打破传统风景摄影边界

——从“第五届长安摄影周——中国风景摄影40年”说起

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　　近日，以“中国风景40年”为主题的第五届中国·长安摄影周暨中国摄影家协会第十三届理论研讨会在广东省东莞市长安图书馆举行。此次摄影周以“中国风景40年”主题展为主体，设立了十场精品展、邀请展和四场学术对话。同期举行的研讨会主题为“风景摄影与自然观” ，中国摄协主席李舸表示,希望通过对这一主题的探讨，系统梳理风景摄影的特征和沿革，探索风景摄影的发展方向。

　　如何评价40年来与中国改革开放同步的中国风景摄影，是一个富有挑战性的话题。摄影周总策展人那日松希望用几个展览把40年的发展演变过程梳理出来，最后定下主题展、探索与对话、关注新风景、域外风景四大框架。作品时间跨度从上世纪80年代到当代的中国风景，包括中国改革开放初期的摄影，再到当代的新风景摄影，以此整体展现风景摄影40年变迁。“总体看上去可能有些跳跃，但我想藉此打破所谓中国传统风景摄影的界限，拓宽风景摄影的边界。现在的年轻摄影人眼界非常开阔，对风景摄影有自己独立的理解方式。因此，不论是风光摄影、纪实摄影、观念摄影，还是所谓的当代摄影、景观摄影，它们都不是孤立的，摄影是发展的。 ”那日松说。

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从中国传统风光摄影到现代新风景摄影

　　大凡接触摄影者，拿起相机几乎都是从风景摄影开始，因此风景摄影有着最广大的群众基础。同时，风景摄影又是最大限度调动摄影诸要素和各种技术手段的影像门类，因此被诸多专业摄影家所钟爱。改革开放以来，随着经济发展的步伐，中国风景摄影得到极大发展。

　　康德说，美是感情的理性呈现。我们为什么拍风景？风景摄影家于云天拍摄的喜马拉雅山曾在全国比赛中获奖，如今他还记得当时在珠峰下与雪域高原合影的情景，“深感与自然相比人太渺小了” ，这种感受让他永远走在风景的路上，“因为山在那儿，在远方” 。青年风景摄影家叶文龙从小生长在雁荡山下，寄情山水是他拍摄风景的初衷。

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　　传统风景摄影家充满寄情山水的理想主义浪漫情怀，以扎实的美术基础和传统文化学养，观看和审视自然现象，抓取视觉快感。现代风景摄影家无论东西方都是从人文思考的角度来审视自然现象，镜头聚焦人与自然的关系以及人在自然中的生存状态。如果说，不同风景摄影以公共情感与公共话语的不同内涵影响大众，那么，公共情感主要激发大众视觉美感的表层情绪，引起普遍意义的情感互动和共鸣；公共话题则通过涉及社会性问题的影像表达，引发大众关注获得社会影响。

　　一方面，风景摄影家之间观看方式的不同，区别了风景摄影是拍摄调动激发视觉美感的风景还是自然与人共存状态下的风景。另一方面，风景摄影家对于主观介入摄影的不同出发点，涉及到复制自然风景还是借助自然风景隐喻思考，从而在解构物象风景同时再创新风景。

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人与自然之间的关系是核心

　　自然观与观看方式的形成，取决于摄影人的成长经历、文化背景以及理想追求，也因此分野了中国传统风景摄影家与现代新风景年轻态摄影人对风景摄影不同的认识、思考与呈现。“追求意境与追求自然的质感一直是风光摄影的两极要素。在近百年的观念嬗变中，我们不难看出血脉的传承、亚当斯的影响以及现代主义观念的渗透。不管是风光摄影还是风景摄影，不管采用什么影像手段，核心是人与自然之间的关系。 ”摄影理论家李树峰说。

　　如何理解自然与人的关系，恰恰是我们与西方看待世界最本质的不同。中国长期农耕社会中，形成崇尚自然天人合一的自然观，忽略了以人为本。因此要向西方学习，在风景摄影中强调人在自然中作为主体的存在意义，强调人在摄影创作中的主观性；这也是视觉艺术发展中，艺术家摆脱自然具象的想象局限，树立人的主体意识，创造观念摄影的由来与必然。

