Analyze the traditional cultural elements in contemporary animation art?

In the eyes of many contemporary artists and critics, the visual "China element" has become the symbolic content of the localization of contemporary art. With the end of the 2008 Beijing Olympic Games, "China element" has become a hot topic. In such an era of reading pictures, the visual importance and fashion of "China element" can hardly be questioned.

At the beginning of last century, in order to change the image of the East in the eyes of westerners, China people began to learn from the West in an all-round way. Therefore, Chen Duxiu and others put forward the idea of improving literati painting and advocating western realistic painting. In 1980s, with the withdrawal of revolutionary literature and art, a group of radical contemporary artists and critics, while following Chen Duxiu Thought and shouting the slogan "Down with literati painting", once again set off a wave of learning western art with a high attitude, and gradually developed into blind total westernization. Some influential art critics have abstracted the narrative concept, construction mode and theoretical basis of subjectively fictionalizing the prosperity of China's contemporary art from the development track of western contemporary art, and sought clues similar to the phenomenon of western contemporary art in the objective reality of China's artistic development, so as to find, win over and cultivate individual artists who meet their expectations, and put them in their respective positions, and finally succeeded in creating a history of China's contemporary art that resembles the history of western contemporary art and launching a group of contemporary artists who are famous in history. These unofficial contemporary artists did not objectively analyze the cultural background and causes of western modern art, post-modern art and contemporary avant-garde art, nor did they deeply discuss the methodology and aesthetics of western art, but only stayed in the primary stage of image interpretation, form reproduction and emotional catharsis, so they were completely unqualified and unable to have an equal dialogue with western contemporary art. On the surface, the "contemporary art" born from this has a brand-new artistic perspective, brand-new image mode, brand-new visual effect and brand-new art. In essence, it did not critically absorb the cultural nutrients of western art, nor did it actively collide and run in with China's traditional art, nor did it directly face the living conditions and cultural problems of contemporary people in China, and gradually established an aesthetic and value system in line with contemporary China in practice, so it was impossible. The simple copying and imitation of western artistic phenomena may promote the popularization of western contemporary art and help China artists get rid of the shackles of artistic views during the Cultural Revolution, but the traditional aesthetic genes are also constantly losing. After bidding farewell to revolutionary literature and art, official art groups mostly follow the old thinking mode of realism or western classicism in the former Soviet Union, or whitewash pale pictures with modern elements such as the established language form (such as point, line and surface) or media expression (such as texture) of western modern art, or conduct shallow exploration and practice of the integration of Chinese and Western languages, without taking into account the spiritual connotation and artistic temperament of China's traditional art (including folk art). The lack of traditional culture and national spirit is increasingly exposed.

The separation between China's traditional art and contemporary cultural ecology is becoming more and more serious. The crumbling traditional aesthetic system has not been activated under the impact of western artistic concepts, but is facing a crisis of total collapse. It was not until the 1990s that artists began to reflect on the aesthetic value of traditional art, which reflected that the national consciousness, which had been diluted in the process of learning western advanced technology and culture, gradually awakened with the rapid strengthening of the national economy and the revival of contemporary art. The traditional art, which had been cut off many times, was expected to be re-concerned, excavated, combed, studied and passed on. However, due to the current academic impetuousness and quick success in the art world, many contemporary artists (including some artists who are active overseas) avoid paying attention to and excavating the internal culture of national art, and only rely on Chinese characters, national costumes and schematic symbols of traditional buildings representing China culture to show their national characteristics or show their cultural identity in the international art world. The essence of the "China element" named by western-style discourses is a schematic cultural symbol, rather than artistic connotation and cultural essence. In the cultural structure of contemporary art in China, even if there are a few elements of China culture, it is far from enough, not to mention just putting on a beautiful cultural label. The "China element" in the visual sense cannot conceal the essence of the lack of national spirit and contemporary spirit.

Isn't this the case with many folk culture festivals or sacrificial activities that are deliberately planned to attract investment? Big investment, big publicity and big scenes are magnificent, hot and full of strong visual stimulation, attracting the attention of many media, but the strong local flavor and traditional cultural flavor have long since vanished. Although the external elements of various ethnic groups or nations have been borrowed, the soul of national spirit cannot be called back. Only from the kind eyes, kind expressions and pious behaviors of the simple old farmers who are submerged in the crowd can we really feel a trace of national spirit. There is such sadness behind the jubilant celebration!

Contemporary art expects to return to the establishment of spirit from visual publicity!