展览现场　　提到日本动画电影，就不得不说宫崎骏与吉卜力。奥斯卡最佳长篇动画、历史上第一部也是至今唯一一部以电影身份获得欧洲三大电影节之一柏林金熊动画作品《千与千寻》让全世界认识了宫崎骏与吉卜力。6月12日至10月10日，由吉卜力工作室官方授权并监制，天禹文化产业集团、今日美术馆主办的“宫崎骏与吉卜力的世界——动画艺术展”在今日美术馆展出。展览通过大量珍贵资料展现吉卜力工作室台前幕后的故事，并对其艺术魅力和成就进行深入、全面地展示，以近300幅涵盖《龙猫》《千与千寻》《哈尔的移动城堡》等21部吉卜力工作室经典影片的复制画稿、复制设计稿及赛璐璐原片，展现吉卜力动画电影的创作过程和宫崎骏与吉卜力的动画艺术世界。　　吉卜力乃“撒哈拉沙漠上吹拂的热风”之意。第二次世界大战中，此名称曾被意大利军用作军用侦察机之名，身为飞机狂热爱好者的宫崎骏正是以此为来由，将工作室命名为吉卜力，包含了他“在日本动画界掀起一阵旋风”的期望。吉卜力工作室以《风之谷》的口碑票房双成功为契机，在1985年制作《天空之城》时，以制作《风之谷》的出版社德间书店为中心创办的动画工作室。之后，工作室主要以制作宫崎骏与高畑勋两位导演的剧场版动画为主。　　日本动画人物给人的印象总是大眼睛、樱桃小口、瓜子脸的标准模样，但宫崎骏笔下的人物形象朴实、健康、有亲和力。他作品中的主人公多是天真无邪的小女孩，例如《风之谷》里的娜乌茜卡、《天空之城》里的希达、《龙猫》中的姐妹小月和小梅、《千与千寻》中的千寻等等。她们都有一个共同的特点，那就是外表柔弱、内心坚强勇敢、懂得爱与付出、乐观面对一切挫折并积极应战。宫崎骏的笔下没有绝对的恶人，他塑造的反面角色大多是形象怪异、性格复杂的圆滑人物，例如《千与千寻》中的汤婆婆，虽然贪得无厌，对手下吹毛求疵、苛责打压，但是在对自己宝宝的万般呵护中，不难发现其母性的光辉。　　在构成宫崎骏动画电影视觉艺术的诸多因素中，色彩是给人最直接的视觉冲击力的元素。宫崎骏动画作品的画面之所以能够给观众带来美的视觉和温馨的回忆，其色彩表现力功不可没。宫崎骏不拘泥于描摹现实生活中的色彩，而是对色彩进行再创造，把自身的主观感受融入其中，将剧情的发展与色彩的运用成功地进行结合，才使得动画中的色彩富有独特的视觉魅力和欣赏价值。　　动画电影作为一种运动的艺术形式，故事中的人物和场景会随着剧情的变化而发展，因此，画面的色彩也会随着故事的进程而不断地发生变化。色彩本身虽是静止的，但应用到动画这种特殊的、运动的艺术形式当中，就可以通过镜头运动中的位置、大小、形状的变化来给观众情绪上造成起伏波动。例如《悬崖上的金鱼姬》，镜头从长时间拍摄水下深蓝色被污染的海洋氛围突然切换到陆地上高透明度的蓝天、白云和草地，使得画面形成了强烈的色彩冲突，将两个画面来回对比，最后就形成了色彩动态的连续对比，这样的效果就是运用了动画色彩的动态特征。　　宫崎骏作品中场景的色彩设计是随着人物情绪的变化而变化的，当人物角色高兴、欢快时，他会采用橘色、黄色等“兴奋色”作背景色来烘托画面氛；当人物角色心情沮丧、难过时，他会采用蓝色、紫色等“冷静色”来强化人物内心的低沉。在色彩的象征意义基础上，宫崎骏还擅长运用动画色彩的冷暖感来表达人物的情感特征。例如在《龙猫》中，不论是乡下的田野、小屋还是长满野草的石子路等等都是运用偏暖黄的色调，带给观众暖暖的、温馨的回忆；相反，在《哈尔的移动城堡》中，同样是草地，但宫崎骏并没有采用暖色调而是用大量的冷色调，引发人们陷入一种梦幻般宁静的遐想。　　绿色在宫崎骏动画电影中随处可见。青翠欲滴的树叶、一望无际的田野、布满青苔的石阶……各种层次郁郁葱葱的绿色让观众的身心跟着放松和愉悦。然而，宫崎骏影片中的绿色不仅仅是带给观众美感，还渗透着他对自然和生命的敬畏。宫崎骏经常使用的另一主色调是红色，它的出现往往意味着战争、灾难、流血，而蓝色则象征着和平与希望，例如《风之谷》中，娜乌茜卡总是穿着蓝色的衣服在天空中欢快地飞翔，白色的滑翔机和娜乌茜卡构成了和谐、清新的色调，代表着希望与成功。　　从场景空间的营造方面，宫崎骏与吉卜力工作室清新自然的风格，特别显现出其对场面调度的能力。以宫崎骏负责企划和编剧的《借物少女艾莉缇》为例，影片的主场景设定在郊外的一座老旧别墅的宅院，周围有茂盛的树木和植被、满园的花海、满墙的爬山虎，自然和静谧，而就在老宅子的地板下居住着童话里的借物一族，他们的身体只有人类一根手指的大小。这“一大一小”两种视角空间的营造给观众带来了奇幻的视觉体验和心理满足。影片先用了一个拉镜头交代了她所处的环境，紧接着切到仰拍表现人物惊奇的表情。随着艾莉缇仰头的动作切换到其主观镜头看到了一盏吊灯，然后又用了一个镜头回到了客观视点，从另外一个角度展示了“小人”和“大景”的比例关系。很多时候都是小人族眼中的大世界和人类眼中的小世界交替出现，前一个镜头还是微观世界，接下来的镜头已经是人类的视点，这就是影片对空间场景处理的微妙之处。　　在本次展览中，今日美术馆还根据空间特点量身打造独家装置——吉卜力世界之门，里面绘满吉卜力动画人物。穿过《哈尔的移动城堡》的随意门，宫崎骏与吉卜力的奇幻艺术世界就此展开。

When referring to Japanese animated films at the exhibition site, we have to say Hayao Miyazaki and kibli. The best feature length animation at the Academy Award, the first and only film in history to win one of the three major European film festivals as a film, and the Berlin Golden Bear animation "Chihiro" made the world know Hayao Miyazaki and kibli. From June 12 to October 10, the "Hayao Miyazaki and Ghibli's world - Animation Art Exhibition", officially authorized and supervised by Ghibli studio and hosted by Tianyu cultural industry group and Today Art Museum, was exhibited in Today Art Museum. Through a large number of precious materials, the exhibition shows the stories in front of and behind the stage of Ghibli studio, and deeply and comprehensively displays its artistic charm and achievements. It shows the creative process of Ghibli animation films and the animation art world of Hayao Miyazaki and Ghibli with nearly 300 copies of drawings, designs and original films of cylulu, covering 21 classic films of Ghibli studio, such as chinchilla, Chihiro and Hal's mobile castle. Ghibli means "the hot wind blowing on the Sahara desert". In the Second World War, this name was once used by the Italian military as the name of military reconnaissance aircraft. It is for this reason that Hayao Miyazaki, an aircraft enthusiast, named the Studio Ghibli, which contains his expectation of "setting off a whirlwind in the Japanese animation industry". Taking the opportunity of the double success of the word-of-mouth and box office of "valley of the wind", Ghibli studio established an animation studio centered on Dejian bookstore, the publisher of "valley of the wind", when producing "city of the sky" in 1985. After that, the studio mainly produced the theatrical animation of Hayao Miyazaki and Takahata. The impression of Japanese animated characters is always the standard appearance of big eyes, cherry mouth and melon seed face, but the characters in Hayao Miyazaki's works are simple, healthy and friendly. The protagonists in his works are mostly innocent little girls, such as nausika in the valley of the wind, HIDA in the city of the sky, sisters Xiaoyue and Xiaomei in the chinchilla, Chihiro in the thousand and thousand and so on. They all have a common feature, that is, they are weak in appearance, strong and brave in heart, know how to love and pay, be optimistic, face all setbacks and actively respond to them. There are no absolute villains in Hayao Miyazaki's works. Most of the negative characters he portrays are smooth characters with strange images and complex personalities. For example, grandma Tang in Chihiro is insatiable. Although she is picky and scolded and suppressed by her opponents, it is not difficult to find the glory of her motherhood in the all kinds of care for her baby. Among the many factors that constitute the visual art of Hayao Miyazaki's animated films, color is the most direct visual impact element. Hayao Miyazaki's animation works can bring beautiful vision and warm memories to the audience because of its color expressiveness. Hayao Miyazaki doesn't stick to depicting the color in real life, but recreates the color, integrates his subjective feelings into it, and successfully combines the development of the plot with the application of color, which makes the color in the animation full of unique visual charm and appreciation value. As an art form of movement, animated film will develop with the change of the story. Therefore, the color of the picture will continue to change with the process of the story. Although the color itself is static, when applied to the special and moving art form of animation, it can cause fluctuations in the audience's mood through the changes of the position, size and shape of the lens. For example, "goldfish on the cliff", the lens suddenly switched from the long-time shooting of the underwater dark blue polluted marine atmosphere to the highly transparent blue sky, white clouds and grassland on land, which made the picture form a strong color conflict. The two pictures were compared back and forth, and finally formed a continuous contrast of color dynamics. Such an effect is to use the dynamic characteristics of animation color. The color design of the scenes in Hayao Miyazaki's works changes with the changes of the characters' emotions. When