中国电影吸收和移植了传统绘画的意象元素和视觉特征,色彩是其中一个重要方面。本文选取中国80年代的乡土主义电影为研究对象,通过文本对比,探讨其对传统绘画,尤其是青绿山水画的色彩美学移植。电影将传统视觉审美与荧幕技术的物质性相结合,其色彩观念和趣味与青绿山水画遥接,高度控制的色彩体系与多视点构图、无限的空间意识等相契合,共同构筑了民族化的影像体系。 Chinese film absorbs and transplants the image elements and visual features of traditional painting. Color is one of the important aspects. This article chooses the Chinese nostalgic movies of the 1980s as the research object, and compares the color aesthetics transplants to the traditional paintings, especially the QingLu landscape paintings through textual comparison. The film combines the traditional visual aesthetic with the materiality of the screen technology. The color concept and taste are directly linked with the green landscape painting. The highly-controlled color system is compatible with the multi-viewpoint composition and infinite space awareness to form a nationalized Image system.