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方肅

Fang Su

中國著名攝影教育家,，全國高校攝影協(xié)會副主席，湖北美術學院碩士生導師。

展覽名稱：P&I SHANGHAI 2017

展覽時間：2017.7.13——7.16

展 位 號：E1B17

展 館：上海新國際博覽中心

Itis my honour to write these few words about the photographs of Professor FangSu, whom I met at the 2013 Pingyao International Photography Festival, througha fortuitous introduction by Zoe Zhang, a young Chinese artist and friend whohad trained in New Zealand, my native country. More than just my voluntarytranslator, she knew how interested I was to meet accomplished Chinesephotographers and educators and see their work. Meeting for lunch with Fang Suand colleagues and students from Hubei Art University, it became obvious howmuch he was admired as a leader and mentor, which made me all the moreinterested in seeing his art work.

我很榮幸能為方教授的攝影作品作序,。方教授和我是在2013年的平遙國際攝影節(jié)上經(jīng)由張倩偶然介紹相識的,。張倩是一位年輕的中國藝術家,，也是我的朋友,，曾于新西蘭也就是我的本國深造過,。張倩不只是我的志愿翻譯,，她更知道我多么愿意結(jié)識中國的攝影師和教育工作者并欣賞他們的作品,。吃午飯的時候，我見到了方肅和他的同事以及湖北美術學院的學生們,。作為一個領導者和導師,，他的備受尊崇是顯而易見的,。這更讓我迫不及待地想要看他的藝術作品。

Thatopportunity came at our next meeting when I was able to see 200 or so images onhis computer. I was not disappointed. Immediately, in these intimatesmall-scale versions I could see and feel the poetry of his vision and theimpressive understated technical control that brought his pictures to life. Therewas nothing showy or superficial about his work. Rather, it had the quietconfidence of a mature and well-calibrated sensibility. As it is for hisexhibition, 'The Order of Existence', I could detect several dominant threadsto his work. One is a rich and delightful formalism. Another is his intenserespect for what the great US photographer Edward Weston called "the thingitself". Existence is also ordered in Fang Su's photographs, and in reallife by people and systems, by the habits of history and culture, by goodintentions, pragmatism, design, indifference and sometimes innocence. In otherwords, everything that exists is ordered by form in one way or another: theorder of existence!

在我們第二次見面的時候,，這個機會終于來了,。我在他的電腦上看到了大約二百張照片，果然沒有讓我失望,。從這些親密的小版照片中,，我能感受到他詩意的視野。他低調(diào)的技術控制令人印象深刻,，也使他的作品富有生命力,。他的作品毫不艷麗膚淺，更確切的說,，有一種由成熟和恰到好處的感受力所帶來的沉著的自信,。如他將要展出的“存在的秩序”中，我能察覺出幾個主要的思路,。首先是豐富愉快的形式主義,。其次則是他非常尊重美國攝影師愛德華·韋斯頓所說的“事物本身”。在方肅的作品中,，存在也是有秩序的?，F(xiàn)實生活中，存在是由人和系統(tǒng)進行排序的,；是出于歷史和文化習慣,、良好意愿、實用主義,、設計,、冷漠甚至無知等目的進行排序的。換句話說,，任何存在都以這樣或那樣的形式排列著：存在的秩序,。

Themajority of his pictures show aspects of China - an existence with Chinesecharacteristics - but the habits that form the culture of foreign countries hehas photographed in are not that different when the fundamental form of onehabitat is directly compared with another.

他的大部分作品展示了中國的某些方面，即是一種富有中國特色的存在,。但是他所拍攝的異國的照片,，文化傳統(tǒng)或許很不同于中國，但就住所而言其實與中國并沒有很大的不同,。

Whereverwe live, people have to be reminded, through deliberately domineeringsignposts, of natural and man-made hazards. It is not just the wheelchair-boundelderly or disabled person who is in need of clear directions in public places;able bodied souls need them too. With an artist's imagination, these signs canseen as something else. They can be noticed for the oddity of theirjuxtuposition - and the potential for unintended humour and irony when onecontemplates the nature of their necessarily abbreviated orders, and thehistory behind them. Beijing's unique and beautiful Forbidden City, after all,was never conceived as a tourist spot overly concerned with the safety ofsightseers, which is the sole purpose of the modern signs that appear asawkward beacons in Fang Su's pictures. The official signs in his photographs ofthe wonderfully weathered and richly coloured ancient walls - panoramas whichfrequently resemble fragments of a traditional painted landscape - can, inmusical terms, be likened to the emphatic sound of cymbals in a quieter, morenuanced orchestral piece, such is the contrast they provide.

