“赋比兴”与当下中国电影美学重建  

"Fu Bi Xing"and the Aesthetics Reconstruction of Contemporary Chinese Film

作　　者：陈林侠[1] Chen Linxia

机构地区：[1]中山大学中文系

出　　处：《电影艺术》2023年第5期18-25,共8页Film Art

基　　金：2019年国家社科基金重大项目“中国电影文化竞争力与海外市场动态数据库建设”(批准号:19ZDA271)阶段性成果。

摘　　要：作为中国古典诗学的重要范畴,赋的特殊内涵首先是“以境写人”,形成超越具体意象的“事象”,其次,内嵌其中的主体性独白彰显恢宏的想象与充沛的情感。“比”的特殊性在于“比德”,后者蕴含了好生、乐生的生命情感及其宇宙本体观。兴的重要性首先在于“不写之写”的技法与含蓄隽永的审美趣味;其次是提供了“趣味优先”而非“思想优先”的审美标准。赋比兴理论为当下中国电影提供了一条不同于西方电影叙事本体观念的思路,具有重要的美学价值。As an important category of Chinese classical poetry,the first special connotation of Fu is"describing people through context",forming an afair imagery that transcends specific imagery.The second is that the embedded monologue highlights grand imagination and abundant emotions.The uniqueness of Bi lies in"virtue comparison",which infitrates the innate emotions of maintaining the value of life.The importance of Xing lies firstly in the technique of"writing without writing"and the implicit and meaningful aesthetic taste;secondly,it provides an aesthetic standard that prioritizes interest over thought.The theory of Fu Bi Xing provides a different approach from the narrative ontology of Western films to contemporary Chinese films,which has an importantaestheticvalue.

关 键 词：赋比兴 以境写人 比德 不写之写 含蓄隽永 

分 类 号：J901[艺术—电影电视艺术] I207.2[文学—中国文学]