气韵生动与艺术符号的意义动势

“气韵生动”概念自诞生以来,其意义内涵不断变化,难以明确界定。从符号美学角度来看,“气韵生动”命题主要处理艺术符号的“动势”品质相关问题。但“气韵生动”这种艺术动势有其独特性,气韵“动势”贯穿着艺术符号的符形、符义、符用三个意义维度,将艺术文本、宇宙自然及社会人生、意义接受等多个维度关联起来,是对艺术“动势”最为深刻且全面的阐释。气韵“动势”之所以能够贯穿符号意义三维,在于其“根茎式”符号空间构造及“生成性”符号意义机制。艺术气韵“动势”以一个动力性符号结构减缓意义世界“熵增”态势,让整个社会文化保持活力。

图像中的声音表达--中国古代听松图的跨媒介阐释

图像何以表现声音,是一个艺术跨媒介表达的问题。中国古代听松图通过强化主体的听觉性在场、“一主一仆”图式的“合唱队”效果、构图留白隐喻风孔、以题画诗弥补画面松声等手段,使图像的松声得以审美显现。并且,频繁使用临水听松、松下士人图式,以音助圣,敞开自然的审美空间。此外,静听松风也是松声转化为遗音的过程,由实到虚,绵延回旋。对于听松图而言,与其说松声是通过画面空间表现的,不如说是由松声通过艺术动势,召唤空间、创造空间,以时间统领空间,从而完成了跨媒介的艺术表达。

On the integration of two-dimensional animation and three-dimensional art animation

In recent years, with the level of science and technology progress, largely to promote the development of animation techniques. Animated film is divided into two-dimensional animation and three-dimensional animation, both in the retention feature animated films, based on the performance of each with different strengths, thus forming a different artistic style. Wherein the two-dimensional animation is the most common one is the most basic form of expression in animation technology is relatively mature and complete, but because of the development of animation techniques, two-dimensional animation can not meet the needs of the audience. Thus, the effective combination of two-dimensional animation and three-dimensional animation technology, the advantages of integration between the two is particularly important, so that innovation in the form of screen performance, enhance audio-visual experience. In this paper, two-dimensional animation and three-dimensional animation skills fusion analysis and research, and put forward a number of specific observations, in order to learn.