不論住在哪里,，那些專橫的指示牌都會提醒人們自然災害或人為災害。在公共場所,，并不是只有坐輪椅的老人或者殘疾人需要方向指引,，健全的人們同樣需要。一經(jīng)藝術家想象,，這些指示牌便成了別的東西,。這些標識由于他們奇怪的并置會被注意到,。當一個人考慮這些標識所簡化的秩序和背后的歷史時，這些標識所隱含的意想不到的幽默和諷刺也就引起了注意,。北京城獨一無二美輪美奐的紫禁城過去從來不是一個旅游勝地，更不會過于關心觀光者的安全,。而現(xiàn)代標志,，例如方肅作品中出現(xiàn)的尷尬的指向標，其唯一的目的便是游客的安全,。他所拍攝的官方標識,，位于風化奇異、色彩豐富的古老城墻上,。全景照片與傳統(tǒng)風景繪畫有許多相似之處,。這些城墻上的標識，從音樂的角度來看,，就像微妙的管弦樂作品中突如其來的鐃所發(fā)出的顯著響聲,，這便是這些標識所帶來的反差。

Thereference to music is not a whim, but a fundamental and almost taken forgranted aspect of Fang Su's visual art, because he comes from a family steepedin music. [explainfamily-musical links?]And as a photographer his way of seeing, likethat of great photographers including Alfred Stieglitz, Edward Weston and AnselAdams, is deeply informed by aspects of music. Stieglitz was thinking of musicalnotations when he made his famous "equivalents" - photographs ofclouds. 'I wanted a series of photographs which when seen by Ernest Bloch (thegreat composer) he would exclaim: Music! Music! Man, why that is music! How didyou ever do that? And he would point to violins, and flutes, and oboes, andbrass, full of enthusiasm, and would say he'd have to write a symphony called"Clouds". Not like Debussy's butmuch,muchmore.'

之所以提及音樂,，并非突發(fā)奇想,。音樂是方肅視覺藝術中最根本、幾乎是理所當然的一個層面,。因為他來自一個音樂世家,。[解釋一下家庭與音樂的聯(lián)系嗎？]而且,，作為一個攝影師,，他的視角與阿爾弗雷德·斯蒂格利茨、愛德華·韋斯頓和安塞爾·亞當斯這些偉大攝影師一樣,，深受音樂的影響,。當斯蒂格利茨拍攝他著名的“等價物”系列云朵的照片時，他想到的是音符,?！拔蚁胍@樣一組照片，當歐內(nèi)斯特·布洛赫（偉大的作曲家）看到的時候會驚叫：音樂,！音樂,！啊，為什么是音樂呢,！你究竟是怎么做到的,？然后他會充滿熱情地指著小提琴、長笛,、雙簧管和銅管樂器講他非得創(chuàng)作一個叫做“云”的交響曲不可,。不同于德彪西,，而是更像云的交響樂”。

EdwardWeston is famous for saying that when he felt a Bach fugue in his work, he knewhe had arrived - by which he acknowledged the rhythmic form in so many of hispictures, whether of sand dunes, vegetables or the human form. The classiclandscape photographs of Ansel Adams, with their bold command of tonal andspatial complexities, realized with exemplary technique through frequentlylarge scale photographic prints, is often likened to the music of Beethoven. Itis no coincidence that Adams had a career as a concert pianist ahead of himbefore he decided to become a photographer. Nor that his sophisticatedtechnique, the Zone System of photography, which enables one to accuratelyvisualise the exact look of a final photograph - before the exposure is made -was developed by substituting a 10-step visual tonal scale for the musicalscales of a piano.

愛德華·韋斯頓曾說過,，當他從自己的作品中感覺到巴赫的賦格曲時,，他便知道自己成功了，這句話使他出名,。他承認自己的許多作品中都有富于節(jié)奏感的形式,，不論這形式是沙丘、蔬菜還是人,。安塞爾·亞當斯的經(jīng)典風光照片,，其大肆渲染的復雜色調(diào)和空間，是通過多次大規(guī)模沖洗照片而實現(xiàn)的,，因而常被比作貝多芬的音樂,。亞當斯決定做一名攝影師之前可以選擇做一個音樂會鋼琴演奏家，這絕非偶然,。他高超的技術,，即攝影中所用的分階測光法，使得人們在照片曝光之前能夠精確地看到最終照片的外觀,。直到用10階視覺色調(diào)影調(diào)范圍替代鋼琴的音階,，這一技術才得到了發(fā)展。

Thetraditional strains of Chinese music, and the glorious rhythms expressedthrough traditional Chinese calligraphy and painting easily substitute forWestern examples, of course, and to an ear better trained than mine, I amcertain that the gentle visual symphonies in Fang Su's photographs will be moreobvious, even if unexpected by a Chinese audience in the process of getting toappreciate the unique beauty and special characteristics found in exemplaryphotographs.

