传统龙纹在国粤双语动画角色造型中的活化应用——以粤语地区工艺美术为视角

传统龙纹在国粤双语动画角色造型中的活化应

用——以粤语地区工艺美术为视角

童超然 贺止尧¹

（1.韶关学院）

【摘要】在国产动画产业化速度变快、文化自信提高的背景下，传统龙纹属于中华文化里辨识度最高的视觉符号之一，现在经常出现在动画角色造型当中，国粤双语动画是连接内地和粤港澳大湾区文化市场的重要媒介形式，它的角色造型既要承载中华民族共有的文化记忆，也要面对如何回应粤语受众地域文化认同的特殊问题。本文以粤语地区工艺美术（广绣、潮绣、广彩、牙雕、木雕、石雕等）里的龙纹造型作为参照，结合文化符号学与视觉修辞理论，用扎根理论与案例分析的方法，对近年有代表性的国粤双语动画作品里的龙角色造型进行了系统分析。研究得到以下结果：粤语地区工艺美术里的龙纹，在造型动态、颜色搭配、构图特点和象征含义这四个方面，形成了和中原宫廷龙纹不一样的特殊审美体系；国粤双语动画对粤地工艺龙纹的活化，遵循“符号提取—语法转译—语境重构”这三个步骤，这种活化背后，是地域文化自觉、数字技术助力和国粤双语产业适配三个方面一起促进的，本研究整理了粤地工艺龙纹的造型规律，说明了从“地域纹样”变成“动画角色”的转化逻辑，给传统纹样的跨媒介转化、地域文化的动画化表达给出了理论和实践方面的参考。

【关键词】传统龙纹；国粤双语动画；角色造型；粤语地区工艺美术；文化活化

The Revitalization Application of Traditional Chinese Dragon Motifs in

Cantonese-Mandarin Bilingual Animated Character Design: A Study Based on the

Perspective of Arts and Crafts in Cantonese-Speaking Regions

Tong Chaoran He Zhiyao¹

（1.Tong Chaoran, He Zhiyao School of Fine Arts and Design, Shaoguan University，China）

[Abstract]Against the backdrop of accelerated industrialization of Chinese animation and heightened cultural confidence, traditional Chinese dragon motifs—one of the most recognizable visual symbols of Chinese culture—have frequently appeared in animated character design. As an important medium connecting the cultural markets of the mainland and the Guangdong-Hong Kong-Macao Greater Bay Area, Cantonese-Mandarin bilingual animation must not only carry the shared cultural memory of the Chinese nation but also address the unique challenge of responding to the regional cultural identity of Cantonese-speaking audiences. Taking the dragon motifs in the arts and crafts of Cantonese-speaking regions (including Guangzhou embroidery, Chaozhou embroidery, Guangzhou enamel, ivory carving, wood carving, and stone carving) as a reference framework, and integrating cultural semiotics and visual rhetoric theories, this study employs grounded theory and case analysis to conduct a systematic examination of dragon character designs in representative Cantonese-Mandarin bilingual animation works in recent years. The findings reveal that the dragon motifs in the arts and crafts of Cantonese-speaking regions have formed a unique aesthetic system distinguishable from the imperial dragon motifs of the Central Plains in four dimensions: formal dynamics, color system, compositional characteristics, and symbolic connotations. The revitalization of these regional dragon motifs in Cantonese-Mandarin bilingual animation follows a threefold pathway of "symbol extraction—grammatical translation—contextual reconstruction," driven by the interplay of regional cultural consciousness, digital technological empowerment, and industrial adaptation for Cantonese-Mandarin bilingual content. This study systematically identifies the formative grammar of Cantonese regional dragon motifs, reveals the transformation logic from "regional patterns" to "animated characters," and offers both theoretical and practical references for the cross-media transformation of traditional motifs and the animated expression of regional cultures.

 [Keywords]Traditional Chinese dragon motifs; Cantonese-Mandarin bilingual animation; character design; arts and crafts in Cantonese-speaking regions; cultural revitalization

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