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不论是通过“城春草木深”来流露“国破山河在”的感怀,还是“流水落花春去也,天上人间”的失落惑。在中国的文学里,利用对比来表达一份超越景物,而具有更深含义的体会,几乎是信手可得的。画框里的取舍,可以把似乎是毫不相干的景物联结成一份能够为观赏者带来遐思的情趣,更难得的是,它说不定会使得不同的观赏者,因为不同的经历和思维而激发起因人而异的感受和解释。这就是视觉语言里“对比”的应用,它为照片带来了深度和内涵。景物的本身和对景观的描叙都不再是摄影的主要目的。在这张摄于四川丹巴照片里的对比,是说明老树沧桑的岁月还是粉刷后藏居的朝气?
Whether it is through the “city of spring grass deep” to show “country broken mountains and rivers in the ” feeling, or “water flowering spring also, heaven and earth ” of the lost puzzled. In Chinese literature, the use of contrast to express a beyond the scenery, and have a deeper meaning of the experience, is almost readily available. The choices in the picture frame can unite the seemingly unrelated scenes into a scene that can bring reveries to viewers. What is even more rare is that it may make different viewers different experiences and thinking Inspired by different people’s feelings and explanations. This is the application of “contrast” in visual language, which brings depth and meaning to the photo. Scenery itself and the description of the landscape are no longer the main purpose of photography. In this photo taken in Sichuan Danba contrast is to explain the vicissitudes of life or painting the vitality of whitewashed?