"Aesthetic education" is a complex category, which not only has a long historical origin, but also is very rich in content, especially after entering the twentieth century. Therefore, the simple and one-sided classification of "aesthetic education" in the past can no longer summarize the rich and novel connotation of aesthetic education today. In other words, today's aesthetic education contains many aspects, which are three-dimensional, pluralistic and a comprehensive organic whole. Here we only discuss one aspect of it, that is, one aspect of perceptual education. Aesthetic education is not the same as perceptual education, but it does contain the content of perceptual education.
First, the definition of "sensibility"
Aesthetic education has a direct internal relationship with people's "sensibility". Therefore, in history, the fate of aesthetic education is closely related to the fate of "sensibility", and people often treat aesthetic education in this way. Therefore, to understand what aesthetic education is, it will be unthinkable if we don't understand "sensibility" first.
In China, the basic meaning of "feeling" has two layers. One is: "Ge Ye, touch also." That is, people's first signal system's perception of foreign objects; Second: "feeling is touching the heart", feeling is the heart. Here, "feeling" is both a physiological process and a psychological process.
The meaning of "sex" is complicated. As a philosophical category, sex in China mainly refers to instinct, desire and emotion. Therefore, the ancients in China said: "The nature of life." ("Mencius told the son") "Where there is sex, heaven is also." ("Xunzi's theory of evil nature") "The reason why people are born is called sex." ("Xunzi Zheng Ming") also said: "Eating color is also." ("Mencius Gao Zi") "What is born in heaven and earth is called temperament. ..... Love is also sexual, which means that sex is good. What does this mean? ..... If the body has temperament, if the sky has yin and yang, it means that human nature is not emotional, and it is still said that the yang of the sky is not yin. " (Dong Zhongshu) (Noe: Zhang Dainian: Outline of China's Philosophy, 202 pages. )
In addition, the word "sex" in Chinese has the following meanings: it refers to the essential characteristics of human beings, that is, people are different from animals because they are human beings. Mencius talked about this "sex" the most. According to Song Ru, Zhang Zai, Er Cheng and Zhu, the so-called "sex" is the foundation of life, and "extremely poor sex" is not only the foundation of the whole universe, but also the foundation of all things and life. Obviously, the so-called "sex" here is based on the difference between human beings and animals, which is the essential feature of human beings as opposed to instinct, desire and emotion (the latter three are often addicted to this "sex").
As for the combination of "emotion" and "sex" as the word "sensibility", there is no such usage in ancient Chinese. As a foreign word, it was introduced to China in modern times, mainly referring to perceptual knowledge, that is, the primary stage of cognition, as opposed to rational knowledge.
In the west, "sensibility" and "sensuality" in English have the same root (sens); In German, "lewdness" and "sensuality" are still the same term, which refers to both the satisfaction of instinct (especially sexual desire) and sensory perception and representation (that is, feeling). It is a low-level, chaotic and vague understanding.
To sum up, the so-called "sensibility" is what makes life so. It includes human instinct, desire and emotion, and is an important aspect of personality. Without this aspect, personality will be one-sided and even morbid.
Second, aesthetic education and "sensibility"
"Perception" has the following relations with aesthetic education:
Etymologically, the word "Aesthetics A" translated into Chinese (that is, the word "Aesthetics A" in German) was defined by the German aesthetician Baumja as: "Aesthetics A is the science of perceptual knowledge." (Note: Aesthetics Room of Philosophy Department of Peking University: On Beauty and Aesthetic Feeling by Western Aesthetists, Commercial Press, 198 1, p. 142. He believes that human cognition is divided into two parts, one is perceptual cognition and the other is rational cognition; Aesthetics studies perceptual knowledge, while logic studies human rational knowledge. Kant, another great aesthete in Germany, once divided human psychology into three aspects: knowledge, emotion and meaning, and thought that philosophy studied knowledge, aesthetics studied emotion and ethics studied meaning. All these show that in the west, "aesthetics" is based on "sensibility" and takes human "sensibility" as the research object. It is the original meaning of "aesthetics" in Chinese. This means that aesthetics is also based on sensibility, and its research object is nothing more than sensibility.
It can be seen that from the etymological point of view, aesthetic education is aimed at people's "sensibility", and aesthetic education is directly related to people's "sensibility"; Moreover, aesthetic education also has the character of "sensibility", so aesthetic education is a kind of perceptual education.
In the history of aesthetics, "aesthetic education" first appeared in front of people as a kind of perceptual education. Then, what is the specific content of aesthetic education as a kind of perceptual education?
