中国水墨动画前瞻与展望

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[原文]ChinesewaterinkanimationperspectiveandforecastThewaterinkanimationistheanimatedcartoononekind,isonekindoftechniquewhichtheChinesefineartsmovieoriginates,thiskindofmoviebrokethroughthetraditionalanimatedcartoonlinestructurehabituallyusingsingletracktospreadevenly,hasutilizedthetraditionalChineseinkandwashpaintingperformanceway,enabledtheanimationeachkindofmodellingtohaveShuiMothecharacteristic.Itisnotgreatlysameasotheranimatedcartoons,thewaterinkanimationdoesnothavethesideline,ShuiMoonthexuanpaperthenatureexaggeration,eachsceneisanexquisiteinkandwashpainting.Theanimationrole'sexpressionandthemovementarechicandsmooth,disclosedadivineandwonderfulspirit,thegrandboldsplash-inklandscapebackgrounddaybecomesquitethesameas,thewritingstylegentleandfillsrichlyinpoeticandartisticflavor.ItbuildsthetraditionalChinesepaintingprofoundidealcondition,hascreated“theillusionfairyland”artisticesthetics.Thereasonthatthewaterinkanimatedcartoon'stechnologyissopreciousandismystical,isbecauseithasbrokentheanimationmoviethroughouthistoryinherentmanufacturemethod.Itsproductionprocessistedious,usesthelaminationexaggerationcolorationthemethod.Theanimatedcartoonisapictureonthetransparentmatchluoluopiece,isalsoastandardstandardphotographyonthefilmstrip,showstenminutesshortfilmstotake7,000-8,000consecutiveactionsthepictures.Inordertoguaranteethattheimagetheunification,causesitstablenottoshake,thereforenearlyworld,thereforetheanimatedcartoonimageadoptsthewaywhichthesingletrackspreadsevenly,bylinestructureprimarily.Theinkandwashpaintingisexactlyopposite,itisutilizestheinkandthemoisturecontentexaggeration,thedisplayblackcolorshadeandtheactualsituationeffectdescribestheobject.Itsthischaracteristic,bothdoesnothavetheexplicitboundaryline,middleandcannotspreadthecolorevenly.Notdifficulttoimagine,mustobtainstableShuiinthe thousandsfinejadeluopictureMotheeffect,whatisreallyinconceivable.Fromthe1960stothelate80s,theShanghaifineartsMotionpicturestudiohasphotographedthefollowingseveralwaterinkanimatedcartoonsuccessively:(一)EarliestShuiMoanimationfragment--"Fishandshrimp","Frog","Chicken".in1960,theShanghaifineartsMotionpicturestudiohasphotographeda10minuteaboutexperimentalanimationshortfilm--"WaterInkAnimationFragment",including"Fishandshrimp","Frog","Chicken"threesmallfragments.Thisshortfilmphotographssuccessfully,haslaidthefoundationforourcountrywaterinkanimation'sdevelopment.(二)OurcountryfirstpublicShuiMotheanimatedcartoon"SmallTadpoleLooksforMother".inJuly,1961completed,themassivefamousexpertsparticipatedinthispiecemanufacture.Themoviewaterusedinkhasdisplayedtheanimallifelikemovementperfectly,andhasentrustedwiththewaterinkanimationvitality.Thispiecefoundedtheanimationnewpiecekind,assoonaswaspublishedthencausesastirinternationalhasmovedmarksoff.