　　着名策展人王保国认为：“新风景，是对社会和自然有了新认识。它的意义是全球化运动、互联网思维、 WTO与二次思想启蒙背景下，出现的以摄影为手段，对当前社会发展与社会问题的反思性、反讽性、批评性、探索性的社会文化活动。它追求的不是单纯的审美结果，而是社会与审美的复合结果。它很残酷地宣告了风景摄影中多愁善感和宏大叙事的结束。把人类社会管理好，就是爱自然。 ”

《长安风景》 摄影：李志良

　　在上海师范大学摄影专业青年教师戴菲看来，风景摄影是一种文化现象。“风景本身是没有定义的，只有人的介入才有了意义。 ”他认为，与老一代传统风景摄影家相比，当代年轻风景摄影家具有几方面特点：掌握和熟稔影像各种技术手段及能力，有技术积淀；由于大多数城市生活的背景，城市生活经验打破了以往传统山水摄影的概念，作品多有涉及城市景观中人类新的生存空间；有思考深度的学术性拍摄，有明确的定义性和方向性；希望通过努力扩大中国风景摄影的内涵和外延，构建一个广义的中国风景摄影框架。

　　不可否认，从面对山川大河满怀激情到如今充满忧患，这其中不仅仅是成长背景的不同。强烈的忧患意识和自觉的使命感；独立敏感，有个性、有见地且不断打破常规、打破传统的创新意识；具备东西方从古至今的艺术史论及现代文艺理论系统，同时能够不断学习掌握世界文艺思想及视觉艺术前沿思想及观念，专业学术视野开阔……这些都是我们从新一代风景摄影人身上看到的希望。

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　　当曾经的满目风光去山水的现象成为普遍，人满为患过度消费淹没了山水风光怡情的本质，你的镜头选择怎样的观看？

 

