灵性视觉的感官超载——与叶锦添谈《封神第一部》的美术创作  

Sensory Overload for Spiritual Vision:A Conversation with Tim Yip on the Production Design of Creation of the Gods I

作　　者：姜霖 Jiang Lin

机构地区：[1]青岛电影学院视觉艺术系

出　　处：《电影艺术》2023年第5期138-143,共6页Film Art

摘　　要：《封神第一部》独具特色的东方美学视觉效果已获观众广泛接受。美术指导和人物造型指导叶锦添在“传统与创新并重、历史与当代融合”的美学思路下,以“灵性”为核心视觉设计理念,为电影的美术设计融入元明道教服饰、宋朝壁画和商周青铜器等美学元素,搭建出人界、妖界和仙界三个各自独立又相互关联的美学系统,将道具具象化成王权之象征、神权之意象以及人情之载体,让服饰及造型契合人物属性、表达人物情绪、推动剧情发展和呈现“灵性”视觉效果。The unique oriental aesthetics of Creation of the Gods I has been widely accepted by the audience.Under the aesthetic idea of"equal emphasis on tradition and innovation,and fusion of histry and contemporary",art director and character modeling diretor Tim Yip took spirtuality"as the core visual design concept.and incorporated Yuan and Ming Taoist costumes,Song Dynasty murals and Shang and Zhou bronzes into the fim's art design.The aesthetic elements for the film incorporated Yuan and Ming Taoist costumes,Song Dynasty murals and Shang and Zhou Bronzes,etc.,to build up three separate but interrelated aesthetic systems tor the human,demon and immortal realms,and to visualize props as symbols of kingship,imagery of divine power and carriers of human feelings,so that the costumes and shapes fit the characters'attributes,express their emotions,promote the plot development,and present the visual effect of"spiritualty".

关 键 词：电影美术设计 视觉效果 灵性 神话 

分 类 号：J905[艺术—电影电视艺术]