Research On Freehand Brushwork Of Chinese Ink Painting Animation

This paper focuses on the 1960 s Chinese traditional ink animation “Little Tadpole Looking for Mom” and addresses the specific political and cultural background and artistic style. With regard to style, it focuses above all, on the characteristic beauty of early Chinese ink drawings, which later led to animation. This paper analyzes why early traditional ink animation was unsustainable and later looks at the moment when computer ink animation emerged. Furthermore, it identifies several challenges in the development of computer ink animation and how those might be solved. Additionally, suggestions are presented regarding a proposed return to the most traditional Chinese artistic expression, the cultural role of traditional Chinese ink painting in animation, including with the most advanced three-dimensional technology. This paper makes the claim that ink is an adored art form by Chinese people and, therefore, is an important aspect of modern animation. This paper attempts to clarify the development of current ink animation and predicts how this development will continue. Furthermore, it addresses the relationship between this process of development and traditional Chinese aesthetics. In this analysis, there is an evaluation of the great significance of traditional ink animation.This paper reviews the background of early Chinese ink animation. It combines the understanding of that background with Chinese painting theory of shape, scene, color, text and sound analysis. It identifies the impressionistic characteristics of “Little Tadpole Looking for Mom” and further summarizes the freehand features Chinese ink animation and how this animation compares with two-dimensional and three-dimensional computer animation, both those that use traditional ink and those that are a modern imitation.Ultimately, the paper addresses the spiritual expression, which is highly abstract, of the aesthetic of ink animation. This is an important aspect the unique quality of Chinese ink art, however, it can present difficulties when transferred to digital animation and the movies. That is, it can be a challenge to transfer the artistic qualities of ink painting to film. And he noted that the three-dimensional computer ink technology is not present problems where ink animation development, a good story and have meaning is expressed in the form of a combination of the current development of ink animation path."Little " is the first combination of Chinese ink painting and animation, it is full of traditional Chinese culture, and strong ethnic characteristics unique animated aesthetic features, the temperament and connotation of Chinese traditional art form of animation integration among the ancient rich culture used ink animation creations, Oriental aesthetic spirit permeates into fresh animation, but "Silence" nearly four decades, traditional ink animation almost disappeared. "Little " on behalf of ink animation ethos is part of our unique cultural memory, this memory in the present urgent need for a stable, ontological significance has poetic voice of experience, to leave for their own Opinions and statements of experience, even if the sound is very arbitrary, inefficient,original ecosystem.