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电影是一种造型艺术,银幕形象具有明晰、逼真的特点。而“形象模糊”往往与艺术失误同义。 但“模糊”未必就不是艺术。古人赋诗,朦胧不失为一种美妙意境。宋人苏轼屡将模糊景色入诗而创造朦胧美,“楼台明灭山有无”(《腊日游孤山访惠勤惠思二僧》),神韵万千;“山色空蒙雨亦奇”(《饮湖上初晴后雨》),妙境深远。而国人泼墨作山水更不离空蒙意境。大画师李可染笔下漓江可谓一绝,《漓江烟雨》如其自题,“雨中泛舟漓江,山水空蒙恍如置身水晶宫中”,借模糊之意象将景写活,空蒙中的美妙景象呼之
Movie is a kind of plastic arts, the screen image has a clear, realistic features. The “image blur” is often synonymous with artistic errors. But “fuzzy” is not necessarily not art. The ancients have poetry, hazy after all, a wonderful mood. Su Shi often blurred the scenery into poetry and create hazy beauty, “Lou Ming outbreak of the mountains without” (“Wailu visit Wailian Hui Sisi monk”), the charm of thousands of miles; (“After the lake first clear after the rain”), Wonderland far-reaching. The Chinese people do not leave the ink landscape more empty Meng mood. The great artist Li Ke-dye can be described as a Lijiang River, “Lijiang River Yanyu” as its own title, “rafting in the rain Lijiang River, landscape empty Mengru exposure to the Crystal Palace”, by the vague image will King write live,