Nationalization Of Animation In The Process Of Positioning Language Ink

China ink animation from the last century development since the early 1960s has experienced nearly 50 years of time, which produced a large number of excellent works renowned at home and abroad. From its founding early with a distinctive characteristics of China's national reputation in the world film highly visible, in the early 21st century will usher in the history of the development of ink animation a new upsurge.This paper attempts to traditional in-depth understanding of the course of development of ink animation, content and form of nationalism on the basis of language, cultural diversity made in the current context, the performance of emerging ink animation themes, language is what should the form of the contemporary feature. The article highlighted the traditional inheritance on the basis of the merits of foreign animation, and integration of modern digital technology, and take both art and marketization of roads, water - and-ink animation to achieve the second nationalization, thereby deepening the topic. This new understanding of the current status of ink animation, as well as its development in the field of contemporary Chinese animation position also has a positive significance.Based on the above thinking, the article selected in the animation in the process of nationalization of ink animation as a research object, can be divided into four parts for analysis, the first part focused on ink and ink animation, as well as the relationship between the core ink animation and vector Nationalization , and other issues. In order to more in-depth analysis of ink animation, the second part of the article to the main comparative analysis of inductive method, in the horizontal and vertical dimensions start from the analysis of traditional ink painting in the form of linguistic features animation and video language features start, certainly after the animation Nationalization Formation of a traditional ink animation is of great historical significance, it represents the first time the ink animation history positioning. The traditional ink animation in the current situation facing the bewilderment and in the third part of the main obstacles to start. The article is the fourth part of the point of the eye, focuses on the diversification of the current globalization of the new cultural context, the proposal to reflect the characteristics of the times into the emerging language ink in the ink animation to the animation production process ink the introduction of three-dimensional technology to accelerate the digital ink animation research and development, expand the water - and-ink animation plays creative ideas, and highlights of the second animation Nationalization-emerging animation ink ink animation is the second historical position, it not only the ink animation own development needs, but also the times and the inevitable development of the national culture.At the same time the article should be made in maintaining national characteristics, keep pace with the times at the same time, with all ages, disciplines, industries, ethnic, class, race, geography, the state……for arts and cultural integration of China ink animation to better development . The ethnic characteristics of ink animation and artistic vitality for the long-term protection, and good public and the market returns also reflect their artistic re-creation funding. How in the national character and modern, artistic and business between find a perfect fit, this is of particular concern.