众所周知,上世纪90年代以前,动画片在中国被称作美术片或美术电影,可见中国人认为美术性对动画这种影视艺术来说具有的重要意义。动画与一般电影相比,在影视美术方面所体现出的维度更多。除了要通过美术的手段塑造环境、人物和镜头画面以外,它多出来的一个维度就是材质。这也是动画本体论中专门有“材质本体论”一说的原因。金柏松在《论美术片中的物理效应》一文中提出美术片“是纸、颜料、各种材料、胶片、光线、放映等复杂工艺过程下的一连串物理效应中的产物。美术的因素决定了它有着与其他任何电影艺术所不同的属性……实际上,美术片从诞生那天起就是材料在复杂工艺 As we all know, before the 90s of last century, animators were called art films or art films in China. This shows that Chinese people think that artistry is of great significance to animation and film art. Animation compared with the general film, in the film and television art reflects the more dimensions. In addition to the artistic means to create the environment, people and the lens screen, it is a dimension of extra material. This is also the reason why animation ontology has its own ”material ontology.“ In his article ”The Physical Effects in the Art Films,“ Jin Bo-song proposes that the art film ”is the product of a series of physical effects under complicated processes such as paper, paint, film, light, projection, etc. The art factor determines that it has Different from any other movie art attributes ...... In fact, art since the birth of the material in the complex process