(三)Waterinkanimation'sworksublimation--"Shepherd'sflute".inDecember,1963manufacturedcompletes,filmlength20minutes.Backgroundby“ChangAnpicturefaction”importantpainterMr.FangJizhongdrawsup,eachlens'designmanuscriptwritesbyrenownedDirectorQianJiajun.(四)Thelate70swork--"DeerBell".in1979waspublished.Themovieletsthehumanfeelfreshsimpleandhonorable,thecolorisbright.TheartisticdesigningheldthepostbyChengShifa,hasdisplayedthepersonanddeer'shappyfriendship.(五)Waterinkanimation'sworksummit--"MountainStateofthewater".Creationin1988.Comparedwithbeforesametype'swork,themoviemanufacturehasbeenperfectgradually,tothestaticsceneryandlivingcreature'sassuranceadvantage,causedthehumantointegratethetraditionalChinesepaintingcompletelybutactuallyexactlytheenjoyableatmosphere,waswaterinkanimationworksummit.Afterhence,thiskindofChineseoriginal'stechniquegraduallydoesnotexist,staysbehindisonlydeepfondlyremembering.Thewaterinkanimation'shistoryismagnificent,afterobtainingthelikethis manyawarditemsissparklingthegorgeouscorona.Butalongwithtimedevelopmentmanyfactorrestrictions,after1988"MountainStateofthewater",hadnotseenagainnewShuiMotheanimatedcartoonisborn,speciallyalongwithChinaplannedeconomy'ssystemconclusion,thoroughlydisintegratedtaketheShanghaiUSShadeFactoryasthecentralChineseanimationmovie'smagnificenttime,mustphotographandmanufacturenewShuiMotheanimatedcartoonalreadywasbasicisimpossibletorealize.Perhaps,willhavemanypeopletoaskwhyChina'sShuiMotheanimationwillpresenttheaspectwhichwillsodeteriorate?Onmyselfindividualviewpoint,gotupafterall,hasmadethefollowingseveralanalyses:(一)Theanimatedcartooncommercialcharacteristoostrong,thebeautifulshadefactoryandsoonspecializedorganizationremanufacturereorganization,thesizeanimationcompanyhastenstogroundtheChineseanimationmarketinabundance,theoverseasprocessingpiecebecomesthemainstream.Wasnotonlythewaterinkanimationhasfacedthesoawkwardaspect,manyotheroutstandingtype'sdomesticallyproducedanimationsfacedthelikethisawkwardnesssimilarly,likecuttheslipofpaper,thepuppetpieceandsoon.Thetraditionalanimationproductionprocessistroublesome,theoutputislow,ifindoesnothaveunderthelarge-scalemanagementcondition,thelimitedrunquantitycannotformthefixedexpensecommunityandthemarkethumanspirit,cannotmassivelydevelopmentandtheattractionsocietyfundinvestment,alsodoesnotattractmoreoutstandingpublicfigurestojoinintheanimationindustry.Causestheproducttypetobeunitary,severalyearsproduceone,daybydayformthebackwardviciouscircle.Thiskindofsituationunderthesocialistmarketeconomicsystem,isthesamecommercialvalueviolates.Thesocialistmarketeconomyhaspushedtotheanimationindustry“themarket”,butthismarketisnottheonedayandonenightestablishes,thebeautifulshadefactoryandsoonspecializedorganizationremanufacturereorganization,broketheimperialgraindomesticallyproducedanimationindustrytobehelplessimmediately.Atthesametime,thesizeanimationcompanylikemushroomgrowthappearance,hastenstogroundtheChineseanimationmarketinabundance;Theexternalprocessingpiecealsotogetherlandsthedomesticmarket