上海视觉

上海视觉 ›› 2026, Vol. 0 ›› Issue (1): 1-6.

• 中国电影的多维表达 •    下一篇

气韵追求·镜像观照·意象转化：中国电影的空间实践与审美创造

郑文杰   

  1. 南京艺术学院， 南京 210013
  • 出版日期:2026-01-20 发布日期:2026-03-30
  • 作者简介:郑文杰（1994— ），男，云南大学民族学博士，南京艺术学院博士后科研流动站在站博士后。研究方向为民族文化与民族艺术。

The Pursuit of Spirit, Mirror Reflection and Image Transformation: The Spatial Practice and Aesthetic Creation of Chinese Films

ZHENG Wenjie   

  • Online:2026-01-20 Published:2026-03-30

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摘要：

中华艺术是一种空间性的审美实践活动。中国电影受到传统审美意识的滋养，融合并开拓出“电影性”的方法论，使这门舶来艺术按照民族审美习惯向内适应与转化，释放出一种独特的艺术灵韵。中国电影借助远全景、空镜头的摄影技法实现传统审美意识中追求盈余与虚空的空间意识；以运动长镜头的视听语言继承并发展了传统“流观”的空间观照法则，把握、体验造化万物的运动轨迹与生命节奏；通过选择、摄取天地万象，将那些难以言表的“情”与“意”转化为可听、可视、可感的审美意象，让人心领神会。

关键词: 中国电影, 空间创造, 中华美学, 传统文化

Abstract:

Chinese art is fundamentally a spatial aesthetic practice. Nourished by traditional aesthetic consciousness and cognitive modes, Chinese films demonstrate particular ingenuity in spatial invention and conception, releasing unique aesthetic ideals and artistic spirit. Through cinematographic techniques like wide shots and empty frames, Chinese films realize the traditional aesthetic pursuit of fullness and emptiness; through moving long takes, they inherit and develop traditional flowing perspectives, grasping and experiencing the movement patterns and life rhythms of nature through selecting and capturing universal phenomena, they transform intangible "emotions" and "events" into audible, visible, and sensible aesthetic images that resonate with viewers.

Key words: Chinese Film, Space Creation, Chinese Aesthetics, Traditional Culture

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