CAJ | 학술논문

动画＂民族化＂沿袭自油画＂民族化＂口号和艺术实践,其出发点是为迎合大众的欣赏习惯,立足解放初期本土80%文盲＂工农兵＂接受的主体上,其目的是作为教育人民、打击敌人的思想武器,＂民族化＂与教育紧密相关。文革结束后,油画界专家学者不再提出＂民族化＂后,动画界至今仍然沿续着＂民族化＂道路摸索前行,这种实践十分不利于动画的健康发展。动画产业化过程中,解除＂民族化＂思想束缚至关重要。
동화＂민족화＂연습자유화＂민족화＂구호화예술실천,기출발점시위영합대음적흔상습관,립족해방초기본토80%문맹＂공농병＂접수적주체상,기목적시작위교육인민、타격활인적사상무기,＂민족화＂여교육긴밀상관。문혁결속후,유화계전가학자불재제출＂민족화＂후,동화계지금잉연연속착＂민족화＂도로모색전행,저충실천십분불리우동화적건강발전。동화산업화과정중,해제＂민족화＂사상속박지관중요。
1. Breakout of Oil Painting After crushing the ＂ gang of four＂ in October 1976,Deng Xiaoping returned to political power, and all China advocated ＂emancipating the mind, and seeking truth from facts＂. Following this,people began to break through extreme leftist thought, and re think the gains and losses which came from nationalization. It was only then that oil painting could experience a spring of letting ＂all flowers bloom together and all schools of thought contend together＂. For instance,＂Conquering the President＇s Mansion＂painted by Chen Yifei and Wei Jingshan in 1977 used the former Soviet Union＇s realism and French Romanticism; Gao Xiaohua,a representative of scar fine art School, painted ＂Why＂and ＂Catch the Train＂in 1978, which both presented the former Soviet Union＇s realism style; ＂Father＂painted by Luo Zhongli in 1980 shows the American surrealism style; ＂The Spring Wind Has Woken Up＂painted by He Duolin in 1982 illustrates American realism style; ＂ Tibet Series ＂by Chen Dangqing in 1982 reflects Courbet＇s realistic style; ＂Qu Qiubai in Prison＂painted by Xin Shanyi in 1984 incorporates a French Classical Style; ＂Field＂made by Wang Yuqi in 1984 is a work painted with Rembrandt＇s realistic style; ＂Girls from the North＂ painted by Yang Feiyun in 1987 has a French classical realism style. Of course,there were also artists who formed a ＂national form＂from painting murals. These included Yuan Yunsheng, Xiao Huixiang,Li Huaji, Liu Bingjiang , even the ＂Nationalistic＂painter,Wu Guanzhong. During this period,the creation of oil paintings had very specific, individual features. Allworks came from the painters’individual feelings and desires,and this broke away from having to choose a single ＂national style＂. These works are the result of human oriented rules which respected artistic rules,and originated from the artists＇life experiences. In the process of history,Chinese figure painting s changed dramatically. For example,Xu Beihong,Jiang Zhaohe,Ye Qianyu,Li Hu,Lu Chen,Liu Dawei,Shi Guoliang,He Jiaying,etc. absorbed the techniques of western oil painting,and created a new system of Chinese figure painting that is quite different from original Chinese figure painting. Hence,the ＂nationalization＂of painting existed in name only. 2. Direction of Cartoon The ＂nationalization＂of cartoons reflects the needs of popularization and education in a specific period of China,and is a product stimulated by the ＂nationalization＂of oil painting. In the period of the Great Leap Forward and planned economy after the liberation ,＂nationalization＂was defined as ＂a mature symbol of art and literature of an era and a class. ＂Even though education oriented cartoons have been changed into ＂artistic cartoons＂and received many prizes in international competitions through the efforts of the old generation of cartoon artists,it still strayed away from the entertainment function of cartoons. For a long period,cartoon animations could not reflect reality, that＂constraint our creative mind ,and the themes of cartoon films were limited in a very narrow circle. ＂This created five problems as follows： 1） Lack of themes which reflected reality and the future： Traditional folk stories,historical stories,myths,etc. are not able to satisfy present-day teenagers ＇education. Children not only need to have an education in ancient cultural concepts,but they also need to think about their real life,including imaging and explorating the future technological society. 2） Misdirection in the restoration of historical materials ： the repeated interpretation of history limits the creativity and imagination of cartoons. Historical material must be combined with a realistic spirit. Only innovation based on tradition is the key for the cartoon＇s success. 3） The differences between ancient arts and modern cartoon films： Puppet shows,paper cuttings,shadow plays,and Beijing Opera,were included on the first heritage protection list in 2006. These ancient arts are facing a serious crisis of survival. Current American and Japanese animated cartoons seek to include science into the films, and create a forceful impact by using new techniques. 4） The contradiction between Chinese painting＇s ＂xieye＂（ a kind of spontaneous expression in which the internal spirit of the object is revealed） and western painting＇s＂simulation： Traditional Chinese painting is based on xieyi,and western painting is based on simulation. Therefore,western painting is closer to the painted element of film. 5） The global themes selected by Americans and Japanese versus the self reclusive theme selected by Chinese. Americans have selected classical stories from all over the world and make re creations,but we only depend on our own traditional national stories. Hence,a so called ＂nationality priority＂principle has been formed. Conculsion While stepping into a market economy,andwith the cartoon＇s returning to its entertainment function,it is not proper for us to put forward the slogan of ＂nationalization ＂again. Chinese artists already have psychological barriers which are not good for the development of cartoon industry. Some cartoon films,such as ＂Mr. Black＂,＂PleasantGoat and Gray Wolf＂,＂The Story of Effendi＂etc. are very popular among the children. Actually, they can become the industry ＇s first products. However,opportunities have been lost due to some people＇s conservative thinking. The cartoon film has developed in China for more than 80 years,but why is it still in a weak position when the feature films,TV plays,and computer games experienced such a vigorous development？ One reason is that cartoon has been positioned in ＂flowing painting＂, limited by ＂nationalization＂and has lost its entertainment function. Oil painting broke out from the constraints of ＂nationalization＂and made great achievements in 1980s. How long will current cartoons be bounded by the ＂incantation of the Golden Hoop＂？