Aesthetic Value in Chinese Animation

Chinese animation borrows traditional aesthetics of expression, through the technique of white space, to show the unity of man and nature, the reality of the folklorization of aesthetic meaning.

Chinese animation film folklore narrative emphasizes the expression of harmony and unity between man and nature, which is precisely the traditional Chinese aesthetic, "the unity of man and heaven" to express the aesthetic concepts, in the creation of animation films in the new era, the film writers through the adjustment of the creative concepts, borrowing from the traditional aesthetic values, the works of the "unity of man and heaven", the work of the "unity of man and nature". In the new era of animation movie creation, movie authors, by adjusting their creative concepts and drawing on traditional aesthetic values, have fully demonstrated the beauty of the meaning of "the unity of heaven and man".

First of all, in Chinese animated movies, directors have shown a lot of thinking about the relationship between yin and yang and the five elements in the "unity of heaven and man". In the case of "The Descent of Nezha," for example, a large number of the movie's sequences coincide with the philosophical concept of "the unity of heaven and man.

In the film, Ne Zha is a fire character and Ao B is a water character. Analyzing the relationship between Ne Zha and Ao B from the theoretical logic of the Zhouyi book, the relationship between Ne Zha and Ao B is precisely a demonstration of the philosophical notion of the "unity of heaven and man", in which the two are in harmony with each other.

In the movie, inspired by Nezha's spirit to change his destiny, Ao B, a representative of the dragon family, eventually abandons his family's mission and joins forces with Nezha to fight against his destiny, and the two of them eventually merge into a single entity to fight against destiny. From this point of view, Ao B, who represents "water," and Ne Zha, who represents "fire," are united to achieve self-redemption by combining fire and water.

Taking "Big Fish Begonia" as an example, in the animation, Tsubaki's family's house is designed based on the "Chengqi Building" in Longyan, Fujian Province, while the grandmother's residence also has a great origin: it is directly borrowed from the "Shize Building" in the Gao Bei Tulou cluster in Fujian Province.

The design was based on the "Chengqi Building" of Fujian's Gao Bei Tulou cluster.

In real life, the "Chengqi Building" and the "Shize Building" live side by side on a mountain and by the water, intertwined. From the appearance of these two buildings, the overall structure of the Chengqi Building is round, while the overall structure of the Shize Building is square, between the round and square, reflecting the "unity of man and heaven" concept of "heaven and earth" meaning.

Chinese animation and Japanese animation

First of all, although the same as the genre of animation, in the production method and the production of the technology used in basically there is no difference, especially for commercial animation. But after all, the producers of domestic animation and Japanese animation come from different social environments and cultural backgrounds, and the content of the animation is very different.

In today's domestic animation, viewers can see a lot of martial arts and fantasy content, which is of course influenced by the domestic cultural environment, we have seen many martial arts novels or film and television works since childhood, domestic animation production staff in the long term to this kind of work.

Japan is a strong influence by the European and American culture at the same time can maintain their own traditional cultural characteristics of the country, in the Japanese animation, in addition to showing some of the European and American culture under the influence of the content, will also show the content of Japanese traditional culture, of course, Japanese animation to show the content of a lot of Chinese culture has been affected by the content.

Secondly, domestic animation and Japanese animation are geared toward different audiences. The vast majority of domestic animation broadcast on mainland China's television stations is for the younger generation, and most of the domestic animation broadcast on domestic network broadcasting platforms is geared toward people who have not yet reached adulthood. Although it is true that after the popularity of the domestic animation movie "Return of the Great Sage" domestic production of some youth-oriented animation, but the number is still relatively small, for those older and want to contact the animation of the audience, the choice of domestic animation is indeed relatively small.