建筑動(dòng)畫(huà)在民俗建筑中的應(yīng)用研究
發(fā)布時(shí)間：2018-12-18 02:48
【摘要】：20世紀(jì)中期,中國(guó)動(dòng)畫(huà)在世界領(lǐng)域掀起了中國(guó)動(dòng)畫(huà)狂潮。由“中國(guó)元素”組成的造型、場(chǎng)景、故事等均從我國(guó)博大精深的傳統(tǒng)文化中汲取了養(yǎng)分與靈感。不可避免的現(xiàn)在是近年來(lái),盡管中國(guó)動(dòng)畫(huà)產(chǎn)業(yè)的復(fù)興和再由政府主管部門(mén)高度重視發(fā)展,有很多的政策促進(jìn)中國(guó)動(dòng)畫(huà)的發(fā)展,但國(guó)內(nèi)動(dòng)畫(huà)作品的“中國(guó)元素”正在消失,逐漸失去了自我的狀態(tài)。于是“模仿和復(fù)制”出現(xiàn)了。具體到我國(guó)建筑動(dòng)畫(huà)領(lǐng)域,放眼過(guò)去,都是現(xiàn)當(dāng)代商業(yè)建筑動(dòng)畫(huà),展現(xiàn)我國(guó)民俗建筑的動(dòng)畫(huà)少之又少。但在世界動(dòng)畫(huà)產(chǎn)業(yè),每個(gè)國(guó)家基本上都有著屬于自己民族特色的動(dòng)畫(huà)影片。例如日本動(dòng)畫(huà)有著自己的風(fēng)格,美國(guó)也有自己的風(fēng)格的動(dòng)畫(huà),中國(guó)也應(yīng)該有自己的風(fēng)格,從我們國(guó)家的傳統(tǒng)文化中吸收自己的美學(xué)文化,并使中國(guó)動(dòng)畫(huà)可以走向世界,用含有“中國(guó)元素”的動(dòng)畫(huà)影片去影響世界,中國(guó)也是世界的。中華民族有著豐富而深刻的歷史文化和民族文化,只有把這些民俗文化揉進(jìn)動(dòng)畫(huà)中去,使作品具有生命力。目前,中央電視臺(tái)已經(jīng)啟動(dòng)從腳本產(chǎn)生到作品風(fēng)格都很“中國(guó)風(fēng)”的作品用來(lái)出口。 我國(guó)傳統(tǒng)建筑以其所承載的鮮明民族文化內(nèi)含而在世界建筑史上留有重要的印跡。從古文獻(xiàn)描述及繪畫(huà)中關(guān)于傳統(tǒng)建筑形象直到現(xiàn)存的傳統(tǒng)建筑來(lái)看,我國(guó)傳統(tǒng)建筑在平面布局上有一種簡(jiǎn)明的規(guī)律——每一處宮殿、官衙、住宅、寺廟等建筑,都是由若干單座建筑和一些圍廊、圍墻之類環(huán)繞成一個(gè)個(gè)庭院而組成的。多數(shù)庭院都是前后串連起來(lái)的經(jīng)過(guò)前院而后到達(dá)后院,這種前后庭院的組織是我國(guó)封建社會(huì)“長(zhǎng)幼有序,內(nèi)外有別”的思想意識(shí)的產(chǎn)物。家里的主要成員,或是應(yīng)和外界隔絕的成員(如皇親貴戚家庭的少女),往往就生活在離外門(mén)很遠(yuǎn)的庭院里,這就形成了一個(gè)層層深入的空間組織。宋代歐陽(yáng)修《蝶戀花》詞中有“庭院深深深幾許”的詞句,古人曾以“侯門(mén)深似�！眮�(lái)形容皇親貴戚的居處,這些都形象地說(shuō)明了中國(guó)傳統(tǒng)建筑在布局上的重要特征。但反觀我國(guó)近年來(lái)的原創(chuàng)國(guó)產(chǎn)動(dòng)畫(huà)或者建筑動(dòng)畫(huà),這些優(yōu)秀的民族建筑特征卻是難得一見(jiàn)。 在振興中國(guó)動(dòng)畫(huà)產(chǎn)業(yè)的背景下,提出了在動(dòng)畫(huà)中運(yùn)用傳統(tǒng)文化中的建筑造型,分析傳統(tǒng)文化元素在動(dòng)畫(huà)設(shè)計(jì)中的應(yīng)用。旨在促進(jìn)“中國(guó)元素”綜合應(yīng)用在動(dòng)畫(huà)中,并思考動(dòng)畫(huà)中的傳統(tǒng)文化應(yīng)用。 最后基于論文所研究的內(nèi)容,創(chuàng)作了一部民俗建筑動(dòng)畫(huà)《阿房宮》。體現(xiàn)出了民俗建筑動(dòng)畫(huà)創(chuàng)作中的技術(shù)方面的相關(guān)信息,對(duì)論文的整體性與可行性提供了有力的實(shí)踐依據(jù)。同時(shí)展望民俗建筑動(dòng)畫(huà)的發(fā)展前景。
[Abstract]:In the middle of the 20 th century, Chinese animation in the world set off a frenzy of Chinese animation. The shapes, scenes and stories made up of "Chinese elements" have drawn nutrients and inspiration from China's extensive and profound traditional culture. Inevitably, in recent years, despite the revival of the Chinese animation industry and the importance attached by the government authorities to the development of Chinese animation, there are many policies to promote the development of Chinese animation, but the "Chinese element" of domestic animation works is disappearing. Gradually lose the state of self. Then "copy and copy" appeared. In the field of architectural animation in our country, looking at the past, the animation of modern and contemporary commercial architecture is rare. But in the world animation industry, each country basically has its own national characteristics of the animation film. For example, Japanese animation has its own style, the United States has its own style of animation, China should also have its own style, absorb its own aesthetic culture from the traditional culture of our country, and enable Chinese animation to move towards the world. Use animated films with Chinese elements to influence the world, and China is also world-wide. The Chinese nation has a rich and profound historical culture and national culture, only these folk culture into animation, so that the works have vitality. China Central Television has started exporting everything from script generation to Chinese style. The traditional architecture of our country has left important imprinting in the history of the world architecture because of its distinct national culture. From the ancient literature description and painting about the traditional architecture image to the existing traditional architecture, there is a concise rule in the plane layout of the traditional architecture in our country-every palace, government, residence, temple and so on. They are made up of several single buildings and corridors, walls and other surrounding courtyard. Most of the yards are contiguous through the front yard and then arrive in the backyard. This kind of front and rear courtyard organization is the product of the ideology of "long and orderly, different from the outside" in the feudal society of our country. The main members of the family, or members who should be isolated (such as young girls from royal families), often live in a courtyard far away from the outer door, forming a deep layer of spatial organization. The phrase "how deep is the courtyard" in Ouyang Xiu's poem "Butterfly Love Flowers" in Song Dynasty, the ancients used "Houmen deep as the sea" to describe the residence of the emperor's relatives and relatives, which vividly illustrated the important features of the layout of Chinese traditional architecture. However, looking back at the original