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《早春》精华

发表日期:2010-11-05 地区站:北京站 作品类别:人像摄影 (作品等级:玩家空间
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临界之唯美
——读颜志雄的摄影新作《早春》系列
Aesthetics of Criticality
——Approach to Early Spring Series, the New Photography Works of Yan Zhixiong
 
唯美,也可以理解为美的至上。十九世纪末的英国唯美主义运动中的作家和艺术家认为,艺术不应具有任何说教的因素,而是追求单纯的美感。他们如痴如醉地追求艺术的“美”,认为“美”才是艺术的本质,并且主张生活应该模仿艺术。但结果是他们所追求的这种美逐渐脱离了自然、精神和情感,变的空泛和虚妄。因为美并没有疆界,更没有绝对的美,我认为美只能是一种状态,由于有人的视觉感知,美才得以显现,最后获得精神上美的享受。如果没有美的精神,视觉上对美的感知大概是不会存在的。摄影与绘画同隶属于平面艺术,摄影上对美的追求根植于绘画,至今任沿用了绘画中美的基本法则。一个真正的摄影艺术家一定谙熟绘画,并于绘画艺术上有很好的修养,还具备美的精神和一颗追求美的心灵。所以,摄影对于一般人来说,只是将瞬间拍下,“美”即可完成,如愿地作为永远的回忆。在一定意义上他们对摄影艺术之美的认识大部分姑且算是对过去时间里真实存在的追忆。对于表现客观存在之真实,并使人给予相当的信任,这正是摄影的魅力。
The aesthetics here can be understood as the supreme beauty. At the end of the 19th century, authors and artists involved in the Aesthetic Movement in Britain believed that the art should have no moralization factor but aim at pure beauty. They indulged in pursuit of the “beauty” of art, held that only the “beauty” is the essence and advocated that the life should imitate the art. As a result, the “beauty” is gradually alienated from nature, spirit and feeling, and accordingly becomes empty and false. There is no boundary of beauty and no absolute beauty. I think beauty is only a state. Visual perception shows the beauty and finally bestows the enjoyment of beauty in spirit. If there is no spirit of beauty, visual perception on beauty may not exist. Both photography and painting belong to the plane art. The photography is rooted in the painting in aspect of beauty pursuit and still adopts the fundamental principles of beauty in painting. A real photography artist is certainly well versed in painting, has the corresponding accomplishments and has the spirit for beauty and a soul for beauty pursuit. Thus, for common people, the photography refers to taking pictures of the moment and the “beauty” can be fixed as the ideal permanent memory. At certain sense, most of their understanding of photography’s beauty is the remembrance of realities in the past. Showing the true objective realities and attracting people’s trust are the charms of photography.
 
颜志雄作为摄影艺术家,受过严格的绘画训练,具有很好的绘画修养,常常使人从他的摄影作品中感受到优秀的绘画功底。他游刃有余地驾驭着镜头下的线条、颜色、光影、结构和空间,这使很多其他摄影家望尘莫及。五月的一个春暖花开的下午,当我第一眼看到他的摄影新作《早春》系列时,当即称绝。后仔细欣赏,一种美妙的感受在我心头久久萦绕,我虽努力试着去诠释那美妙,终究是苍白的,且只是一家之言。
As a photography artist, Yan Zhixiong was strictly trained in painting and has excellent painting culture. People often can feel his outstanding painting skill in his works. He easily controls the lines, colors, shadows, structures and space before camera lens, and very few photographer come up to this perfection. In a bloomy spring afternoon of May, when I first saw his new works Early Spring series, I immediately gave high appraise. After careful appreciation, a kind of wonderful feeling hovered in my heart for a long time. I tried to interpret that beauty, but the words are pale and unilateral.
 
