画面上女护士的眼睛温润秀气,覃昊的画笔先是滞留在她的微笑上,接着画出她身边的向日葵,又在写实与变形之间犹豫.他坐下点燃起一支烟,深深吸了一口,烟圈裹夹着他的犹豫在画面上方盘旋.一截烟灰从裤腿滑到地板上,这时他才意识到已戒烟,烟灰缸已收起,便把烟头掐灭.他眼睛里忧郁很深,嘴边那撮胡子耷拉着,握住笔,目光游离飘忽.阳台吊椅上挂着的风铃轻轻响了两下,仿佛提醒他手里悬着的画笔别落下来把美人涂鸦.他的画笔难以跳出生活真实,或者说对创作原型还缺乏体验,不得不搁笔.

影视剧艺术具有视觉性优势,文学具有想象性优势,影视剧艺术要吸取文学形象的新鲜感、独特性、深刻性特质,文学形象的深层次的思想精神可以支撑和提升影视剧人物形象的深度与艺术境界.

父亲抱回一只小黑狗,说是从路上捡到的.小黑狗长着两只滴溜溜的黑眼睛,一身黑绒绒的毛发.更使我喜欢的是,它活蹦乱跳,反应灵敏,痛则叫,快活也叫.没几天,我就和它混熟了.妈妈喂食时,不在意喊起“黑子”,小黑狗开始朝我看,我也叫了一声“黑子”,它噌的蹦了一下.自此,一家人都叫它“黑子”.

1 老汤在佳缘网上结识一位叫兰的女友,对上话才三天,就提出见面,女方欣然答应,还请他到银河酒店吃饭.初次见面,哪有女方请男方的,酒店还叫“银河”,莫非交桃花运了?老汤一夜美滋滋的,一早就刮干净胡子,想变得年轻些,兴冲冲去“银河”相会. 他背着皮包,来到银河酒店门口,看看手机,离和女友约会时间十一点半,还差一刻.只见进去的人络绎不绝,大厅里有两个漂亮姑娘站着恭候客人,也向他打招呼.他迟疑地站住张望,没有见到似佳缘网上照片的女人,于是就打她电话,电话刚接上,只见一个刚做了发型、半裸胸乳的女人,从厅内过道里走了出来.

艺术家的才华,突出表现为想象力,而在艺术想象中又离不开思想情感的渗透,这种可与直觉思维相融合的元素,称之为理解力.艺术家只有具备丰盈自足的创造的心灵,才能表现出非凡的想象力.理解力与想象力构成艺术创造力的一体两面.心灵的理解力将想象力提升到形而上的精神历险.艺术家的创造能力发挥到极致时,是有意识和无意识兼而有之,显现着无意识而有意识,无目的性而有目的性.

本文尝试对百年来新诗尚未解决的语言问题进行分析,提出诗要回到语言本体的论点.诗的语言魅力,首先表现在诗人对汉语的精到把握与独特创造,而一切内心意识、先知先觉以及意义发现,只有包蕴于语言创造中才具有诗学价值.由于诗意与诗形的剥离积弊已久,带来当代诗语言美学建构的难度与困惑.汉诗的语言美学建构依赖于对具体诗形的文本分析,特别要关注和探讨生长的“形”,需要在语言意识更新的语境中,发掘并激活汉语诗美的基因.现代诗意的“能在”与口语化书面语,使诗歌文本创造具有新的可能性.本文提出美的逻辑,旨在探索现代诗性体验的语词结构逻辑的有效性.

神遇、物化,是中国古代艺术家感悟或体验的独特方式.神遇,是心与物交会中一拍即合的原初默契,体现了“物”的亲在性、纯粹性与创造主体的本真性,是艺术创生的契机,可称为艺术直觉体验的初级阶段;物化,则是进入物我同一的高级直觉阶段,是在对形下的物的超越中进入形上的精神境界的实现.“庄周梦蝶”式的体验,是实现精神超越的大境界.王国维所说“无我之境”的写作难度,正表现在诗人对物化体验深度把握之不易.物化的体验方式,是中国独有的静观境界.

艺术原创作品应该是一个生态系统.它表现为艺术本源的本真深邃、形象的结实饱满以及艺术结构的生命张力和整体平衡.形象根于作品结构之中,艺术整体结构的多维深度的自然和谐,是形象发生魅力的深厚基础.趣味是“灵魂的微笑”,是艺术生命的形态表现,于独特的趣味表象之中包裹着味之深意或美的内质,“味外之旨”,即是上乘的作品境界.味或魅力,是复杂的生态的艺术形象整体结构的效应.

创世纪诗刊或创世纪诗社是诗人自由发起创办.原创力,支撑着创世纪“三驾马车”及许多同仁的探索之路,由此开启和维系创世纪纯正的诗风,在中国新诗坛独树一帜.自由精神,作为创世纪的灵魂,自然是洛夫、痖弦、张默诗歌原创力的第一要素.原创理论还包括经验(体验)、技法、想象力等,这在三人诗歌创作中都有其独特表现.新诗,需要一代代诗人不停地创造.

Art theory is based upon the original art study. Original art study means to study the inherent quality of art creation and art principles. Based upon the creation practice of every category of arts, the theory of original art study is describing the essence and secrete of art creation. Inspiration and penetrating judgment made by theoretical critics is beneficial to the profound comprehension of art.

Qu,i.e.,interest or delight is not simply an aesthetic form but an essential element of art.Yan Yu's thoughts on Qu emphasizes the metaphysics displayed in the poems of Tang Dynasty and should not be classified into an independent aesthetic category.In Ming Dynasty,Yuan Hongdao's ideas about Qu stated that good writing was a result of genuine emotions and personal experience.

Breaking through the confine of closed traditions and leftism at the end of the 20th century,especially the impact of "Post-New Poetry"in the late 80s,led New Poetry to a decay of artistic beauty in form of Chinese characters.This phenomenon resulted from the popularity of losing consciousness of our mother tongue.To construct a new poetry form is to explore a mother language.New Chinese poem writing cannot do without the consideration of special features of Chinese characters.Creating a new form at a lexical level in a poem is in fact creating a poetic meaning.Classical Chinese poetry with its history of thousands of years can serve as a fundamental resource,helping explore and create the special implication of a modern Chinese poem.

As an ancient motif of artistic dialectics,ying and yang,affiliated or infiltrated in the form structure of artistic dialectics,are the genes for the natural world and mankind to evolve.The principles of artistic dialectics are universal,but in some given works or in the process of artistic creation,its forms would present a unique manifestation and connotation.So in the study of ancient Chinese artistic dialectics,we should trace its origin to discover its nature and character and reveal its Chinese elements with vigorous theoretical life.