《长安三万里》的盛唐文化辨识路径——兼论电影创作的中国美学意象的诗性表达

The Path of Cultural Identification in the Tang Dynasty Portrayed in Chang An——Regarding the Chinese Aesthetic Expression of Film Creation

动画电影《长安三万里》极具中国美学风格尤其唐代文化辨识度,通过俯仰自得的镜头语言创构了雄浑绚丽的意象空间,表现了“以大观小”等中国传统艺术的空间意识及中国人节奏化、音乐化的宇宙观。它采取“三叠式”叙述饶有兴味地讲述了李白和高适跋山涉水“不平则鸣”的人生旅途,贯穿行卷、终南捷径、崇武尚文、广纳胡乐等唐代文化特色,同时以气韵生动的群像塑造阐扬了唐代所绽放的自由率真的生命格局与发抒个性的社会风尚。

The animated film Chang An is highly recognizable to Chinese aesthetics, especially the culture of the Tang Dynasty. It creates a powerful and gorgeous image space through the language of the camera and expresses the spatial consciousness of traditional Chinese art such as “looking at the big and the small” and the rhythmic and musical cosmology of the Chinese people. It takes the “triple style”narration to tell the interesting story of Li Bai and Gao Shi's life journey of “injustice”, running through the Tang Dynasty cultural characteristics such as travel, south shortcut, worship of Wu and culture, and wide cultivation of Hu music. At the same time, it shapes and interprets the free and straightforward life pattern and the social trend of expressing individuality in the Tang Dynasty with vivid group images.