the characters are happy and cheerful, he will use "exciting colors" such as orange and yellow as the background color to set off the atmosphere of the picture; When the character is depressed and sad, he will use blue, purple and other "cool colors" to strengthen the character's inner depression. Based on the symbolic meaning of color, Hayao Miyazaki is also good at using the cold and warm feeling of animation color to express the emotional characteristics of characters. For example, in "chinchilla", whether it is a field in the countryside, a cabin or a gravel road covered with wild grass, it uses a warm yellow tone to bring warm and warm memories to the audience; On the contrary, in Hal's mobile castle, it is also grass, but Hayao Miyazaki does not use warm colors, but uses a large number of cold colors, causing people to fall into a dream like quiet reverie. Green can be seen everywhere in Hayao Miyazaki's animated films. Green leaves, endless fields, mossy stone steps... Various levels of lush green make the audience relaxed and happy. However, the green in Hayao Miyazaki's films not only brings beauty to the audience, but also permeates his awe of nature and life. Another main color often used by Hayao Miyazaki is red. Its appearance often means war, disaster and blood, while blue symbolizes peace and hope. For example, in the valley of the wind, nausika always flies happily in the sky in blue clothes, and the white glider and nausika constitute a harmonious and fresh color, representing hope and success. In terms of the creation of scene space, the fresh and natural style of Hayao Miyazaki and Ghibli studios especially shows their ability to schedule the scene. Taking "the loan girl alitti", which Hayao Miyazaki is responsible for planning and writing, as an example, the main scene of the film is set in the courtyard of an old villa in the suburbs, surrounded by lush trees and vegetation, a sea of flowers in the garden and creepers with walls, which is natural and quiet. Under the floor of the old house, there are the loan family in the fairy tale, whose body is only the size of a human finger. The construction of "one large and one small" perspective space has brought fantastic visual experience and psychological satisfaction to the audience. The film first uses a pull lens to explain her environment, and then cuts to the back shot to show the surprised expression of the characters. With the movement of raising her head, she switched to her subjective lens, saw a chandelier, and then used another lens to return to the objective point of view, showing the proportional relationship between "villain" and "big scene" from another angle. Most of the time, the big world in the eyes of villains and the small world in the eyes of humans alternate. The first lens is still the micro world, and the next lens is already the human viewpoint. This is the subtlety of the film's treatment of space scenes. In this exhibition, today's art museum also customized an exclusive device according to the spatial characteristics - the gate of the world of Ghibli, which is full of animated characters of Ghibli. Through the random door of Hal's mobile castle, the fantasy art world of Hayao Miyazaki and kibli begins.