Why is it painted with a big fish begonia? China people.

Because after 12 years of ingenious polishing, "Big Fish Begonia" has been released in major theaters across the country and has gained a high popularity. On the first day of the release, it won 500 million yuan at the box office, achieving a win-win situation for word-of-mouth and box office. China's excellent traditional cultural elements are cleverly embedded in the film. Relying on animated films, the creative presentation and innovative expression of Chinese excellent traditional culture have realized the effective integration of animation art and aesthetics, which provides a useful mirror for the exploration and innovation of China animated films in the new era and a new paradigm for the display of cultural confidence in the new era. This paper attempts to interpret the film from its aesthetic style and artistic implication, so as to explore the contemporary value and unique charm of Chinese excellent traditional culture, appreciate the important connotation of cultural survival and prosperity, and enhance the core essence of cultural soft power.

First, the aesthetic style of The Big Fish Begonia

(A) China's formal beauty.

The performance style of "Big Fish Begonia" adopts the artistic elements of Chinese painting, pursues the spirit of freehand brushwork in Chinese painting with line modeling, and uses freehand brushwork in the background, without forgetting the original work. At the same time, it draws lessons from some elements of western three-dimensional modeling. The characters pursue the plane decoration of Chinese painting with color, absorb foreign techniques, have the characteristics of blending Chinese and western, face the future, are more open and inclusive, and practice the concept of "culture is colorful because of communication, and culture is enriched because of mutual learning"

China's expression of characters' costumes. The costumes of many characters in the film are traditional costumes of China. For example, Chun, one of the protagonists, wore the student clothes of the Republic of China, showing a pure and lively side. Thun's grandfather, Houtu and other powerful elders all have long beards and long sleeves, and their status and age are in front of the audience. The rat girl's face comes from the clown's face in the quintessence of Chinese Peking Opera, which shows that she has a heart. The spiritual woman controls the life and death and soul of people and holds heavy power. So she wears a jade belt around her waist, a scale hat on her head, and a pattern of the sun on her clothes, which is a bit like the image of an ancient official costume. Kun lives by the sea, wearing a white sleeveless jacket and gray shorts, which suits him well as a fisherman. Wearing a collar around his neck is quite like Lu Xun's image of moistening the soil: full of energy, smart and energetic. There is both a vivid expression of "shape" and a mapping of "soul". People's costumes arouse people's re-understanding of China's heavy traditional culture, thus producing strong cultural affinity and cultural consciousness.

China Scene Design Exhibition. The residence of "others" in the film is Yongding Building in Fujian. For their own safety and convenience, local Hakkas in Fujian have built square, round and palace-style earth buildings. Tulou perfectly implies many elements such as "heaven, earth and human", which makes people skillfully combine with the earth to form a towering living space, highlighting the realm of harmonious coexistence between man and nature. The background of "Toona sinensis on horseback and Autumn" and "The prospect of Toona sinensis in the mountains" all come from terraced fields in China. Terraces are strewn at random, like a curved river flowing forward, and the ingenious power of human beings is displayed in front of the audience. Jixing Bridge, one of the historical sites in China, passes by with lanterns at night. Cultural heritage is the work of China civilization, so people in China are painted.