First of all, aesthetic education can liberate people's sensibility.
The so-called "liberating people's sensibility" mainly means that aesthetic education can liberate people's sensibility from the long-term repression of reason.
Historically, sensibility has been suppressed by reason for a long time, which is an indisputable fact in modern society. More and more thinkers realize that a civilization based on rationality (that is, modern civilization) is a repressive civilization. Marcuse, a modern German thinker, once pointed out that at the beginning of our civilization, "rationality was once regarded as a tool to suppress instinct; Instinct and sensibility are always regarded as the opposite of reason and harmful to reason. Philosophy is used to understand the category of human existence, and it also retains the relationship between rationality and containment: whatever belongs to the field of sensibility, happiness and impulsiveness means that it is opposite to rationality and must be conquered and suppressed. Everyday language also retains this evaluation, because the words used in this field have a didactic or obscene tone. From Plato to the modern world, the law on' yellow works' has always had an overwhelming power to discredit the principle of happiness. " (Note: Marcuse: Love and Civilization, Shanghai Translation Publishing House, 1987, p. 1 1 5. )
It is this repression that lasted for thousands of years that made people's sensitivity and passion disappear, and thousands of people began to become insensitive. Whether it is the first touch of green in spring or the starry sky in summer night, whether it is a sea of clouds and mountains, or rivers and streams, it is difficult to arouse people's even the slightest joy. Year after year, month after month, people spend ordinary and trivial time in indifference. People seem to suffer from "insensitivity". As alvin toffler toffler of the United States said, in modern society, we can see this "morbid indifference of millions of people". (Noe: alvin toffler, toffler: The Impact of the Future, Sichuan People's Publishing House, 1985, p. 383. ) In the novella The Outsider by the famous French writer Camus, we can see the vivid expression of modern people's indifference to everything. Morso, the hero of the novel, is a company employee who has completely lost his passion for life. Even in the face of life events such as love and death, his performance is very cold and insensitive.
This abnormal insensitivity and psychological insensitivity not only make people lose their sensitivity and passion, but also make people's lives extremely poor, monotonous and boring. Moreover, it makes people, people and the world, people and things more and more alienated and separated, others become a wall, and people become more and more lonely and desperate.
What aesthetic education needs to do is to liberate people's sensibility from this long-term repression of rationality, to liberate people's sensibility from the morbid state that has become extremely numb and dull under repression, and to give it the sensitivity and passion of perception again. This function of aesthetic education was called "thorn" by Liang Qichao, a great thinker in China at the beginning of this century. He believes that novels have four dominant forces on people, one of which is "thorn", and the so-called "thorn" also means excitement. When comparing Thorn with the other two dominant forces of the novel "Suction" and "Immersion", he pointed out: "The forces of suction and immersion are gradually utilized; Use the power of thorns; The power of fumigation is to make the receiver feel; The power of the thorn makes the receiver suddenly feel. People who stab will feel strange in an instant and can't control themselves. " (Note: Aesthetics Room, Department of Philosophy, Peking University: Selected Materials on the History of Chinese Aesthetics, Zhonghua Book Company, 198 1, p. 4 18. )
The reason why aesthetic education can do this is related to its above-mentioned perceptual character. As a kind of perceptual education, aesthetic education is based on people's direct perception of objects, and also aims at the continuous sensitivity and enrichment of people's sensibility. If people's senses are not perceived for a long time, they will become dull and gradually degenerate. Aesthetic education is providing a broad perceptual world for human senses. In this world, the sun and the moon intersect and the mountains and rivers flow. "Spring and autumn are orderly, and yin and yang are sad" ("Wen Xin Diao Long Xun Pian") The freshness of peach blossoms, the posture of willows, the capacity of sunrise, the shape of rain and snow, the spring breeze, the spring birds, the autumn moon, Qiu Chan, the rain in Xia Yun, and the cold winter, "The age has its thing. ("Wen Xin Diao Long Missing People")
On this basis, people "roam between gods and things" ("Wen Xin Diao Shen Long Si") and "Shen Yin is the place to listen to when wandering all over the world; The spirit of painting, not only with things; It is attached to the sound and attached to the heart. " (Wen Xin Diao Long Search) "Thinking of the Millennium" "See Wan Li". Here, not only people's senses remain fresh and increasingly sensitive because of external stimuli, but also people's feelings are constantly stimulated and people's imagination is constantly enriched.
It can be seen that only aesthetic education can liberate the sensibility that has become numb and dull under the long-term suppression of reason and give it sensitivity, richness and passion again. This is a very important task of aesthetic education.
