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中国古代文论中有“诗画一律”之说:唐代张彦远《历代名画记》中就有“书画异名而同体”之语。一方面,唐代学者已经点出了中国艺术门类的互通性和整体性;而另一方面,“诗画一律”之说同样也包含了中国古典美学的共同追求——即“遗其形似,尚其骨气,以形式之外求其画。”而作为开中国“诗化电影”之先河的电影导演费穆,其镜头语言也具有同样的东方美学特色。《小城之春》的作者用东方色彩的笔致——冲淡的笔致描写了一则美丽的东方人的故事。
In ancient Chinese literary theory, there is “poetry and painting all” said: In the Tang Dynasty, Zhang Yanyuan’s “Famous Paintings of Different Dynasties,” there is a “painting and calligraphic synonyms”. On the one hand, scholars in the Tang Dynasty have already pointed out the interoperability and integrity of the Chinese art genres; on the other hand, the theory of “poetry and painting is all about” also includes the common pursuit of Chinese classical aesthetics - Its shape, yet its integrity, in order to form their own paintings. “And as a pioneer of China ” poetic movie “of the film director Fei Mu, the lens language also has the same oriental aesthetic characteristics. The author of ”Spring in a Small Town" uses oriental-colored pen and ink - a poignant description of the story of a beautiful oriental man.