探索融合蒙古族民间美术形象的动画角色设计的当代意义

On the Contemporary Significance of Animation Characters Design of Mongolian Folk Art Image

20世纪五六十年代,我国的水墨动画在当时的动画产业盛极一时之后,便逐步的走向了追寻技术突破,而忽略了本土民族艺术个性体现之路。因此,把民族美术形象运用在动画角色的设计上,看上去是一种"守旧"的退步,但是从动画的感染力和震撼力以及民族认同感上,这一元素的运用远远可以弥补我国动画产业在技术上的薄弱,从而达到事半功倍的效果。

In 1950s and 1960s, Chinese water -color animation was extremely popular at the time of the animation indus- try. Afterwards, it gradually moved towards the pursuit of technical breakthrough, while it ignored the reflection of native artistic character. As a result, the use of the national art image in the design of animination characters seemed to be a ＂ conservative＂ retrograde step, but a compensation for the technical weakness in our national aninafion industry from the infectivity and shock of animation as well as the sense of national identity, so as to achieve twice the result with half the effort.