Secondly, aesthetic education can guide people's sensibility.
People are born with the desire for eyes and ears and the desire to perceive foreign objects. This is the only bridge between man and the outside world and even the whole universe, and it is also the necessity of human feelings. Xunzi said: "the feeling of an old friend is fragrant and smelly;" Good ears and great vocal music; There are many articles with lewd eyes, and there are many women; Good figure and peace of mind, leisurely and quiet; A good heart is not thick. "("Xunzi Wang Ba ")" Lv Chunqiu "pointed out:" Therefore, the ears desire five tones, the eyes desire five colors, and the mouth desires five flavors and feelings. "("The desire for color ") Huai Nan Zi Zhen Jing Xun also said:" And people's feelings should be perceived by eyes and ears, and the heart should know sadness and joy, itching of hands and feet, breaking cold and heat, so it is connected with things. On the contrary, if you don't make people feel it, you will be "imprisoned in a haunted house". Although you were brought up naked, you can't be happy: your eyes can't see and your ears can't hear. "Visible, do not meet people's eyes and ears, do not meet people's needs, is the destruction of human nature.
However, people's desires are often endless and blind. If left unchecked, it will be very dangerous not only to society, but even to all mankind. Thinkers at all times and all over the world have a clear understanding of this. Xunzi of the pre-Qin Dynasty said, "People are born with desires, desires but not desires; It is an argument not to measure the boundary. Fighting is chaotic, and chaos is poor. " (Xunzi's Book of Rites) Xunzi clearly pointed out here that blindly pursuing the satisfaction of desire is the root of poverty and chaos in the country. In Lu's "Spring and Autumn Annals", the author also tells us that we blindly pursue the desire of eyes and ears. "If it is the sound of wood leather, it will be thunder, if it is the sound of stone, if it is the sound of music and bamboo, it will be noisy ... The more extravagant the music is, the more depressed the people are, and the more chaotic the country will be ..." Huai Nan Zi of the Han Dynasty (midsummer) also saw this danger and said: If blood and blood flow endlessly, the spirit will gallop outside and not keep it. It is a blessing or a curse for the spirit to gallop outside and not keep it. Although it is like a hill, it is an ignorant person. " (Spiritual Practice) These are "the voices of national subjugation". In the Ming Dynasty, Lv Kun said more clearly: "There will be no more disasters between heaven and earth. Nothing is easier than' beauty'. Delicious food makes people want to eat more, beautiful words make people want to eat more, beautiful voices make people listen more, beautiful things make people greedy, beautiful officials make people want to eat more, beautiful rooms make people live more, beautiful fields make people stay more, beautiful sleep makes people escape more, beautiful words make people enter more, beautiful things make people love more, beautiful scenery makes people stay more, and beautiful tastes make people think more. This is a complete disaster. " (Groans)
In short, excessive pursuit of the satisfaction of desire is tantamount to getting burned. "Wine is enough to make a scholar stupid, color enough to make a strong man die, profit enough to make a vegetarian, and fame enough to trip a scholar." (Zhou Cao Xuan Pavilion) The ancient sage in China "never allowed all human instincts to be unrestrained and indulgent. He took appropriate measures to adjust his instinctive impulse and functional enjoyment (Note: Essays on Cultural Celebrities in China in the 20th Century, Guizhou People's Publishing House, 1994, p. 53. This "appropriate method" is "self-denial" and "self-discipline".
In the west, in the history of more than 2,000 years, the reason why rational suppression of sensibility can be established and achieved great success is also based on the premise that Pandora, female principle, sexual desire and happiness have all become disasters, which are divisive and destructive (Note: Marcuse: Love and Civilization, Shanghai Translation Publishing House, 1987, p.1/. )
It can be seen that we can't satisfy the innate desires in life, nor can we blindly satisfy them. In the history of China and foreign countries, people solved this problem through rationality. The ancients in our country said: "Emotion is born by emotion, and courtesy stops", that is, using courtesy to draw a measuring boundary for perceptual satisfaction. In the west, people's emotional satisfaction is more strictly controlled, and most of them become the forbidden area of society, and the taboo of daily life is driven to the unconscious realm. The reason why neurotic personality has soared in modern western society is closely related to this. Its lessons tell us that rationality cannot provide the right channel for people's emotional satisfaction. Emotional satisfaction should have its own special way-this is aesthetic education.