被天堂遗忘的角落
桃园,很容易让我们想起“世外桃源”。而在《早春》系列作品中,我们确凿地可以看见早春里盛开的桃花,烂漫的点缀在郁郁的幽幽的旷野。远处的雪山隐现在飘渺的云雾之间,大地尽皆披上嫩绿的轻裘,苍老的桃树杆上趴满着苔藓,枝头任然绽放着花朵。一切仿佛昭示着这里是一片被天堂遗忘的圣洁的角落。相对于春日里草长莺飞、暖日明媚的江南,我们在《早春》系列作品中感受到的是冷峻之后的温情、末日之后的绚烂和真实的虚幻。我不由的思忖着:这里究竟发生了什么,这么美妙的非人间圣境为何幽微的透着惊悚?摄影家又是如何置身其中?因为摄影术对真实存在必然的把握,我又不得不相信我的眼睛所见到的一切以及感怀。这难道不是摄影艺术家的精神的梦境吗?或是他对真实虚幻的表达。
A peach blossom garden may easily remind us of “A Haven of Peace and Happiness”. In Early Spring series, we do see the peach blossoms in early spring are brilliantly embellished in the green but cloistral wild. The distant snowy mountains are loomed in ethereal cloud and mist. The whole land puts on the verdant cloth. Aged peach trunks are covered with mosses and the branches are full of flowers. All the things here seemingly show this place is a holy corner forgotten by heaven. Compared with luxuriant grasses and flying nightingales in South River Land in spring, we feel the warmth after cold, the floweriness after doomsday and the real transience in Early Spring series. I can’t help thinking what on earth happened here? Why this wonderful holy land slightly shows the thrilling feeling? How did the photographer get here? Because the photography grasps the realities, I have to believe what I saw and recollect the past memories. Isn’t this the spiritual dream of photographers? Or it is his expression of real transience.
 
早已约定的重生
Already Agreed Renascence 
《诗经》中《采薇》篇有言:“昔我往矣,杨柳依依;今我来思,雨雪霏霏。”而在《早春》系列作品中,我似乎本能地感受到“昔我往矣,雨雪霏霏;今我来思,杨柳依依。”画面里两个女孩或窃窃私语;或牵手迈向生命之树;或温情的相互依偎在旷野;或穿梭在盘根错节的乱枝间。她们似乎在忠贞地坚守各自的誓言,约定携手在这一片被天堂遗忘的角落。这里的一切是那样静谧,似乎在温情的等待之后,将要面对生命神圣的过渡。虽是生命之光的沐浴,对于未知依然彷徨地爱着。在摄影家的镜头下,两个曼妙的少女更像桃花的精灵,迎着春风,等待着云雾散去,生命之光倾洒之时,他们将幻化成片片桃花,飘散在那雪山之颠。抑或是飘散出粉红的海洋。
The Picking Osmund in the Book of Songs has the saying: “When I left here, willows shed tears. I come back now, rain and snow started falling.” From the series, I can feel “When I left here, rain and snow started falling the bough and. I come back now, willows shed tears.” by instinct. Two girls in the picture are whispering, or moving towards the tree of life hand in hand, or warmly leaning against each other in the wide or travelling among the tangled disordered branches. They seemingly keep their promise to travel in this heaven forgotten corner hand in hand. All things here are so silent and seemingly to face the holy transition of life after the warm waiting. They are bathed in the light of life, but hesitatingly love the unknown. In the works, two charming girls are like the fairies of peach blossoms, facing the spring breeze, and waiting for the cloud dispersing. When the light of life is sprinkling, they will become many petals of peach blossom to fly on the top of snowy mountains or to form a pink sea.
 
隐秘的生命欲望
Covert Life Longing 
我们也似乎可以从这组作品中感受出“有女怀春”的青春的萌动,也是暗合了摄影家自己给作品的取名---《早春》。然分明又不是希望有”吉士诱之”的男女的情欲,而是对生命之美的渴望。在这片桃花摇曳的时空,让生命得以姿纵地绽放,而这种对生命的渴求,又被摄影家蒙上了一层羞涩的美。此时,摄影家不满足于细微而直白地表达,,而是采用大场景的构图手法,让这对少女的身姿均置于远景,以至于我们无从得知她们眼眸中是否存留欢愉或离别的泪珠。大胆的切割式的构图极具视觉张力,大片的绿色更烘托出树木的苍健,桃花也显得分外的婀娜。在《早春》NO.1中,两个少女被安排在长满苔藓的湿润的石头之上,似乎在相互告诫和倾听。背景中繁茂的桃树尽情地铺张着自己的枝条,枝条上簇拥着盛开的花朵,象征着生命之树。石头的冰冷坚硬、枝条的挺拔劲健,与少女的妩媚阴柔形成强烈的对比,欲使生命在这一刻得以宽容的放纵。
We also can feel the youthful bud of “a girl in love” in the series which coincides with the name “Early Spring”. However, it is not the strong desire of “handsome boy’s attraction” like “Lure of the custard”, but the longing for beauty of life. In the space full of peach blossoms, bud of life can burst into bloom. The longing for life is covered with the shy beauty. At this moment, the photographer is dissatisfied at the subtle and direct expression, but adopts composition skill of large scene. He arranges these two girls in distant view, and we can’t see whether there are happy or parting teardrops in their eyes. Daring division composition has the extreme visual extension. Large green sets off the sturdy growth of trees and the grace of peach blossoms. In works No.1, two girls are sitting on humid stones full of mosses seemingly to tell and listen. Luxuriant peaches in the background randomly spread their branches with bloomy flowers, and they symbolize the trees of life. The sharp contrast lies in cold and hard stones, straight and strong branches and the charming and soft girls for tolerant indulge at this moment.
 