domestic animation or architectural animation in recent years, these excellent national architectural features are rare. Under the background of revitalizing Chinese animation industry, this paper puts forward the application of traditional cultural elements in animation design by using the architectural modeling of traditional culture in animation. The purpose is to promote the integrated application of Chinese elements in animation and to reflect on the application of traditional culture in animation. Finally, based on the content of the paper, a folklore architectural animation "A Fang Palace" is created. It reflects the technical information in the creation of folklore architecture animation, and provides a powerful practical basis for the integrity and feasibility of the paper. At the same time look forward to the development of folk architecture animation prospects.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954
本文編號(hào)：2385196
[Abstract]:In the middle of the 20 th century, Chinese animation in the world set off a frenzy of Chinese animation. The shapes, scenes and stories made up of "Chinese elements" have drawn nutrients and inspiration from China's extensive and profound traditional culture. Inevitably, in recent years, despite the revival of the Chinese animation industry and the importance attached by the government authorities to the development of Chinese animation, there are many policies to promote the development of Chinese animation, but the "Chinese element" of domestic animation works is disappearing. Gradually lose the state of self. Then "copy and copy" appeared. In the field of architectural animation in our country, looking at the past, the animation of modern and contemporary commercial architecture is rare. But in the world animation industry, each country basically has its own national characteristics of the animation film. For example, Japanese animation has its own style, the United States has its own style of animation, China should also have its own style, absorb its own aesthetic culture from the traditional culture of our country, and enable Chinese animation to move towards the world. Use animated films with Chinese elements to influence the world, and China is also world-wide. The Chinese nation has a rich and profound historical culture and national culture, only these folk culture into animation, so that the works have vitality. China Central Television has started exporting everything from script generation to Chinese style. The traditional architecture of our country has left important imprinting in the history of the world architecture because of its distinct national culture. From the ancient literature description and painting about the traditional architecture image to the existing traditional architecture, there is a concise rule in the plane layout of the traditional architecture in our country-every palace, government, residence, temple and so on. They are made up of several single buildings and corridors, walls and other surrounding courtyard. Most of the yards are contiguous through the front yard and then arrive in the backyard. This kind of front and rear courtyard organization is the product of the ideology of "long and orderly, different from the outside" in the feudal society of our country. The main members of the family, or members who should be isolated (such as young girls from royal families), often live in a courtyard far away from the outer door, forming a deep layer of spatial organization. The phrase "how deep is the courtyard" in Ouyang Xiu's poem "Butterfly Love Flowers" in Song Dynasty, the ancients used "Houmen deep as the sea" to describe the residence of the emperor's relatives and relatives, which vividly illustrated the important features of the layout of Chinese traditional architecture. However, looking back at the original domestic animation or architectural animation in recent years, these excellent national architectural features are rare. Under the background of revitalizing Chinese animation industry, this paper puts forward the application of traditional cultural elements in animation design by using the architectural modeling of traditional culture in animation. The purpose is to promote the integrated application of Chinese elements in animation and to reflect on the application of traditional culture in animation. Finally, based on the content of the paper, a folklore architectural animation "A Fang Palace" is created. It reflects the technical information in the creation of folklore architecture animation, and provides a powerful practical basis for the integrity and feasibility of the paper. At the same time look forward to the development of folk architecture animation prospects.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954
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，本文編號(hào)：2385196
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