The reason why aesthetic education can "release human feelings" is also related to the perceptual character of aesthetic education. First of all, aesthetic education, as a kind of perceptual education, gradually awakens those desires and instincts that have been sleeping in the unconscious field for many years and accumulated for many years through uninterrupted stimulation and constant perception, and makes them go from darkness to broad daylight. Aesthetic education has opened this "Pandora's box" and provided them with a broad, imaginative and free space for them to express themselves fully and freely. Here, aesthetic education is obviously different from moral education and intellectual education. The latter two are mostly repressive and strictly control "human feelings". It only allows some emotions to be expressed in a limited way, and drives most emotions into the unconscious field.
Secondly, in aesthetic education, the perception of aesthetic objects depends on the "vertical cut-off of daily life consciousness" (modern friendship), that is, the "aesthetic distance" between aesthetic subject and object, which is said by Swiss aesthetician Bloch. The existence of this distance makes the perception and emotional stimulation and expression of the aesthetic subject point not directly to the real world and society, but to an illusory object and event, thus avoiding the possibility of reality and social club.
It is the above characteristics of aesthetic education that make aesthetic education far superior to moral education and intellectual education in venting people's excessive psychological energy and become the best way to "vent human feelings".
Finally, aesthetic education can sublimate people's sensibility.
Sublimation is a term in the psychoanalytic theory founded by Freud, which refers to the instinctive impulse suppressed in consciousness, especially sexual instinctive impulse, turning to activities allowed by society in order to seek disguised and symbolic satisfaction. Human literary and artistic creation, religious activities, etc. Are described by Freud as the result of sublimation of sexual instinct impulse.
In Chinese, the word sublimation has a slightly different meaning. Say "l" first. In Chinese, the word "Sheng" means to rise and improve. For example, The Book of Songs Xiaoya Tianbao: "If the moon remains unchanged, the sun rises." There is also the meaning of "maturity", such as "Twenty-four years of Liangchuan Xianggong": "The grain does not rise to hunger." Say "Hua" again. In Chinese, "flower" can mean flowering; It can refer to talent, talent and literary talent; It can also mean flashy, such as flashy. In ancient Chinese, "sheng" and "Hua" were rarely used together.
What we call "sublimation" here absorbs the original meaning of the above two kinds of "sublimation", but it is different. It not only refers to raising people's sensibility from the depths of unconsciousness to the surface, but also refers to raising people's sensibility from the level of animalism to the level of humanity, from the level of biology to the level of sociology, so that sensibility can truly become people's sensibility. Only on the basis of this promotion can human nature shine.
Why can aesthetic education sublimate people's sensibility? As mentioned above, the purpose of moral education and intellectual education is to develop human rationality. In their concrete implementation process, they often restrict and suppress sensibility, and even realize human rational development at the expense of human sensibility. So neither moral education nor intellectual education can sublimate people's sensibility. The history of human development of more than 2,000 years also proves this point.
On the other hand, aesthetic education is different from the first two. It mainly focuses on people's sensibility, which provides a possibility for aesthetic education to sublimate people's sensibility. Secondly, the primary premise of aesthetic education is super-utilitarian and super-practical, that is to say, it triggers people's senses, stimulates people's emotions, opens people's imagination, and does not lead people to the actual object, but to some use value of the object. Appreciating Van Gogh's Sunflower is not associated with how many seeds this sunflower can bear, and whether the seeds it bears are delicious or not; Visiting an ancient building does not mean that people think it is convenient and practical. On the contrary, animals' senses can't get rid of physiological instinct, and their perception of objects is always directly related to their own survival purpose. In aesthetic perception, the practical relationship between subject and object is temporarily cut off, which makes people gain a certain degree of freedom and depth in the perception of object, which has the connotation of human nature and becomes a real human perception. This is the basic meaning of the sublimation of human sensibility from animal level to human level. This sublimation is possible because it is closely related to this characteristic of aesthetic education.
In China's ancient aesthetics, aestheticians mentioned the "sublimation" of aesthetic education when talking about "aesthetic feeling". Wang Fuzhi in Qing Dynasty pointed out: "Those who can prosper are heroes. Xing, sexual life depends on qi. Procrastination is a natural thing in the world, but it is not. All day long, you spend less time than Lu Tianzhai's wife. Counting your salary, you will lose your ambition every day. Looking up at the sky, you don't know its height, and looking down at the ground, you don't know its thickness. Although you feel like a dream, you are blind. Although you are diligent in starting, your heart is weak, and you will not be happy. Sages teach poetry to purify their hearts, shock their virtues, and accept them as heroic saints in the later period to save the people from troubled times. " (Note: Quoted from Ye Lang: Outline of the History of Chinese Aesthetics, Shanghai People's Publishing House, 1985, p. 52) Here, Wang Fuzhi made it very clear that aesthetic education sublimates people's sensibility, and it plays a role in arousing, inspiring and subliming people's spirit, so that people can get rid of fatuous and obscene situations and become an ambitious and energetic person.
