从“意境”到“气氛”：当代中国电影美学表达的祛魅与重塑

From “Yijing” to “Atmosphere”: The Disenchantment and Reconstruction of Aesthetic Expression in Contemporary Chinese Cinema

摘要: 意境作为中国传统美学的重要理念，一直在中国电影中发挥着独特的作用。从早期现实主义影片到当代科幻影像，意境始终影响着影像叙事与空间营造。然而，近年来部分影片为追求“意境化”表达，出现了风格符号化与表达程式化的倾向。原本物我交融、开放自由的审美空间逐渐被技术化与符号化的表达所取代。这种转变不仅削弱了意境原本的多样生成性，也限制了观众作为个体在影像中的情感体验。通过对意境美学在中国电影中的理论发展与实践困境的梳理，笔者引入气氛美学的视角，气氛美学并非代替意境，而是为意境的当代表达提供感知入口和空间基础。在这一意义上，气氛可作为通向意境的感性路径，而意境则为气氛提供文化深度与哲思向度。

Abstract: As an important concept in traditional Chinese aesthetics, yijing has long played a distinctive role in Chinese cinema. From early realist films to contemporary science-fiction images, yijing has continuously shaped cinematic narration and spatial construction. In recent years, however, some films have pursued “yijing-oriented” expression in ways that tend toward stylistic symbolization and expressive formalization. The original aesthetic space of subject-object integration, openness, and freedom has gradually been replaced by technologized and symbolic modes of expression. This transformation not only weakens the diverse generative potential of yijing, but also limits the emotional experience of viewers as individual subjects. By reviewing the theoretical development and practical difficulties of yijing aesthetics in Chinese cinema, this paper introduces the perspective of atmosphere aesthetics. Atmosphere aesthetics does not replace yijing; rather, it provides a perceptual entry point and spatial foundation for the contemporary expression of yijing. In this sense, atmosphere can serve as a sensory path toward yijing, while yijing provides atmosphere with cultural depth and philosophical orientation.