alongwiththeoutsideChinesemovie,inthepursueefficiencyandunderthemoneytidalcurrent,ishigherthanthedomesticallyproducedpiecepricetentimeofCanadalaborcostscertainlytohavetheverystrongattraction,andinatime,attractsnearlycompletelythedomesticmajorityofanimationindustrybackboneforce.Willcausealsobasicallyis“tenyearsdoesnothavethepiece”inthe90slaterthetime.(二)Thewaterinkanimatedcartoonproductionprocessiscomplex,time-consuminglong,thecostishigh,theinvestmentisastonishing.Chinesetraditionanimatedcartoonquantityarenotmany,buteachisthehigh-qualitygoodsnearly.Therichindividuality,theplotarevivid,theartisticcontentmovesintheworldmarksoffisthefirst-classlevelabsolutely.Butspeakingofthewaterinkanimatedcartoon,becausewantsthelaminationexaggerationcoloration,theproductionprocessiscomplex,averyshortflatandthinpiecemaycostthemassivetimeandthemanpower.TheShanghaiUSShadeFactoryaddingwaterinkanimatedcartooninvestmentishuge,themanufacturesecondaryrolesarealsoexceptionallyabundant,thisistheaveragepersonimagineswithdifficulty.Theparticipantexceptisespeciallygreat,MasterQianJiajunsucholdergenerationanimation,traditionalChinesepaintingfamousexpertLiKeran,ChengShifaalsoparticipatedintheartdirection.Ispreciselybecausesparesneitherlabornorexpenseliketheartisticpursue,theChinesewaterinkanimationhasinternationallywoncolleague'sapproval,andreceivesthejunctiontodeclareapproves.AnycountryhasnotdaredwithChinese'spatientcompetition,theJapaneseanimationeventocallit“themiracle”.Butalsobecausejustartisticvaluesamecommercialvalue'sbeingseparatedfrom,onlythencausesthewaterinkanimationisfacingwuyiforfollowingtheawkwardness.TheJapaneseafterhadbeenunderstandingbasicallywaterinkanimationphotographymethodreturnstohomelandalsonottodaretoattemptiteasily,tothewesterncartoonmoviewhoemphasizestheeffectivenessallalongwantstheirlongtime,ineachpicture'sdecomposition,tracesintheline,thelamination,thecolorthefloweredtime,thencarriesonrepeatedlyonthephotographicstagetoeachpicturerepeatedlyfixeswiththephotographypossiblynotgreatly,perhapsonlythentheChineseonlythenhasthiskindofpatience. (三)Theprofessionallacks,theprofessionaldedicationhasinsufficient,presentslackssuccessorsthephenomenon.LookingfromtheChineseanimatedcartoonhistory,theartistandtheanimatedcartoonhastheindissolublebond.Chineseanimatedcartoon'sfounderBrotherWanandthefirstbatchmovedthepaintertobegreat,seniorsandsoonJinXioncewasespeciallyenlivensinpaintingworld'spainter,butZhangGuangyu,ZhangZhengyu,LiKeran,HuaJunwu,ZhangDing,FangCheng,HanYu,FangJizhong,ChengShifa......Successivelyhasparticipatedintheanimatedcartooncreation.Butnow,middletheanimatedcartoonmanufacture'sfamousexpert,thepainterisnearlyverylittleparticipation,isattheconditionwhichbasicallyonekindisindifferent,butCainozoicEra'sChineseanimatorgenerallylackstheexperienceandthetraditionalprofessionalskill,raisesalsobasicallyisthecomputerprofessional,knowsnothingabouttothetraditionalanimation'smanufacturetechnique.ThiscausesonewhichofreasonstheChinesetraditionwaterinkanimationdividesintoperiods.