“十七年”时期,中国电影创作者不断向各种传统文学艺术形式吸取养料,探胜求宝,从而建立起一套可以视之为“游”的美学观念作为主要表现手段的电影艺术体系。这一艺术体系更多地渗透着中国传统绘画美学的印迹。理论界对这一时期电影的研究,很少以传统绘画美学做切入点。基于此,本文从导演、摄影、美术设计三个方面将此一时期传统绘画美学向电影艺术的有意识移植做了新的阐释。 During the “Seventeen Years” period, Chinese film creators constantly nourished raw materials in various forms of traditional literature and art and sought solutions to their needs, thus establishing a set of aesthetic ideas that can be regarded as “traveling” as the main means of expression Film art system. This art system is more permeated with the imprint of Chinese traditional painting aesthetics. Theorists in this period of the film’s research, seldom take the traditional painting aesthetics as a starting point. Based on this, this paper makes a new interpretation of the traditional portrayal of aesthetics in this period from the director, photography and art design to the conscious transplantation of cinema art.