中國水墨動畫的民族風格－以視覺圖像的內涵為中心

Abstract

中國動畫從開山鼻祖萬氏兄弟拍攝的第一部動畫廣告片以來，中國美術動畫片創作的黃金時代，可說起始在上世紀五、六零年代，尤其特偉在五O年代提出中國動畫應該發展民族風格之後，具有中國民族特色的美術電影形成所謂「中國動畫學派 」屹立於動畫影壇。剪紙、木偶、水墨、折紙等具有民族特色的動畫，種類豐富著世界美術電影寶庫，同時也為中國的美術動畫電影贏得了讚賞和尊重。其中最具代表性的片種莫過於藝術家創造的動畫藝術新片種－－水墨動畫，它創造了全新的視覺經驗。 動畫中的水墨用筆代表著濃濃的中國傳統情感，墨色趣味在觀者的視覺中一次次的激起漣漪，當現代水墨碰上動畫產業，透過現代科技的淬煉，產生獨特的萬種風情。水墨動畫，因其獨特的表現形式與內容，承載著中國特有的文化精神脈絡，展現出中國哲學式的美學思想。正因為如此，水墨動畫片其不同於西方的表現形式與內容，留下許多可以探索的空間。 本文採用質性研究，以文獻及視覺文件觀看紀錄兩大類別收集資料，交叉比對分析，著重探討中國水墨動畫視覺圖像內涵的樣貌；就動漫畫特質與電影語言的表現運用，視覺圖像所呈現的形式內容，以及所表達之文化意涵、美學思想等三大主軸作一探究分析。研究探討出二十世紀製作的中國水墨動畫，仍然運用了一般動漫畫及電影語言，將水墨傳統視覺經驗與新科技媒體之間重新建構；其視覺圖像藝術內涵，範圍不出中國傳統寫意繪畫的內容形式，其中更蘊含中國傳統情感及文化意涵，民族色彩相當鮮明。但另一方面也因表現形式仍未跳脫傳統水墨，視覺表現的原創性仍嫌不足；今後如何突破水墨傳統，避免水墨動畫被定型，提高藝術性、原創性才是重要課題。Animation had its birth in China when the four Won brothers shot their first cartoon commercial ad. In the period between the 1950s and the 1980s, China entered a golden era of animation, especially in the early 1950’s, when Te-Wei suggested that Chinese animation should have its own style and worked hard to develop it. Afterwards, Chinese animations created from all kinds of Chinese folk art media such as paper-cutting, paper-folding, puppets, water-ink painting, etc., prospered and enriched the world of animation at that time. These animation films also won numerous international awards. The unique artistic style of Chinese animation became known as the "Chinese School" worldwide. Among them, the most amazing and attractive were the water-ink animations; they inspired the viewers with brand new visual experiences. Unlike drawings with regular pens, water-ink animations used Chinese paintbrushes to achieve a unique Chinese artistic style and presented the viewer with a captivating perspective of the varying degrees of light and dark achieved by the brush strokes. The traditional Chinese brush-painting technique was so well incorporated into the animation that it created a classic mood of Chinese poetry and philosophy that had never been achieved before. Because Chinese animation is so different from Western animation both in form and content, this research will first cross-analyze related articles, records and animation works, and then attempt to explore the visual iconographic content of Chinese water-ink animations. This will be done in three components: the features of animations and their implements in the form of movies; the formal content presented from visual iconologies in Chinese water-ink animations; and the cultural significance and aesthetic ideas exemplified in Chinese water-ink animations. The conclusion of this research shows that these Chinese animations produced in the last century attempted to bring about the development of visual experiences of traditional Chinese water-ink painting into new techniques for making cartoon or animation movies. Their content of iconographic art consisted of traditional Chinese impressionistic painting forms. The strong feeling of traditional Chinese culture was expressed, and the Chinese national style was very obviously depicted. But from another standpoint, since the form presented by Chinese water-ink animation is originally taken from traditional Chinese water-ink painting skills, the opportunity for creative innovation seems to be lacking. Finding a way to break through the rigidity of tradition to improve the artistry and creativity of Chinese water-ink animation is a big challenge that lies ahead.