从审美的原始意象看张艺谋电影《影》中 中国水墨艺术与影视服装在语言表达上的共情特征  

A Review of the Chinese Ink Painting Art and the Empathic Characteristics of Film and Television Clothing in Language Expression in Zhang Yimou's Film The Shadow from the Original Aesthetic Image

作　　者：刘思如[1] 刘丰溢 Liu Siru;Liu Fengyi

机构地区：[1]鲁迅美术学院染织服装艺术设计系 [2]鲁迅美术学院视觉传达设计学院

出　　处：《服装设计师》2020年第10期118-121,共4页Fashion China

摘　　要：张艺谋电影的服装爱用纯色,从《大红灯笼高高挂》和《英雄》再到《十面埋伏》和《满城尽带黄金甲》,无一离不开纯色,从《金陵十三钗》开始张艺谋慢慢地走向含蓄路线,电影《影》更是一改往日作风,采用了黑白水墨的服装来塑造人物,烘托气氛,本文以荣格的“原始意象”思想为理论依据,从水墨对影视服装的款式设计,人物性格塑造和服饰图案的影响几方面进行阐述,体现艺术的移情作用和共情特征。zhang clothing love with pure color,from the red lantern"and"hero"and"house of flying daggers"and"curse",all leave the pure color,begin from the jinling thirteen women zhang slowly to the implicit"shadow"is a movie should allow the clothing to shape characters of black and white ink,foil atmosphere,based on jung's idea of"original image"as the theoretical basis,from the ink style of film and television dress design,shape character and the influence of the apparel pattern,artistic characteristics of empathy,and empathy.

关 键 词：水墨 阴阳美学 原始意象 

分 类 号：J90[艺术—电影电视艺术]