發(fā)布時(shí)間：2018-05-06 14:34

  本文選題：宮殿建筑 + 動(dòng)畫場景��； 參考：《河北師范大學(xué)》2014年碩士論文

【摘要】：近20年來，中國動(dòng)畫產(chǎn)業(yè)進(jìn)入了緩慢的發(fā)展階段，眾多國外動(dòng)畫作品涌入中國，使我國觀眾的需求和審美都發(fā)生了重大的變化。分析我國的眾多動(dòng)畫片，，大多數(shù)都缺乏民族文化內(nèi)涵，不能很好的通過民族符合和特征打動(dòng)觀眾。除此之外，中國動(dòng)畫片過多的跟隨國際風(fēng)格，丟掉了自己的長處，結(jié)果也越來越偏離了大眾的期待和喜愛。目前在我國對宮殿建筑動(dòng)畫場景設(shè)計(jì)中的應(yīng)用的研究非常少。因此，將明清宮殿建筑形式運(yùn)用到動(dòng)畫場景設(shè)計(jì)中將具有重要意義，既能更好的配合動(dòng)畫故事和角色進(jìn)行演繹，又能體現(xiàn)出中國民族文化的博大精深。 明清宮殿建筑形式在動(dòng)畫場景中的應(yīng)用可以幫助影片個(gè)性化、本土化風(fēng)格的塑造，世界動(dòng)畫場景設(shè)計(jì)正在快速發(fā)展，百花齊放的局面已經(jīng)逐步形成。針對目前現(xiàn)狀，國內(nèi)動(dòng)畫片急需自己風(fēng)格的特色場景設(shè)計(jì)，要不斷的從明清宮殿等具有代表性的傳統(tǒng)建筑中吸取精髓，同時(shí)還要在此基礎(chǔ)上進(jìn)行大膽的創(chuàng)新，挖掘動(dòng)畫場景設(shè)計(jì)的潛在空間。對于場景設(shè)計(jì)要深入的發(fā)掘中國傳統(tǒng)建筑的思想文化內(nèi)涵。明清時(shí)期宮殿建筑具有非常深的文化底蘊(yùn)，是中國建筑美學(xué)和社會(huì)文化的完美結(jié)合。中國宮殿建筑在世界建筑史上具有很高的影響力，是中華民族文化的重要組成部分。 我國動(dòng)畫發(fā)展應(yīng)該在關(guān)注國際化和多元化的同時(shí)，要立足與本土文化。這樣就可以在國際市場上形成持久的競爭力。民族的就是世界的，民族的也是傳統(tǒng)的、多變的和開放性的系統(tǒng)屬性。明清時(shí)期宮殿建筑具有獨(dú)特的審美價(jià)值和實(shí)用功能，是傳統(tǒng)文化與現(xiàn)代文明的結(jié)合。因此動(dòng)畫場景設(shè)計(jì)師要立足于本土文化，在設(shè)計(jì)和創(chuàng)意中獨(dú)具匠心，多使用帶有中國特色的設(shè)計(jì)元素，使其既具有真實(shí)的美感又要符合故事情景的要求，同時(shí)使場景賦予獨(dú)立的表達(dá)能力。 本論文從宮殿建筑形式中的特色元素、建筑群布局形式的特點(diǎn)、蘊(yùn)含的文化內(nèi)涵與動(dòng)場景設(shè)計(jì)中的功能分析、設(shè)計(jì)風(fēng)格等方面展開分析，對傳統(tǒng)手繪類型和數(shù)字化類型動(dòng)畫場景應(yīng)用范例進(jìn)行解剖，挖掘我國民族文化題材和中國特色動(dòng)畫片場景設(shè)計(jì)的傳統(tǒng)建筑的應(yīng)用方法，為下一步的具體應(yīng)用做好鋪墊。中國宮殿建筑形式在動(dòng)畫場景設(shè)計(jì)中的應(yīng)用方法研究是從劇本故事發(fā)生的歷史時(shí)期背景和故事發(fā)生的地域文化背景來展開的。然后根據(jù)劇本設(shè)定確定場景風(fēng)格，收集相關(guān)宮殿建筑資料并對動(dòng)畫場景空間和色彩進(jìn)行細(xì)化設(shè)計(jì)。通過明清時(shí)期宮殿建筑形式在動(dòng)畫場景設(shè)計(jì)中的研究，從多方面尋求中國傳統(tǒng)建筑元素并對中國特色動(dòng)畫風(fēng)格能起到好的指引作用，創(chuàng)造高品質(zhì)的民族風(fēng)格動(dòng)畫場景設(shè)計(jì)，弘揚(yáng)中國傳統(tǒng)文化精髓。
[Abstract]:In the past 20 years, the Chinese animation industry has entered a slow stage of development, and a large number of foreign animation works have poured into China, which has caused great changes in the needs and aesthetics of the audience in our country. The analysis of many animations in our country, most of which lack the connotation of national culture, can not be very good through the national conformity and characteristics to move the audience. In addition, the Chinese animation too much follow the international style, lost their own strengths, the results are increasingly deviated from the public expectations and love. At present, there are few researches on the application of animation scene design of palace architecture in our country. Therefore, it is of great significance to apply the architectural form of palace in Ming and Qing dynasties to the design of animated scenes, which can not only better match the animated stories and characters, but also reflect the broad and profound Chinese national culture. The application of palace architectural form in animation scene in Ming and Qing dynasties can help the film personalization, localization style, the world animation scene design is developing rapidly, and the situation of a hundred flowers blooming has been gradually formed. In view of the present situation, the domestic animation urgently needs its own style characteristic scene design, to continuously absorb the essence from the representative traditional buildings such as the palace in the Ming and Qing dynasties, and at the same time to carry on the bold innovation on the basis of this. Excavate the potential space of animation scene design. For the scene design, we should deeply explore the ideological and cultural connotation of Chinese traditional architecture. The palace architecture in Ming and Qing dynasties had very deep cultural background, which was the perfect combination of Chinese architectural aesthetics and social culture. Chinese palace architecture has a high influence in the history of world architecture and is an important part of Chinese culture. The development of animation in China should focus on internationalization and diversification, and should be based on local culture. In this way, the international market can form a lasting competitiveness. National is the world, national is also traditional, changeable and open system attribute. Palace architecture in Ming and Qing dynasties has unique aesthetic value and practical function, which is the combination of traditional culture and modern civilization. Therefore, animation scene designers should base themselves on local culture, show originality in design and creativity, and make use of the design elements with Chinese characteristics, so that they can not only have a true aesthetic sense but also conform to the requirements of the story scene. At the same time, the scene gives independent expression ability. This paper analyzes the characteristic elements in the form of the palace architecture, the characteristics of the layout form of the building group, the cultural connotation and the functional analysis in the design of the moving scene, and the design style, etc. This paper dissects the application examples of traditional hand-painted and digitized animation scenes, excavates the application methods of traditional architecture of Chinese national culture theme and Chinese characteristic animation scene design, and lays the groundwork for the next concrete application. The research on the application of Chinese palace architecture form in the animation scene design is carried out from the historical background of script story and the regional cultural background of story occurrence. Then according to the script set to determine the style of the scene, collect relevant palace building materials and animation scene space and color refinement design. Through the research of palace architecture form in animation scene design in the Ming and Qing dynasties, we can find out the elements of Chinese traditional architecture from many aspects and play a good guiding role to the animation style with Chinese characteristics, and create high quality animation scene design of national style. Carry forward the essence of Chinese traditional culture.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 王婉;謝步瀛;;中國古代宮殿建筑參數(shù)化設(shè)計(jì)與三維建模[J];東華大學(xué)學(xué)報(bào)(自然科學(xué)版);2008年03期