孤独而诗意的沉迷
当孤独本身已是一片诗意的土壤时,便会诱发出关于存在、生命、自我的深邃思考和体验。《早春》NO.7便能给我们带来这种诗意的孤独的享受和思索。画面中一名少女坐在一棵巨大的即将腐朽的树上,修长的双腿随意地耷在枝杈,女性特有的灵秀与枯枝的虬屈苍老之间对比,纠结出生命的活力。远景中布满“面朝大海”似的“春暖花开”。这一切被辽阔而平缓的绿野烘托着,摄影家赋予它们孤独而诗意的沉迷,也寄托了自己孤独而诗意的灵魂。孤独不也是一种美吗?何况有这样诗意的诉说。
If the loneliness is a piece of poetic soil, the soil will sprout the thought and experience of existence, life and selfhood. Works No.7 of Early Spring series can bring such lonely but poetic enjoyment and thought for us. One girl is sitting on a huge but rotten tree with her slender legs hanging on branches randomly. The comparison between beauty of the girl and old of dead branches shows the vitality of life. Arrangement of the distant view is like the sight “towards the sea, with spring blossoms”. All these things are supported by the gentle green field. They are endowed with the lonely but poetic obsession to express lonely but poetic soul of the photographer. Loneliness is a kind of beauty, isn't it? Moreover, there is the poetic description in it.
 
面对这一组<<早春>>系列的摄影艺术作品,我有太多的感怀。然恐文字的赘述,掩盖了它的惊艳。唯美是它所传达出来的基本的美的性格,仔细品读,似乎更近于”极美”的边缘。在一片”极美”的时空中,颜志雄作为摄影艺术家,通过美的心灵和美的眼睛,捕捉并营造了一种唯美的临界状态。这不仅给我们带来了美的视觉享受,更使我们的心灵得到了美的洗涤。
As to the photographic art works Early Spring series, I have too much feelings and I’m afraid about the long-winded words concealing their charming. Aesthetics in the works is the basic nature of beauty. If you carefully appreciate, it is almost at the margin of the “extreme beauty”. In the space of “extreme beauty”, as a photography artist, Yan Zhixiong catches and creates an aesthetic criticality through beautiful soul and eyes. This not only brings us the visual enjoyment of beauty, but also purifies our soul by the beauty.
 
 
彭斯
二零一零年六月二十四
Peng Si
June 24, 2010
 
颜志雄
1979年生于湖南,现居北京。自幼学习国画、油画,现主要从事当代影像艺术创作及装置。
2007年至今多次在韩国、北京、深圳、成都、上海、平遥等美术馆及画廊举办个展。作品曾获中国摄影界个人成就最高奖金像奖、中国摄影艺术大展金奖、奥地利超级巡回展金奖、中国人像摄影大展金奖等诸多荣誉。
 
【展览】
2010年 《颜志雄》颜志雄作品展,韩国
2010年 《颜志雄》颜志雄作品展,北京
2010年 《早春》颜志雄作品展,北京
2010年 《轮回》颜志雄作品展,北京
2010年 《净土》颜志雄作品展,北京
2010年 《孕育》颜志雄装置展,北京
2010年 《早春》艺术北京主题展,北京
2008年 《灵·悟》颜志雄当代摄影展,北京
2008年 《暗香》中国式性感当代艺术联展,北京
2008年 《穹·福》颜志雄装置影像展,中国平遥国际摄影节
2007年 《缤纷红颜》颜志雄摄影艺术展,深圳
2007年 《渡》颜志雄当代摄影展,北京
2007年 《灵·胴》颜志雄人体摄影作品展,北京
2007年    中国平遥国际摄影节
2006年    中国平遥国际摄影节·大师当新三人展
2006年    中国·平遥国际摄影节·中国实力派摄影师联展
 
【荣誉】
2010年  第23届中国摄影艺术大展评委
2009年  获中国摄影界个人成就最高奖金像奖
2007年 《弦月》获第22届中国摄影艺术大展金奖
2006年 《红颜》获2006奥地利超级巡回摄影大展金奖
2006年 《白日梦》获中国第十一届人像摄影大赛创意类金奖
2006年 《灵舞》获中国第十一届人像摄影大赛时装广告类金奖
 
关键词: 颜志雄西藏

作者:颜志雄

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