Ink animation can be said to be a great innovation of China animation. It introduces China traditional ink painting into animation. The artistic style of this cartoon has made a major breakthrough because of its virtual artistic conception and light and elegant picture. Ink animation is a new animation art created by China artists. It takes China's ink painting technique as the expression means of character modeling and environmental space modeling, and uses the special processing technology of animation shooting to shoot ink painting images and composition one by one, and forms ink painting images with light and dark activities through continuous projection.
Ink animation is a successful film of Shanghai Animation Film Studio in the early 1960s. Generally, cartoon characters are portrayed by "single-line flat painting", but ink and wash cartoons have the characteristics of the fine tradition of China traditional Chinese painting, namely ink and wash painting. Character modeling has neither edge lines nor plane painting, but it can show the effect of painting with brush on rice paper from the film. Ink cartoon has opened up a new road for the nationalization and popularization of China film art.
1960 65438+1October 3/kloc-0, Vice Premier Chen Yi of the State Council visited the "China Fine Arts Film Exhibition" held by Shanghai Animation Film Studio in Beijing, and said to the staff of fine arts films, "It would be better if Qi Baishi's paintings could be removed." In February of the same year, Shanghai Film Studio was established, with Ada in charge of character and background design, animation and Duan in charge of shooting and development. After nearly three months, the experiment of "Ink and Wash Comics Breaking" was successful. In July, Meiying successfully produced China's first ink cartoon "Water Tadpole Looking for Mom", which declared the success of China's ink cartoon. The production technology won the first prize of scientific and technological achievements of the Ministry of Culture and the second prize of national scientific and technological invention of China.
From 196 1 to 1995, Shanghai Meiying Factory * * * produced four ink cartoons, each with its own characteristics and innovation and progress.
The first ink-and-wash cartoon "Little Tadpoles Looking for Mom", the shape of small animals is taken from Qi Baishi's works, which is different from ordinary cartoons. Ink animation has no outline, ink is naturally rendered on rice paper, and every scene is an excellent ink painting. The movements and expressions of the characters are beautiful and smart, the background of the splash-ink landscape is bold and magnificent, and the feminine style is full of poetry. It embodies the aesthetics of "similarity and dissimilarity" in Chinese painting. The artistic conception is profound. Because the production process is very complicated, a short film takes a lot of time and manpower. American film studios have invested heavily in ink and wash films, and their production teams are also extremely strong. Besides Tewei, Qian Jiajun and other animation masters of the older generation, even Chinese painting masters Li Keran and Cheng Shifa have participated in artistic guidance. It is precisely because of this artistic pursuit that Chinese ink animation has won international praise. No country dares to compete patiently with China people, and Japanese animation circles even call it a "miracle". However, it is precisely because of the separation of artistic value and commercial value that ink animation is facing an unsustainable embarrassment.