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明月前身

类型：剧情片 地区：中国大陆  年份：2006 

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剧情简介

<p>　　二十世纪二十年代,西洋画及西方审美思潮大举进入中国。留学巴黎的栗黛安小姐带着一个令西方艺术界异常关注的论文命题——《中国国画大师背后的女人》回到了上海,她将研究目标锁定在当时的海派领袖吴昌硕大师的身上。 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<br/> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;　　栗黛安的研究方向是要深入到国画大师内心的,对于中国的旧式文人,向人袒露心扉并非一件易事。大师从介绍一位亦师亦友的画家蒲华开始,逐渐向栗女士揭开中国文人内心的正直与浪漫。 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<br/> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;　　为了将 “汉三老碑”这一国宝留在祖国大地上,吴老发动书画界所有正直的文人义卖作品、藏品,筹款救宝。他本人因被无良的日本商人刻意刁难,无奈中凑出了一套一直珍藏在身边的金石作品参加拍卖。这其中有他的心血凝结之作——“明月前身”,石头上刻着的是他生命中不可磨灭的一段情感经历、刻着的是他生命中最初的也是最难割舍的爱恋、刻着的是他那短命而未婚的妻……是夜,大师突然从梦境中惊醒,他仿佛看到那个被刻在印章上的女子,在他前面飘忽悠然的前行,飘啊,飘啊,没入了一片竹林…… &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<br/> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;　　这一套珍贵的印章,在栗黛安女士的精心安排下,委托友人竞拍成功。“汉三老碑”在爱国文人们的集体努力下终于留在了故土。而在一些正直的日本艺术家的邀请下,吴昌硕最终同意了“花卉十二屏”的制作,使傲人的艺术作品得以传播海外。 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<br/> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;　　大师邀请栗女士和他一起到故乡安吉进行创作。在故乡的旧屋,栗黛安将拍卖中购得的那套印章交到了老人手中。恍惚间,在大师的眼中,早年恋人章氏的形象仿佛从栗黛安的身上浮现出来,感动与恍惚交错,今人和昔人交融,正所谓,“古月今照,明月前身”。 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<br/> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;　　竹乡追梦,导致了大师的情感与创作灵感的奔泻,一幅幅花卉作品在老人丰富的感情流露下跃然于纸上。在大师创作巅峰画作“花卉十二屏”期间,栗女士不但聆听了大师的情感经历,并且目睹了画家融情入画的创作状态,感悟了盘踞在中国画大师们作品中作者的心绪意境。 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<br/> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;　　也许,因为探究的太过深入,栗女士始终无法完成她的论文。七十多年过去了,公元2004年,当栗女士当年的笔记本纸页发黄时,吴先生的“花卉十二屏”,从日本回归中国大陆,在北京嘉德拍卖会上拍得了天价,世人又一次开始对吴昌硕和海上画派投以关注。 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<br/> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;　　这是一部写意与写实并重、带着浓重的传记色彩、风格化的作者作品,在艺术表现手法和对影片主题的挖掘上都努力追求着精彩。 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<br/> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;　　影片的创作团队以力求突破的创新态度,运用高清摄影技术,把国画的传统美学意境,以一代大师吴昌硕的人生与创作片段,通过淡雅水墨层次的影调,文人画风格的构图,大写意的色彩手法,精致淋漓地表现出来。</p>

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