振興中國(guó)動(dòng)漫的原創(chuàng)動(dòng)漫人才已經(jīng)意識(shí)到傳統(tǒng)文化對(duì)于中國(guó)當(dāng)代動(dòng)漫創(chuàng)作的意義。發(fā)掘水墨藝術(shù)這一傳統(tǒng)文化符合時(shí)代對(duì)本土動(dòng)漫的要求。 本文的第一章主要通過(guò)對(duì)水墨人物畫與動(dòng)漫的簡(jiǎn)述來(lái)了解水墨人物形象與動(dòng)漫人物形象，在第二章講當(dāng)代水墨人物形象與動(dòng)漫人物形象互鑒的意義,本文的重點(diǎn)放在第三章,著重探尋當(dāng)代中國(guó)水墨人物形象與動(dòng)漫人物形象互鑒的路徑，，最后第四章，談當(dāng)代水墨人物形象與動(dòng)漫人物形象互鑒的未來(lái)思考。
文內(nèi)圖片：
圖片說(shuō)明：流民圖蔣兆和
[Abstract]:The pen and ink should follow the times, and our thinking must keep up with and even surpass the times of the times. It is a common understanding that different artistic expression languages can be used for reference for excellent artists who are good at all-in-the-art. In the present diverse cultural context, the contemporary ink-ink figures are being influenced by all kinds of similar art, and the artists of the Chinese painting are trying to inject new expression language into the picture, and the artistic expression of the animation image is an alternative new road. With the arrival of the mass culture and the development of the media technology, the animation industry has a strong vitality and advantage The image of the animation, as it can be seen everywhere, can be felt, and it can be seen that the people's thinking and life are being influenced in the process of moving away. But at present, the animation industry in our country is not optimistic, the outstanding works are not good, and the copying, copying and unsuccessful reference of foreign works makes the current situation of the animation more chaotic, and to change this situation, it is necessary to start with the core elements of the animation On the other hand, how to make the image of the animation and the nationalization are the important subjects that are now before the animation artists More and more of the original animation talents with the aim of revitalizing the Chinese animation have realized the significance of the traditional culture to the contemporary Chinese animation creation The traditional culture of water and ink art is in conformity with the requirements of the time on the local animation The first chapter of this paper is to understand the characters of the water and ink and the characters of the animation by the brief introduction of the water-ink figure and the animation. In the second chapter, the author points out the significance of the interaction between the characters of the modern water and the characters of the animation, and the focus of this article is on the third part. Chapter 4: The Future of the Image of the Contemporary Chinese Ink and the Image of the Cartoon
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J212

【共引文獻(xiàn)】

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