(四)Countryanimatedcartoon'sandsoonEuropeandAmerica,Japaninfluences,theyoungpeopledoesnotfeelgenerallytothedomesticallyproducedanimationtheinterest.Speakingofmanyanimationcreators,theanimatedcartoonhighestboundarywinsaprize,nobodylookedthathasnotrelated,doesartalwayscomparedtodopropagandizesmeaningful,artandthepropagandaaretheopposition,artandthetradearetheopposition,artandtheentertainmentaretheopposition.Speakingofthemassaudiences,such“art”isalsonobodylikeslooking.Thewaterinkanimatedcartoonismainlyexpressesitsimplicationwiththepictureidealcondition,probablylikethehumansaidthat“letsthehumanguessdependingonthefourlimbsisimagining,inthewholefeltthatisthesame”thiskindofmovienottohavetheanimationuniversality,thecommercialvaluenottobebig.Inadditionmanyyoungpeoplearelookedthatcountry'sandsoonEuropeandAmerica,Japancartoons,theanimatedcartoongrowup,generallyisinterestedverymuchtothedomesticallyproducedanimatedcartoon.Thereforethewaterinkanimatedcartoononnearlyhasalsobecomethetimetheproduct. (五)Thewaterinkanimationextendstheproductdevelopmentdifficulty.Thewaterinkanimationextendstheproductdevelopmentisalsoaquestion.Nowworldeveryinfluentialanimatedcartoonbasichasitselfaseriesofnecessarytoextendtheproduct,eachbiganimationcompanyalsopositivelycravestheinvestmentdevelopmentrelatedtoextendtheproductwiththeanimationbrand,somestationery,thejewelry,clothes,theshoesandhats,BaoJu,tablewareandsoon,canthinklikelyhaveeverythingexpectedtofind,thebusinessesgainfullytheperquisite.DisneyCorporationevenalsomassivelyconstructstheDisneythemeparkbyreasonoftheabundantcapitalintheworld,whilegainedfullbelt-bag'salsotoattractthemassivehumanspirits.Butthewaterinkanimationextendstheproductdevelopmenttobecomethedifficulty,becausetheanimationboundarydoesnothavethecontourline,thecoloralsohasthedepthchange,thepictureisbecomesthroughtheexaggeration,makessometopostpictureswiththeprintingproductmay,buttoissomerepresentativestheimagethematerialobjecttobeveryactuallydifficultalone,thereforethishasalsocreatedthereasonwhichthewaterinkanimatedcartooncontinueswithdifficulty.Thewaterinkanimationthiskindofartisticformindeedhastheimportanthistoricalvalue.Regardlessofitsyesterday,today,thefuturewillbewhatkind,ithasenrichedtheworldanimationartisticspace,thiswasanundeniablefact,andithasalsodecidedthegoodartisticfoundationfortheChineseanimation'sroadsidememorialceremonyofdevelopment. [译文]中国水墨动画前瞻与展望水墨动画是动画片的一种，是中国美术电影家首创的一种技法，这种影片突破了传统动画片线条结构惯用的单线平涂，运用了传统的中国水墨画的表现方式，使动画的各种造型具有水墨的特色。和其它的动画片不大一样，水墨动画是没有边线的，水墨在宣纸上自然渲染，每个场景都是一幅优美的水墨画。动画角色的表情和动作潇洒自如，透露出一丝的灵气，壮丽豪放的泼墨山水背景浑然天成，笔调柔和而又充满诗情画意。