中国电影的美学源流及价值向度

The Aesthetic Origin and Value Dimensions of Chinese Movies

中国电影的发展离不开中国美学。中国的传统美学可以区分为儒家美学和道家美学,儒家美学的内核是以忧患意识为表征的积极入世精神,而道家美学否认美以伦理为前提,追求自由的审美境界。中国的传统艺术也有两种美学基础和价值取向,并可以分为叙事艺术和造型艺术两大类型。在中国美学和艺术的影响下,中国电影形成了两条美学和艺术线索,一是重社会功利、讲求戏剧化叙事的电影导演和电影作品,二是强调艺术的本体、重"韵味"的电影传统。中国电影在吸收中国传统美学和艺术的营养的同时,需要认识到美学精神和美学意识对电影发展的重要性。

The development of Chinese movies cannot be separated from Chinese aesthetics.The traditional Chinese aesthetics can be divided into Confucian aesthetics and Taoist aesthetics.The core of Confucian aesthetics is the spirit of entering into the world characterized by the consciousness of hardship,while Taoist aesthetics denies that beauty is on the premise of ethics and pursues the aesthetic realm of freedom.The traditional Chinese art also has two aesthetic bases and value dimensions,and can be divided into narrative art and plastic art.Under the influence of Chinese aesthetics and art,Chinese movies have formed two aesthetic and artistic clues.One is the directors and movies that attach importance to the social utility and the dramatic narrative;the other is tradition of the movies that emphasizes the noumenon of art and the'charm'.While absorbing the nutrition of traditional Chinese aesthetics and art,Chinese movies need to realize the importance of aesthetic spirit and aesthetic consciousness to the development of movies.