电影《满江红》“中和”美学特征  

“Zhonghe”Aesthetic Characteristics in the Film Full River Red

作　　者：张思邈 王燕平 ZHANG Simiao;WANG Yanping(The Arts Faculty,North University of China,Taiyuan 030051,China)

机构地区：[1]中北大学艺术学院,山西太原030051

出　　处：《中北大学学报(社会科学版)》2025年第2期121-126,共6页Journal of North University of China:Social Science Edition

摘　　要：电影《满江红》将中国儒家经典“中和”美学理念创新性地贯穿于影片中,形成影片别具一格的艺术风貌。影片通过特别的叙事手法与表达方式展现出“中和”美学的三个特质:通过角色的塑造与宋词的引用形成刚柔相济的美感体验;通过色彩的运用与人物形象的塑造形成和谐统一的审美愉悦;通过音效的设计与剧情的发展体现出动静皆宜的美学艺术。以上三个看似对立却又统一的元素,在电影中得到了极致的调和,从而深刻凸显出“中和”美学的韵味,以及多元和合之美感。The film Full River Red incorporates the Confucian“Zhonghe”aesthetic concept into its narrative,creating a unique artistic style.Through special narrative techniques and modes of expression,the film displays three key traits of“Zhonghe”aesthetics:the balance of softness and strength through character development and references to Song Dynasty poetry;the creation of a harmonious and unified aesthetic pleasure through the use of color and character design;and the embodiment of a dynamic and static aesthetic through sound design and plot development.These three seemingly opposing yet unified elements are harmoniously blended in the film,highlighting the charm of“Zhonghe”aesthetics and presenting a beauty of diversity and unity.

关 键 词：《满江红》 中和美学 多元融合 对立与统一 

分 类 号：G623.2[文化科学—教育学]