水墨动画的动态视觉感

动画之“动”,首先在于画面连动,但这与影视画面的运动性本质不同,根源在于动画画面的反摄影性。基于此,中西动画虽皆通过动作主诉来进行叙事,但是由于哲学基础和审美思维的不同,二者最终企及的生命之动也各有千秋。廓清此三层境界上动之美学蕴涵,系对水墨动画的开拓艺术精神的阐述。

The Aesthetic Implication of "Anima" of Animation

The"anima"of animation-art,firstly is embodied as comtinuity of drawings,but it is thoroughly different from the image-motility of movie and TV,which roots in the anti-photography from the drawings of animation-art.Based on it,although both of Chinese and western animation-art narrative even construct depending on subjectivity of action,their ultimate"anima"of life have dissimilarities,just because their different philoso phical origin and aesthetic thought.This paper aimsat to distinct the aesthetic implication of"anima"in the three ambits,which are some originated penetrating viewst to animation theories.