流光飞舞浮光掠影——《青蛇》之意境分析

作为一种审美崇尚，意境已深深地积淀于中华民族的艺术文化心理之中，并渐渐成为一种‘无意识’状态而随时可能渗透于艺术作品之中。中国电影求其神似，求其意境，追求影片内涵的抒情写意性和镜头画面的诗化意境。我们知道，意境的形成是从“情景交融”开始，通过“虚实相生”接通有限与无限的，所以，意境具有了情景交融、虚实相生和“象外之象”等三方面审美特质，它们相互融合，极大地丰富了意境的本质和内涵。意境在中华民族的审美意识里占据着“中心位置”。因此，无论是哪一代中国电影导演在创作中都不同程度地追求意象和意境的审美体现，注重通过意象的组合，感物兴情，情与物融，营造出浑合无垠以至两忘的审美意境。

Artistic Conception of the QingShe

As a kind of taste admiration, artistic conception has settled in Chinese artistic cultural mind. It gradually becomes a state of unconsciousness and may penetrate into works of art at any time. As we all know, the formation of artistic conception begins with the blending of emotion and scene and gets through limit and limitlessness by the combination of falsehood and truth. Therefore, artistic conception has three taste qualities including the blending of emotion and scene, the combination of falsehood and truth and the concealing of deep meaning in something superficial. These three mingle with one another, greatly enriching the essence and connotation of artistic conception. Artistic conception takes up a central place in Chinese taste consciousness. So every generation of Chinese film directors pursue the taste embodiment of image and artistic conception in their production to a different extent and pay much attention to creating the artistic conception with blending and limitlessness by the assembling of images, the plaint of things to express emotion and the blending of emotion and things.