2 迮仁建;;二維動(dòng)畫場景設(shè)計(jì)與制作方法探究[J];電腦知識(shí)與技術(shù);2012年18期

3 張麗娜;;論動(dòng)畫場景設(shè)計(jì)中的空間表現(xiàn)[J];大舞臺(tái);2011年09期

4 黎成茂;羅源偉;;《功夫熊貓》動(dòng)畫場景表現(xiàn)研究[J];電影文學(xué);2010年15期

5 袁恩培;林珍香;;解析動(dòng)畫場景中視覺語言的意象表述[J];電影文學(xué);2011年17期

6 袁曉黎;;景人一體 交互交融——論場景設(shè)計(jì)在動(dòng)畫片創(chuàng)作中的作用與特點(diǎn)[J];電影評介;2006年23期

7 朱曉菊;谷芳;;淺談?dòng)耙晞?dòng)畫場景造型與空間[J];電影評介;2009年13期

8 李珩;葉陽;;三維動(dòng)畫場景的設(shè)計(jì)形式探究[J];電影評介;2012年03期

9 鄒勇;;論影視動(dòng)畫場景設(shè)計(jì)中視覺藝術(shù)的創(chuàng)建[J];大眾文藝;2010年18期

10 邢靜;楊飛;;基于水墨藝術(shù)的動(dòng)畫場景教學(xué)研究[J];大舞臺(tái);2013年01期

相關(guān)博士學(xué)位論文 前9條

1 李玲;中國古建筑和諧理念研究[D];山東大學(xué);2011年

2 張帆;梁思成中國建筑史研究再探[D];清華大學(xué);2010年

3 李純;中國宮殿建筑美學(xué)三維論[D];武漢大學(xué);2011年

4 俞天琦;當(dāng)代建筑表皮信息傳播研究[D];哈爾濱工業(yè)大學(xué);2011年

5 王曉;表現(xiàn)中國傳統(tǒng)美學(xué)精神的現(xiàn)代建筑意研究[D];武漢理工大學(xué);2008年

6 邵志偉;易學(xué)象數(shù)下的中國建筑與園林營構(gòu)[D];山東大學(xué);2012年

7 常清華;清代官式建筑研究史初探[D];天津大學(xué);2012年

8 陳春紅;古代建筑與天文學(xué)[D];天津大學(xué);2012年

9 童淑媛;時(shí)空融合觀念下的中國傳統(tǒng)建筑現(xiàn)象與特征研究[D];重慶大學(xué);2012年

本文編號(hào)：1852690