2021-10-14: [Article Link]. A few days ago, the opening ceremony of the 14th China International Comic Festival and the 18th China Animation Golden Dragon Award Presentation Conference were held in Guangzhou. One of the most prominent highlights is that excellent animation works that deeply cultivate traditional culture and integrate into the pulse of the times have become "top flow" and have won many awards. In this year's list of winners, works that deeply dig and re-create Chinese traditions are everywhere. In the comic awards, there are "Guangling San", which depicts the celebrities of the Wei and Jin Dynasties with detailed pictures, "seeing the Dragon in the Field", which pays tribute to Chinese farming culture, and "The Old Man of the rivers and lakes" with the beauty of ink and wash artistic conception. "The Forbidden City Royal Cat Night Traveling Dragon's Toy", which is popular with the historical and cultural knowledge of the Forbidden City from the perspective of "Imperial Cat". In the animation awards, there are "Jiang Ziyan", which has won the gold award of "Best Animation Film Award", The Best Animation Director Award and the best animation music award. "New God List: Nezha Rebirth", which reinterprets the classic mythology in steampunk style, is based on "The Five Lines of Wulshan" such as "Shanhaijing" and "Sou Shen Ji". The historical accumulation of Chinese civilization for five thousand years has profound potential to be explored. The vast sea, rich and colorful historical allusions and folklore provide inexhaustible character stories and creative sources for animation creation. Many classic works and images, such as "Journey to the West", "Three Kingdoms" and "Hua Mulan", are not only used for Chinese animation, but also go to the world and become the materials for overseas animation creation. Chinese animation had a glorious period from the 1960s to the 80s. Classical works such as "making trouble in Heaven", "Little Tadpoles Looking for their mother", "Nezu making trouble in the Sea" and "Gourd Brothers" all draw inspiration from traditional culture and show strong oriental aesthetic characteristics, become a childhood memory for a generation. In recent years, Chinese animation has once again emerged a large number of phenomenal works rooted in traditional culture. "Journey to the West: The Return of the Great Sage", "Big Fish and Begonia", "Nezha's Devil Boy Comes to the World" and other movies based on Chinese classical masterpieces, telling traditional stories in a modern way and inspiring deep resonance among the audience, initiate a new round of national trends in the animation industry. It is gratifying that these popular animation works are not a simple stacking or mechanical copy of traditional cultural elements, but are based on a deep grasp of the core of traditional culture and reconstruct historical stories through a modern perspective, integrate realistic thinking into the works, build a bridge between tradition and modernity, and realize the creative transformation and innovative development of traditional culture. At the same time, the progress of animation technology and the development of audio-visual language also put on a bright coat for animation, making the works more suitable for the aesthetic needs of the audience. As the "Chinese animation vane", the list of previous Golden Dragon Awards has always represented the trend of the industry, and this list is no exception. Deep cultivation of traditional culture and integration into the trend of The Times has become an important creative direction of Chinese animation. So, how to make traditional culture glow with the glory of the times in animation works? On the one hand, creators should not only continue to draw nourishment from the excellent traditional Chinese culture, but also carry forward the spirit of the times, find the connection point between traditional culture and the current culture, and resonate with the times, further create influential works and form Chinese animation's own style. On the other hand, creators should sink their hearts and abandon impetuousness. They should not simply copy or adapt the traditional culture in order to cater to the market, put the craftsman spirit into practice, and use more quality and warm works to move and infect people. (Lai Rui)
Note: This is auto-translated version of a Chinese domestic news media article. A mature and nuanced reading is suggested.