Breaking the boundaries of traditional landscape photography -- Talking about the exhibition information from "the fifth Chang'an photography week - 40 years of Chinese landscape photography". Recently, the Fifth China Chang'an photography week with the theme of "40 years of Chinese landscape" and the 13th Theoretical Seminar of China Photographers Association were held in Chang'an library, Dongguan City, Guangdong Province. The photography week, with the theme exhibition of "40 years of Chinese landscape" as the main body, set up ten boutique exhibitions, invitation exhibitions and four academic dialogues. The theme of the seminar held at the same time was "landscape photography and the view of nature". Li Ge, chairman of the China Photography Association, said he hoped to systematically sort out the characteristics and evolution of landscape photography and explore the development direction of landscape photography through the discussion of this theme. How to evaluate Chinese landscape photography that has been synchronized with China's reform and opening up for 40 years is a challenging topic. Na risong, the general curator of photography week, hopes to sort out the development and evolution process of 40 years with several exhibitions, and finally set four frameworks: theme exhibition, exploration and dialogue, paying attention to new scenery and overseas scenery. The works span from the 1980s to contemporary Chinese landscape, including photography in the early stage of China's reform and opening up, and then to contemporary new landscape photography, so as to show the changes of landscape photography in 40 years as a whole. "It may seem like a leap on the whole, but I want to break the boundary of the so-called Chinese traditional landscape photography and broaden the boundary of landscape photography. Today's young photographers have a very broad vision and have their own independent way of understanding landscape photography. Therefore, whether it is landscape photography, documentary photography, concept photography, or the so-called contemporary photography and landscape photography, they are not isolated, and photography is developed." That day song said. From traditional Chinese landscape photography to modern new landscape photography, almost all those who come into contact with photography start from landscape photography. Therefore, landscape photography has the broadest mass base. At the same time, landscape photography is an image category that maximizes the mobilization of photography elements and various technical means, so it is loved by many professional photographers. Since the reform and opening up, with the pace of economic development, Chinese landscape photography has developed greatly. Kant said that beauty is the rational presentation of emotion. Why do we shoot scenery? The Himalayas photographed by Yu Yuntian, a landscape photographer, won a prize in the national competition. Now he still remembers the scene of taking a group photo with the snowy plateau under Mount Everest, "I feel that people are too small compared with nature". This feeling makes him always walk on the road of scenery, "because the mountain is there and far away". Ye Wenlong, a young landscape photographer, grew up at the foot of Yandang Mountain. His original intention of shooting landscape is to express his affection for the landscape. Traditional landscape photographers at the exhibition site are full of idealistic and romantic feelings of expressing affection for mountains and rivers. With a solid foundation of art and traditional culture, they watch and examine natural phenomena and capture visual pleasure. Modern landscape photographers, both East and West, examine natural phenomena from the perspective of humanistic thinking, focusing on the relationship between man and nature and man's living state in nature. If the public emotion is different from the public emotion, then the public emotion is mainly aroused by the interaction between the public emotion and the public emotion; Public topics attract public attention and gain social influence through image expression involving social issues. On the one hand, the different viewing methods among landscape photographers distinguish whether landscape photography is to shoot and mobilize the scenery that stimulates visual beauty or the scenery in the coexistence of nature and human beings. On the other hand, the different starting points of landscape photographers' subjective involvement in photography involve copying natural scenery or thinking with the help of natural scenery metaphor, so as to deconstruct the object image scenery and innovate the scenery at the same time. The relationship between man and nature at the exhibition site is the formation of the core view of nature and viewing mode, which depends on the growth experience, cultural background and ideal pursuit of photographers. Therefore, it separates the different understanding, thinking and presentation of landscape photography between Chinese traditional landscape photographers and modern new landscape young photographers. "The pursuit of artistic conception and the pursuit of natural texture have always been the bipolar elements of landscape photography. In the evolution of ideas in recent 100 years, it is not difficult for us to see the inheritance of blood, the influence of Adams and the infiltration of modernist ideas. No matter what image means are used in landscape photography or landscape photography, the core is the relationship between man and nature." Photography theorist Li Shufeng said. How to understand the relationship between nature and man is exactly the most essential difference between us and the West in looking at the world. In China's long-term agricultural society, the concept of nature advocating the unity of nature and man has been formed, ignoring people-oriented. Therefore, we should learn from the West and emphasize the significance of human being as a subject in nature and human subjectivity in photography creation in landscape photography; This is also the origin and necessity for artists to get rid of the imagination limitations of natural concrete images, establish people's subject consciousness and create concept photography in the development of visual art. Wang Baoguo, a famous curator, believes that: "New landscape" is a new understanding of society and nature. Its significance is a reflective, ironic, critical and exploratory social and cultural activity that takes photography as a means to reflect on the current social development and social problems under the background of globalization, Internet thinking, WTO and the second ideological enlightenment. It pursues not a simple aesthetic result, but a compound result of society and aesthetics. It cruelly declares landscape photography The end of sentimentality and grand narration. To manage human society well is to love nature. " Photography of Chang'an scenery: according to Dai Fei, a young teacher majoring in photography at Shanghai Normal University, Li Zhiliang, landscape photography is a cultural phenomenon. "The landscape itself is undefined. Only human intervention can make sense." He believes that compared with the older generation of traditional landscape photographers, contemporary young landscape photography furniture has several characteristics: mastering and being familiar with various technical means and abilities of images, and having technical accumulation; Due to the background of most urban life, the urban life experience breaks the concept of traditional landscape photography in the past, and most of the works involve the new living space of human beings in the urban landscape; Academic photography with deep thinking, with clear definition and direction; It is hoped that through efforts to expand the connotation and extension of Chinese landscape photography, we can build a broad framework of Chinese landscape photography. It is undeniable that from being full of passion in the face of mountains and rivers to being full of worries now, it is not just the difference of growth background. Strong sense of hardship and conscious sense of mission; Independent, sensitive, individual, insightful, and constantly breaking the Convention and breaking the traditional sense of innovation; Having the art history theory and modern literature and art theory system of the East and the West from ancient times to the present, being able to constantly learn and master the world's literature and art thought and the cutting-edge ideas and concepts of visual art, and having a broad professional academic vision... These are the hopes we see from the new generation of landscape photographers. At the exhibition site, when the phenomenon of once full of scenery to the mountains and rivers becomes common, overcrowding and excessive consumption drown the essence of the pleasant scenery of the mountains and rivers, what kind of lens do you choose to watch?