Third, the significance of aesthetic education as perceptual education
Today, we emphasize that aesthetic education, as a side of perceptual education, has special significance, which is mainly reflected in the following two aspects:
If the long-term lack of perceptual education has caused the serious consequences of the split of human nature, then it is inevitable to call for emotional education and aesthetic education to join in order to bridge the profound trauma of human nature, realize human modernization and establish socialist modernization with China characteristics.
The reality of the split of human nature is the result of people's long-term unilateral pursuit of rational development and suppression of perceptual development. This phenomenon was recognized by some thinkers as early as19th century. Schiller once pointed out: "What accompanies us now is the strict division of labor among various sciences, the direct separation of grades and occupations, and the isolation of the state from churches, laws and customs; Enjoyment and labor, means and purpose, work and remuneration are also separated. " In this case, people lose their inner integrity: "people are always bound by a small fragment of the whole, so they have to turn themselves into a fragment;" What they hear in their ears is always the monotonous noise of the machine roulette they drive, and they can never develop the harmony of their own existence; They didn't engrave human nature-human soul-on their own existence, but in the end they just became a symbol of their own career and scientific garden. " (Note: Quoted from Gilbert Kuhn's History of Aesthetics, Volume II, Shanghai Translation Publishing House, 1989, p. 480. )
Marx realized the existence of this phenomenon and made an in-depth analysis of it. He said: when a worker sells his labor, he becomes a thing, no longer a person, and he loses his humanity. Moreover, the products produced by the workers have become things that are opposite to him and alienated from him. "Where is the externalization of labor? First of all, labor is an external thing to the laborer, that is, something that does not belong to his essence; So he didn't affirm himself in his own labor, but denied himself, not feeling happy, but unhappy. Instead of freely exerting his physical strength and intelligence, he tortured his body and mind. Therefore, workers only feel comfortable outside work and uncomfortable at work. He feels comfortable when he is not working and uncomfortable when he is working. Therefore, his labor is not voluntary labor, but forced voluntary labor. Therefore, it is not to meet the needs of labor, but only a means to meet the needs outside labor. The alienated nature of labor is obvious. As long as the physical compulsion or other compulsions stop, people will avoid labor like the plague. ..... Finally, for the laborer, the externality of labor is that this kind of labor is not his own, but someone else's; Labor does not belong to him; He does not belong to himself in labor, but belongs to others. " (Note: The Complete Works of Marx and Engels, vol. 1, pp. 93-94. )
After entering the modern society, this phenomenon has not been alleviated, but has intensified, covering all fields of human activities, thus leading to the indisputable fact that the pathological personality in contemporary society has surged. In the artist's pen, we can see this one-sided, morbid personality is shocking and grotesque. In the Composition of Nine Characters by Jack Dimei, we can see that people have lost their richness and integrity, lost their own flesh and blood, and been abstracted into matchstick characters; In Toussaint's The Naked Woman Walking Down the stairs, the image of a person is only faintly visible and fleeting, and there is no fixed body to grasp. This phenomenon reached its peak in cubist art works, where living individuals were dismembered into pieces and piled up on the screen one by one. In a word, in modern western works of art, we can no longer find a complete and clear image of people. We no longer know what we are. Like what? Here, people are not only naked, but also skinned and dismembered, and all parts of their bodies are thrown everywhere.
Here, the division of human nature has endangered the development prospects of mankind and become a major obstacle to modernization. If left unchecked, not only can modernization not be truly realized, but also the prospect of mankind itself will be very dim.
Of course, the division of human nature is caused by many reasons, but it is undeniable that the long-term lack of perceptual education is one of the very important factors. Therefore, it is impossible to unconsciously carry out perceptual education (that is, aesthetic education) to bridge the profound trauma of human nature division.
