日本艺术和动画卡通外文翻译

日本艺术和动画卡通外文翻译内容摘要：

lly disregarded and the figures exaggerated so that the eyes are attracted to the most important ones。 the human figures gradually bee larger than the mountains, which finally seem no larger than those of a miniature garden It is no accident that the picture scroll and the motion picture use similar techniques. Both must be dynamic in order to develop a story moment by moment, attracting and holding the spectator39。 s interest in picture after picture. The Bandainagon Ekotaba picture scroll, for example, opens with a picture of men rushing to and fro. They frown, cry, wave hands, and point toward something. More men appear, and the excitement increases. We see a gate and the uproar es to a cli. Some of the throng climb a stone hedge. Suddenly, through the gate, black smoke appears and flames leap against a long line of people. Next moment we see that the open gate is aflame The rapid tempo of the fire scene helps to create the impression of people rushing about and, what is more important, speeds the development of the story toward a cli. Most American movies attract interest through just such direct and rapid plot development in the opening scenes. In the further development of the plot, the picture scroll uses a technique similar to the motionpicture montage. The action is abbreviated and the clies of several scenes are presented in quick succession. Sometimes this technique of abbreviation is used to show the passage of time, as in a pictorial biography of St. Ippen in which, between pictures of action, is a picture of a running stream and pampas grass waving in the wind, indicating a passage of time. The next picture shows a priest lying on his deathbed surrounded by griefstricken people. The next picture shows only the saint39。 s face covered with a white cloth. He is dead It seems clear enough that there are strong resemblances between some aspects of the Japanese picture scroll and the modern motion picture. The Japanese animated cartoon should use, in the modern medium, the traditions it inherits from the past. The most important thing the Japanese animated cartoon can learn from the picture scroll is its use of imaginative power. The scroll came out of a backward and stagnated feudal Japan。 under such oppression people generally find release in their imaginations rather than in reality. When the picture scroll presented real scenes as though viewed from high above, it implied a celestial point of view, expressing the idea that salvation should be sought in the unearthly world The heavier the oppression, the more people escaped to such salvation and lived in their imaginations. Yet even in the most imaginative scrolls a concern with the realities of life shows itself. Imagination does not necessarily make us fet realities but can stimulate our awareness of them. The picture scrolls that excel in imagination excel also in realism Among these are Choju Giga Zukan picture scroll of birds and beasts, GakiZoshi storybook of famished devils, and Hyakki YakoZuEmaki picture scroll of pandemonium. The animals in Choju Giga Zukan are anatomically correct, but the scroll depicts the corrupt living conditions of the aristocracy and clergy in the end of the Heian era, a thous。