论武侠影视文本中的"神妙"审美形态——以《卧虎藏龙》为例  

On the Aesthetic Form of“Miraculousness”in Martial Arts Film and Television Texts:Take Crouching Tiger,Hidden Dragon as an Example

作　　者：孙瑞雪 SUN Ruixue(School of Humanities,Shanghai Normal University)

机构地区：[1]上海师范大学人文学院

出　　处：《河南教育学院学报（哲学社会科学版）》2020年第1期103-106,共4页Journal of Henan Institute of Education(Philosophy and Social Sciences Edition)

摘　　要："神妙"作为中国古典审美形态,具有形而上的"内审美"超越性,体现了中国古人对于无限的道的追求和大自由精神.李安的电影文本《卧虎藏龙》着眼于"神妙"超越形式的特征,不拘泥于武侠动作招式,而是注重人物精神世界的表达,在角色打斗中延伸人物关系,表达影片思想.玉娇龙骄横任性、勇于反抗、追求自由.李慕白外道内儒、压抑欲望、性格矛盾.影片让两位性格截然不同的人物以青冥宝剑为线索产生戏剧冲突,在冲突中表现"神妙"的内审美精神,即在死亡仪式中超脱外在束缚,获得内在自由.中国武侠电影独具一格,得到全球电影市场的关注,与其蕴含的中国古典审美形态密切相关,《卧虎藏龙》正是具有中国"神妙"审美形态的典型代表.As a classical Chinese aesthetic form,“Miraculousness”has a metaphysical transcendence of“Inner aesthetic”,which reflects the ancient Chinese’s pursuit of infinite Tao and the spirit of great freedom.LI An’s Crouching Tiger,Hidden Dragon focuses on the transcendental form of“Miraculousness”,does not stick to the martial arts movement moves,pays attention to the expression of the character’s spiritual world,extends the relationship of characters in the role fight,and expresses the film’s thoughts.YU Jiaolong is arrogant,capricious,rebellious and pursues freedom.LI Mubai pursues Taoist thought on the surface,but believes confucianism in his heart.He suppresses desire and has contradictory character.Using the Qingming sword as a clue,the film allows two characters with different personalities to create a drama conflict.In the conflict,the inner aesthetic spirit of“Miraculousness”is expressed that the external bond is detached and the inner freedom is obtained in the death ceremony.The Chinese martial arts film is unique and has received the attention of the global film market.Closely related to the Chinese classical aesthetic form,the Crouching Tiger,Hidden Dragon is a typical representative of China’s aesthetic form“Miraculousness”.

关 键 词：神妙 武侠 超越 内审美 自由 

分 类 号：J905[艺术—电影电视艺术] I207.351[文学—中国文学]