摘 要

动画角色造型的设计是每一部动画片创作的前提与基础，也是观众判断一部动画片好坏的关键。全世界的动画角色数不胜数，它们的造型丰富多样，在加上生动的故事情结和某些象征性的经历，使这些动画形象充满了自身独有的性格特色，给人们留下深刻的印象。

中国动画与中国民族文化的关系源远流长。由现当代具有代表性的动画影片《大圣归来》角色入手，从造型设计、色彩搭配以及现况分析几个方面的研究，剖析了我国动画在不同时期、不同动画角色中的民族特色，并适当指出国产动画面临的一系列问题及解决方案。真正意识到中国动画影视作品中存在的问题，加强传统民族文化的发掘和运用，将艺术性、商业性和游戏技术完美融合，才能支持传统文化的可持续发展，更好地提升我国动画影视作品的文化竞争力。当前的动画作品竞争已经不单纯只是吸引幼小儿童和青少年的眼球，而是针对各个年龄层的实质考验。

本文的研究主题是从一部具有中国特色的3D动画片《大圣归来》角色造型中的民族特色着手进行分析，寻求本土动画新的发展道路。《大圣归来》的成功，不仅仅是在90.5亿的票房上，更是在其突破传统思维，打造出一部“老少皆宜”的动画影视作品上，它以适当的表现语言和手法将民族精神、民族风格和传统元素，以细节方式渗透进故事内容、人物造型、场景设计中。《大圣归来》是我国动画史的又一里程碑，它给每一个中国人的感动是巨大的，这个具有传统文化、民族精神和人文道德观念的动画电影，结合了众多中国传统神话人物形象和地域风俗，传递给观者的是中国式的意识形态价值，让我们产生了深深的文化认同感。通过对影片角色造型设计、色彩搭配以及现况分析几个方面的研究，剖析我国动画在不同时期、不同动画角色中的民族特色，挖掘出中国传统文化中民族性的元素符号在动画造型设计中的应用方式，为动画造型的设计根植于本土化，更好地提升我国动画影视作品的文化竞争力。世界性的动画文化是各国不同动画文化的创造集合，中国动画角色造型要具备属于自己的风格特色，才能继续发展，才能获得世界的认可。

关键词：大圣归来 角色造型 民族特色 文化内涵

Abstract

The animation role modelling design is the premise and the foundation of each cartoon creation, also is the key which the audience judges the quality of an animated cartoon. The world animation role are numerous, their modelling is rich and diverse, and vivid story complex and some kind of symbolic experience, the animation image is full of its own unique character, leave a deep impression on the people.

The relationship between Chinese animation and Chinese national culture has a long history. By contemporary with representative animation film "Mahatma return" start with the role, from design, color collocation and analysis of the current status of several aspects of research, analysis of China's animation in different periods and different animation role in national characteristics and, where appropriate, pointed out domestic animation faces a series of problems and solutions. Real consciousness to the problems existing in the Chinese animation film and television works, strengthen the discovery and the use of traditional culture, the artistic, commercial and game technology perfect fusion, to support the sustainable development of the traditional culture, to better improve China's animation film and television works of cultural competitiveness. The current animation works competition has not only attracted young children and young people's eyes, but the real test for each age layer.

The theme of this paper is from a with Chinese characteristics of 3D animated the return of the saint, the national features of the role of modeling to proceed analysis and seek new development road of domestic animation. The return of the Mahatma, success, not only in 90.5 billion at the box office, but also in the breakthrough of traditional thinking, to create a "ages" of the animated film and television works, it with adequate expression, language and techniques of the national spirit, national style and traditional elements, in every detail - penetration into the story, character modeling, scene design. The Mahatma return "is another milestone in the history of China's animation, it to every Chinese people touched is huge, with the traditional culture, national spirit and humanistic moral concept of animated film, combined with many traditional Chinese mythical figure image and regional customs, transfer to the viewer is the ideological value of Chinese style, let us had a deep sense of cultural identity. Through to film character design, color collocation and analysis of the current status of several aspects of research, analysis of China's animation in different periods and different animation role in national characteristics, dig out the Chinese traditional culture in ethnic symbols in animation design application type, for animation design rooted in localization and better enhance the cultural competitiveness of China's animation film and television works. The world's animation culture is a collection of different animation culture, Chinese animation character modeling to have their own style characteristics, in order to continue to develop, to obtain the world's recognition.

Key Words：Hero Is Back；Role modelling;National characteristics;Cultural connotation

目 录

中文摘要 ………………………………………………………………………… Ⅰ

英文摘要 ………………………………………………………………………… Ⅱ

第一章 绪论

一、课题的研究意义 ………………………………………………………… 1

二、课题的研究内容 ………………………………………………………… 1

三、课题的研究方法 ………………………………………………………… 1

第二章 中国动画发展现状

一、中国动画发展的优势 …………………………………………………… 2

（一）具有丰富的故事题材 ……………………………………………… 2

（二）大量的民间艺术素材 ……………………………………………… 3

二、中国动画发展问题 ……………………………………………………… 4

（一）形象塑造缺少民族创新性 ………………………………………… 4

（二）缺乏良好的良性循环模式 ………………………………………… 5

第三章 国内外角色造型对比

一、美国动画形象中的民族性剖析 ………………………………………… 6

（一）文化精神为核心的幽默动画 ……………………………………… 6

（二）拯救型动画题材中的英雄情结 …………………………………… 7

（三）多元文化融合进行塑造的动画形象 ……………………………… 8

二、日本动画形象中的民族性剖析 ………………………………………… 8

（一）民俗和民族的融合 ………………………………………………… 9

（二）现实与梦幻的融合 ………………………………………………… 9

（三）温馨和怀旧的融合 ………………………………………………… 9

三、中国动画形象中的民族性剖析 ………………………………………… 10

（一）以虚带实、追求神似的风格 ……………………………………… 10

（二）借鉴传统艺术，追求民族艺术表现形式 ………………………… 11

第四章 《大圣归来》民族化风格的探索

一、角色的造型创作 ………………………………………………………… 13

二、故事的叙事结构 ………………………………………………………… 14

三、影片的配乐风格 ………………………………………………………… 15

四、蕴含的精神内涵 ………………………………………………………… 15

第五章 《大圣归来》中国元素在角色造型中的运用

一、传统图案元素在服饰设计中的运用 …………………………………… 16

二、传统色彩在角色性格设计中的运用 …………………………………… 18

三、戏剧脸谱元素在造型设计中的运用 …………………………………… 19

四、武术文化在动作设计中的运用 ………………………………………… 20

结语