First of all, people in Japan didn't want to learn Chinese ink painting completely, they wanted to make their own style. Unlike North Korea and South Korea, Japanese traditional culture has always been proud of not inheriting Chinese culture, but being independent of China and able to absorb excellent Chinese culture. Chinese ink paintings have too much white space, too deep freehand brushwork, simple strokes to outline the characters, but without the visual impact of this Kaguya Ji, basically can't survive in the modern market, so you can't see a decent China in the past few decades. Ink animation is also a few experimental works by students. This Kaguya Ji is mainly influenced by the traditional Japanese paintings of birds and beasts, and the ink painting style absorbed is only part of it. And it does use Western painting techniques such as sketches and watercolors. Japan wants to do something that is inherited and innovative, not completely retro. Therefore, Japanese animation is recognized not only in China, but also in the world. Kaguya Ji is the most popular work abroad for this year's Oscar's best animation hotspot. On the contrary, can Chinese ink and wash animation go abroad like Japanese animation? Even existence is unsustainable.
Secondly, the initial batch of Chinese ink and wash animations themselves received support and help from many Japanese animators. I remember 3 months ago, I saw a media interview with Supervisor Takada Kaoru. It was mentioned that this animation does have the meaning of paying tribute to the old Chinese animation, but the style of painting is mainly influenced by the traditional Japanese paintings of birds and beasts. Some people don't think that only China has ink paintings, and there are ancient Japanese painters. In addition, the Shanghai Fine Arts Film Studio, which produced a large number of ink-and-wash animations, was established with the help of the Japanese. Some Japanese filmmakers who worked in China during World War II flowed down to help China build the film and animation business, and some ink-and-wash animations were even Japanese directors, such as Buchanzhishe, etc., make suggestions and contributions to the production of traditional East Asian painting styles. Don't let the light fall on yourself.
Third, Japanese ink paintings with blank freehand brushwork are common to everyone. Ukiyo-e is just a Japanese painting style. There were many famous ink paintings in the Edo period, and they developed their own styles. It's just that it's just a style, and people don't take it so seriously. What if China has a thousand years of ink and wash foundation, people will not live for a hundred years, and ink painting is not learned for decades. Anyone who has "seriously learned ink and wash" can paint authentic ink paintings even if it is a Japanese.
Fourth, how can I say that Chinese ink painting is the purest one. For decades, I hugged the tadpoles to find their mothers. The mountains and rivers flowed. That was also a few decades ago. Are there any animators who do not pursue commercial animation in China? When China was making ink and wash, every time an animation was to be made, one person was required to draw the manuscript of the animation. The charm of Chinese ink and wash is undoubtedly derived from these few people. Let Europe and the United States resemble Leonardo da Vinci, Cezanne and others to try to help the animation manuscripts, then excellent works will appear frequently. The ink and wash animations that Jeep can draw with the level of a cartoonist are absolutely outstanding in modern times. Now Japan's ink and wash animation undoubtedly surpasses the current China. It needs to be acknowledged. Even if Chinese ink and wash animation reappears, it will take a long time to catch up. Don't look at the past glory. After decades of cultural vacuum, it is reality that the folk master roadside master can not make a real ink animation that can be obtained on the table with his good ink painting skills. Even if you have the original artwork full of ink and wash charm, do you have the process experience and talents behind the Japanese film production industry? Is there a soundtrack by Joe Hisaishi? Is there a strong accumulation of technology behind it? Is there a reputation in the marketing world? If you don't recognize this, dreaming on the credit of the 1960s and 1970s will only be crushed by reality.
It can be said that this kind of East Asian culture is not exclusive to any country. It is good if anyone can make it flourish. The old Chinese saying goes, "If you fail to be reciprocal, you should be in the wild." It is impossible not to fall. Takada Kaoru directly said in the interview that Hayao Miyazaki and him are very disappointed with the current Chinese animation. The production cost of this Kaguya Ji Monogatari is as high as 50 million U.S. dollars, which is about 300 million yuan. Is there anyone in China who does not pursue commercial interests to make a traditional animated film with a strong literary atmosphere? Is there anyone Takata who is bold? If not, don't say anything sourly. This animation is good, but we have a lot of better animations in the "past", and it doesn't hurt to belittle others and belittle ourselves now. The past is the past, the present is the present, and there is no future without doing a good job in the present.
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