视知觉理论视域下中国动画电影中传统美学的应用研究——以《长安三万里》为例  

Research on the Application of Traditional Aesthetic in Chinese Animation Film from the Perspective of Visual Perception Theory——Taking Chang An as an Example

作　　者：郑丽敏 原海博 高思婷 苏曼 ZHENG Limin;YUAN Haibo;GAO Siting;SU Man(School for Creative Studies,Quanzhou University of Information Engineering,Quanzhou 362000,Fujian,China)

机构地区：[1]泉州信息工程学院创意设计学院,福建泉州362000

出　　处：《玩具世界》2025年第1期78-80,共3页Toys World

基　　金：2021年泉州信息工程学院教育教学改革研究项目“产学研合作人才培养模式改革——以泉州信息工程学院视觉传达设计专业为例”(2021JXGG027)。

摘　　要：《长安三万里》作为国风动画的典范,承继了绘画与书法的传统美学,在画面构建上展现了深厚的艺术底蕴。文章旨在探究中国动画中固有的美学特征及其在不同作品中的差异化应用,以促进动画美学的深化发展。依托于格式塔心理学中阿恩海姆的视知觉理论,文章对比分析了视知觉理论与传统美学意象论的共通点,并以此框架剖析动画元素与场景,揭示中国动画电影中传统美学的两大特征:虚实相生与观物取象。研究发现,非现实性的表现增强了形象的表现力,并促进了与观众主观知觉的互动,为中国动画电影的传统美学传承提供了新视角。Chang An,as a model of Chinese style animation,inherits the traditional aesthetics of painting and calligraphy,and shows a profound artistic heritage in the construction of the picture.This paper aims to explore the inherent aesthetic characteristics of Chinese animation and their differential application in different works,so as to promote the deepening development of animation aesthetics.Based on Arnheim's visual perception theory in Gestalt psychology,it compares and analyzes the common points between visual perception theory and imagery theory of traditional aesthetic,and analyzes the animation elements and scenes with this framework to reveal the two main characteristics of traditional aesthetics in Chinese animation films:the interaction of virtuality and reality and the images abstracting from viewing.The study found that the representation of unreality enhances the expressive power of the image and promotes the interaction with the subjective perception of the audience,which provides a new perspective for the traditional aesthetic inheritance in Chinese animation films.

关 键 词：视知觉理论 传统美学 《长安三万里》 虚实相生 观物取象 

分 类 号：J954[艺术—电影电视艺术]