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平面和深度初识钟蜀珩是在1987年隆冬。我替一部关于黄河的电视片撰稿,她替这个摄制组布置一间演播室。这是一个出乎我们想象的设计。偌大一面背景画(5M×4M),黄河壶口作为主体形象从黄土高原的夹峙中冲决而下,黄土峁里,隐约透出战马的骸骨。背景画的前方,是三块各1.5M×4M的隔板画,分别画着半坡的陶盆,龙门的佛头等等标志着黄河文明的文物。这三块隔板画,一左一右一斜侧,分别与背景画拉开一米不等的距离,同背景形成一定的屏蔽和夹角。没有复杂的色彩,只有黄色基调依明暗关系在一个色区里展开。在精心布置的灯光照射下,它们浑然一片,似乎是一个平面。然而它们确实是一个前后并置的空间。
Plane and depth understanding of Zhong Shu Heng in winter in 1987. I wrote a TV series for the Yellow River, where she set up a studio for the crew. This is a design that goes beyond our imagination.偌 big side background painting (5M × 4M), the Yellow River Hukou as the main image from the loess plateau in the folder Zhi in the rushed down, the Loess Lane, looming war horse bones revealed. The background is painted in front of three 1.5M × 4M partitions painted with pots of Banpo and pottery of the gantry, etc., all of which symbolize the artifacts of the Yellow River civilization. The three partitions are painted side-to-side and side-to-side with a distance of one meter apart from the background, forming a certain amount of shielding and angle with the background. No complex color, only the yellow tone in light and dark relations in a color zone. In the light of the well-placed lighting, they all seem like a plane. However, they are indeed a space that juxtaposes.