它营造出中国画深远的意境，创造了“梦幻仙境般”的艺术美学。水墨动画片的技术之所以如此珍贵和神秘，是因为它打破了动画电影有史以来固有的制作方法。其制作工艺非常繁琐，采用分层渲染着色的方法。动画片都是一张一张画在透明的赛珞珞片上，又是一格一格地拍摄在电影胶卷上的，一部放映十分钟的短片就要七八千张连续动作的画面。为了保证形象的统一，使它稳定不抖，所以几乎全世界所以的动画片形象都是采取单线平涂的方式，以线条结构为主。水墨画恰好相反，它是运用墨和水分的渲染，发挥墨色浓淡和虚实的效果来描绘对象。它的这种特色，既没有明确的边界线，中间又不能平涂颜色。不难想象，要在数以万计的塞璐珞画面上求得稳定的水墨效果，真的是不可思议的。从上世纪60年代到80年代末，上海美术电影制片厂先后拍摄了如下几部水墨动画片：（一）最早的水墨动画片段——《鱼虾》、《青蛙》、《小鸡》。1960年，上海美术电影制片厂拍摄了一部10分钟左右的试验动画短片——《水墨动画片段》，其中有《鱼虾》、《青蛙》、《小鸡》三个小片段。这部短片的拍摄成功，为我国水墨动画的发展奠定了基础。（二）我国第一部公开的水墨动画片《小蝌蚪找妈妈》。1961年7月完成，大量名家都参与了该片的制作。影片完美地用水墨表现了动物惟妙惟肖的动作，并赋予了水墨动画生命力。该片开创了动画的新片种，一问世便轰动了国际动画界。 （三）水墨动画的升华之作——《牧笛》。1963年12月制作完成，片长20分钟。背景由“长安画派”的重要画家方济众先生绘制，每个镜头的设计稿由著名导演钱家骏执笔。（四）七十年代末期作品——《鹿铃》。1979年问世。影片让人感觉到清新淳朴、色彩明丽。美术设计由程十发担任，表现了人与鹿的美好友谊。（五）水墨动画的颠峰之作——《山水情》。创作于1988年。和以前同类型的作品相比，影片制作已逐渐完美，对静景和活物的把握恰倒好处，使人完全融入国画的写意氛围，是水墨动画的颠峰之作。至此之后，这种中国原创的技法就渐渐不复存在，留下的只是深深的怀念。水墨动画的历史是辉煌的，在获得如此之多的奖项后闪耀着绚丽的光环。但随着时代的发展诸多因素的制约，自从1988年的《山水情》以后，再也没有看到新的水墨动画片诞生，特别是随着中国计划经济的体制结束，以上海美影厂为中心的中国动画电影的辉煌时代彻底瓦解，要拍摄和制作一部新的水墨动画片已经是基本不可能实现的。也许，有很多人会问中国的水墨动画为何呈现在如此衰败的局面呢？就本人个人观点，总归起来，做了如下几点分析：（一）动画片商业性太强，美影厂等专业机构改制重组，大小动画公司纷纷抢滩中国动画市场，国外加工片成为主流。不仅是水墨动画面临了如此尴尬的局面，许多其它优秀种类的国产动画同样面临如此的尴尬，如剪纸片、木偶片等。传统动画制作工艺烦琐、产量低，如果是在没有规模经营的状态下，有限的产品数量不能形成固定的消费群体和市场人气，不能够大规模地开发和吸引社会资金的投入，也吸引不到更多优秀人士投身动画业。导致产品种类单一，几年生产一部，日益形成落后的恶性循环。这种情况在社会主义市场经济体制下，是同商业价值相违背的。社会主义市场经济把动画业推向了“市场”，而这个市场并不是一朝一夕就建立起来的，美影厂等专业机构改制重组，断了皇粮的国产动画业顿时手足无措。同时，大小动画公司如雨后春笋般出现，纷纷抢滩中国动画市场；外来加工片也随着外国片一起登陆国内市场，在追求效率和金钱的潮流下，高于国产片价格十倍的加工价当然具有很大的吸引力，并在一个时期内，把国内大部分动画业骨干力量几乎全部吸引进去。导致在90年代以后又基本上是一个“十年无片”期。 （二）水墨动画片制作工艺复杂，耗时长、成本高、投入惊人。中国传统动画片数量不多，但几乎各个都是精品。富有个性、情节生动、艺术含量绝对在世界动画界属一流水平。但就水墨动画片而言，由于要分层渲染着色，制作工艺非常复杂，一部很短的片子可以耗费大量的时间和人力。上海美影厂对水墨动画片投入巨大，制作班底也是异常雄厚，这是一般人所难以想象的。参与者除了特伟、钱家骏这样的老一辈动画大师，就连国画名家李可染、程十发也参与了艺术指导。正是因为这样不惜工本的艺术追求，中国水墨动画在国际上博得了同行的认可，并受到交口称赞。没有任何一个国家敢于同中国人的耐心竞争，日本动画界甚至称之为“奇迹”。可是也正因为艺术价值同商业价值的脱离，才使得水墨动画面临着无以为继的尴尬。日本人在基本懂得了水墨动画的拍摄方法后回国也都不敢轻易尝试它，对一贯讲求时效的西方卡通电影者来说要他们长时间地在每张画面的分解、描线、分层、上色中花功夫，然后在摄影台上反复地对每张画进行重复固定与拍摄是不大可能的，也许只有中国人才有这种耐性。（三）专业人才缺乏，敬业精神有所不足，呈现后继无人现象。从中国动画片历史看，美术家与动画片有着不解之缘。中国动画片的创始人万氏兄弟和第一批动画家特伟、靳夕等前辈都曾是活跃于画坛的画家，而张光宇、张正宇、李可染、华君武、张仃、方成、韩羽、方济众、程十发……都先后参与过动画片创作。但如今，在动画片制作当中的名家、画家几乎是很少参与，基本都处于一种漠不关心的状态，而新生代的中国动画师又普遍缺乏经验和传统专业技能，培养出来的也基本上都是电脑专业人才，对传统动画的制作技法一无所知。这是导致中国传统水墨动画断代的原因之一。（四）受欧美、日本等国动画片的影响，青少年普遍对国产动画不感兴趣。对很多动画创作者而言，动画片的最高境界是得奖，没人看也没关系，搞艺术总比做宣传有意义，艺术和宣传是对立的，艺术和商业是对立的，艺术和娱乐是对立的。对广大观众而言，这样的“艺术”也是没人爱看的。水墨动画片主要是用画面的意境表达其涵义，就好像如人所说“让人凭四肢去猜着想象，整体上感觉一样”这种影片没有动画的普遍性，商业价值也不大。再加上很多年轻人都是看欧美、日本等国的漫画、动画片长大，普遍都对国产动画片不是很感兴趣。所以水墨动画片也就几乎已成为过去时代的产物。 （五）水墨动画的延伸产品开发困难。水墨动画的延伸产品的开发也是问题。当今世界凡是有影响的动画片基本都有自己一系列配套的延伸产品，各大动画公司也都积极热衷投资开发与自己动画品牌有关的延伸产品，像一些文具、首饰、衣服、鞋帽、包具、餐具等等，能想到的应有尽有，商家可谓是赚足了油水。迪斯尼公司甚至还凭着自己雄厚的资本大规模地在世界各地兴建迪斯尼主题公园，在赚足腰包的同时也吸引了大量的人气。但水墨动画的延伸产品的开发就成困难，由于动画的边界没有轮廓线，颜色也有深浅变化，画面都是通过渲染而成，做一些贴画和印刷产品可以，但到单独做一些代表形象的实物却很难，所以这也是造成了水墨动画片难以延续的原因。水墨动画这种艺术形式的确是有着重要的历史价值。无论它的昨天、今天、未来怎样，它都丰富了世界动画的艺术空间，这是一个不可否认的事实，并且它也为中国动画的发展之路奠定了良好的艺术基础。