On the other hand, the long-term lack of perceptual education has also caused another serious evil result, that is, once the control of rationality is weakened and the perceptual space is looser than before, it is easy to degenerate and materialize because the sensibility cannot express and express itself correctly and fall into the misunderstanding of perceptual destruction. That's true. Our popular culture with a large audience and wide influence today obviously has the above tendency. No matter from which aspect, popular culture is a kind of perceptual culture. From the origin, it is the product of liberating the masses and releasing sensibility, and it is the product of the combination of desire and technology. Desire is the driving force of mass culture production and consumption. At the same time, mass culture can not be separated from mass media, which provides essential technical conditions for the rise of mass culture, and also determines the way of mass culture communication, that is, direct and intuitive, that is, directly appealing to the public's senses with the help of mass media. Moreover, the rise of popular culture reflects the needs of the public (aesthetic needs), mainly the needs of perceptual life. Therefore, mass culture is actually a perceptual culture, emphasizing sensibility, secular life and entertainment. It is anti-rational and reflects the resistance of sensibility to rationality.
It should be noted that the rise of popular culture has its progressive significance. On the one hand, it embodies the irresistible democratic trend of our times; On the other hand, it also reflects people's own demands for perceptual development. For thousands of years, people's sensibility has been suppressed and stifled, and people themselves have fallen into a tragic fate. Until today, sensibility has finally won a place for itself. However, as we said before, if people can't "self-control" and think that they can really get happiness and development by unilaterally clinging to sensibility, it is a big mistake, which will only bring the deterioration of sensibility to human beings and the appalling degeneration of the whole human nature. Because perceptual culture (including sex culture, gray culture, white culture, etc. The digestion of reason, value and tradition is almost fatal, and everything it touches becomes a joke, ideals and values are erased, ideals are gone, standards are gone, and human beings are trapped in the dark illusion world of function, and the future of human beings is really in jeopardy!
It can be seen that in the one-sided emotional liberation of popular culture, human beings have gained little and lost a lot, not only losing themselves, but also losing their spirit. Therefore, it is not enough to just liberate and vent your feelings. At the same time, they must also sublimate their feelings. In short, there must be emotional education, that is, aesthetic education!
All these show that perceptual education is not only necessary but also very urgent today, which embodies the inevitable requirement of people's own development and modernization. We even have every reason to say that if we don't attach importance to people's perceptual development today, and if we don't incorporate aesthetic education into the modern education system as perceptual education, people can't develop themselves and modernization can't be finally realized.
2. Animation
As far as the world is concerned, China animation has been in a weak position for a long time. Few people mentioned the factors of innovation, and few people linked the development speed of China animation with animation innovation for analysis. When we carefully examine China's animation from the perspective of innovation, we will find that China's animation is so isolated and helpless. If we carefully examine the overall quality of animation practitioners in China, embarrassment and helplessness will accompany us. Culture should not only be inherited, but also be innovative. We marvel at the enduring Disney animation, but seldom study the Disney animation model from the perspective of sublation. A good work should have its own spirit. We are the largest country in Asia, but our animation is not the best. Look at our neighbor Japan, they have successfully embarked on a different road from Disney. They also achieved success. As far as I can remember, most of the movies our generation watched as children were those Japanese cartoons. There is no denying that they did a good job. I like the characters in their cartoons very much. They are really nice and distinctive. They have created many themes, many of which are very individual. For example, the famous saint saint. There are also "slam dunk" and "Qian"
And Spirited Away. They also have works in many ways For example, in sports, they have excellent works such as Baseball Hero, Football Boy and Tennis Prince. In those battles, they are even more different. Like those good works, how many are masterpieces? Works such as "A White Book of Wandering", "The Big Dipper Spring" and "king of fighters" are very popular. When I was young, the books, CDs and albums of these works were very popular, and almost everyone read them and liked them. For an animation, what we wanted at that time was its plot and characters, without considering their social significance and technical content. In other words, good works are judged by the audience, and what we animators have to do is to meet their requirements and let them enjoy the high-level animation that can be satisfied.
In fact, in many cases, our animation in China is still very advantageous, because China has a long history and rich culture, and we can write many things, such as some legends, novels, fairy tales and adaptations of those famous books in our country. Personally, I think many of China's previous works are very good. For example, A Good Horse with a Magic Pen, Making a scene in Heaven, Three Monks and Huluwa.
As a future animator, I hope my works have my own elements. I can write some scripts myself in the future, because I have been writing in my spare time for the past two years. There are several of my own works, which will be animated in the future. I am a person who likes listening to music. Many of my literary works are inspired by those songs. Sometimes I touch a song that suits my mood very well. I will take it as my soul and write my own story with a pen. I think this is very good for my future development, and I can make my own creation. A good work should have its own spirit.
Let's talk about the main function of animation. Personally, I think that in a relatively perfect work? /div & gt；