當然,，與國外的例子相似,，中國傳統(tǒng)音樂的旋律和節(jié)奏也能通過書法和繪畫表現(xiàn)出來。對于耳聰目明的專業(yè)人士,，我敢肯定方肅的攝影作品中輕柔的視覺交響曲會發(fā)出更為顯著的聲響,，即便有些中國觀眾在欣賞典范照片獨一無二的美和特質(zhì)的過程中并沒有預料到。

Formally,a single photograph, arranged in sequence with others, can be seen as part of a"visual orchestration" with its own character, variety, and changesin mood. For this reason, small, intimate books, the tempo of which can beexperienced in private, at one's own pace, can often convey the artist'sthoughts and feelings more successfully than an exhibition of large-scalepictures. Tempo, as in music, can be crucial, and is more easily controlled bythe simple turning of a page, with slow, or more rapid movements as thepictures, their sequence, mood, and levels of complexity quietly dictate.

從形式上來說,，一張照片與系列中的其他照片排列在一起,，可以看作是“視覺管弦樂”，有著自己的特點,、變化和情緒,。因此，比起大型的攝影展,，親切的小書通常更能傳達作者的想法和感受,，可以自己掌握看的節(jié)奏。這個節(jié)奏就如同音樂中的節(jié)奏,，很關鍵而且容易控制,。簡單地翻一頁照片，或慢或快，渾然不知其順序,、情緒和復雜程度在控制著我們的思緒,。

However,some pictures, and especially the exemplary panoramic works of Fang Su demandto be seen in a larger scale, not as a sequence necessarily, but individually,so one can get involved physically and emotionally while moving from end toend, with one's eyes gently roaming over the picture plane, gathering thoseobservations that create meaning. If one tracks the movement of one's eye fromone detail to another, and then another to another, the experience, in my mind,seems akin to the process of conducting an orchestra. Meaning comes not justfrom the arrangement of passages but the total experience from start to finish.Yes, the scene depicted might seem familiar, but it is the placement within thepicture frame of the objects depicted and the balance of light and dark, ofsmall and large shapes of all kinds, of the variety of found colour, that togetherbring the pictures to life.

然而，方肅的一些攝影作品,，尤其是代表性的全景照片需要在更大的范圍進行觀看,，不一定非要一個系列地看，而是單個的看,。當你的雙眼從照片的這一端向另一端輕輕地漫游,，從觀察中尋找意義時，你才能全身心的投入其中,。追溯一個人眼睛從一個細節(jié)到另一個細節(jié)的運動軌跡,，這一過程在我看來就像是指揮一個樂隊,。意義并不只來自段落的排列,，而是從始至終的整個經(jīng)歷。剛剛描述的畫面似乎很熟悉,。但使照片栩栩如生的是所描繪物體在畫框中的放置,，以及明與暗、大小不一的形狀,、各種顏色的平衡,。

Theorder of existence does not entirely write itself, but is brought to ourattention by the inquisitiveness, and social and historical awareness of thephotographer, his poetic sensibility (complexity within simplicity), histechnical mastery, and also his goodhumour. It is thus my pleasure to recommend his photographic work to you.

存在的秩序并不是呼之欲出的，它之所以引起我們的注意,，在于攝影師好奇的眼睛,、社會意識及歷史意識、詩意的敏感（簡單中蘊含的復雜）,、熟練的技巧以及幽默感,。因此，我很榮幸向大家推薦方肅的攝影作品,。

John B. Turner,約翰·特納

SeniorLecturer in Photography (retired), University of Auckland, New Zealand.

新西蘭奧克蘭大學攝影專業(yè)教授

（攝影：方肅）

藝美佳數(shù)字藝術紙合作伙伴

關于藝美佳

“藝美佳Imacolor”,，是英文Imaging Color兩個詞的組合，意思是“夢幻色彩”,，藝美佳定位于高品質(zhì)數(shù)字噴墨打印墨水和影像級噴墨打印介質(zhì),。

這種既有墨水又有介質(zhì)，同時也包含數(shù)碼打印相冊等延伸產(chǎn)品的兼容耗材品牌在市場并不多見,，我們努力將“藝美佳”打造成高品質(zhì)數(shù)字噴墨打印耗材的代名詞,。

藝美佳專業(yè)數(shù)字影像介質(zhì)擁有數(shù)十款不同克重，質(zhì)地各異的相紙,，藝術紙及宣紙傳統(tǒng)介質(zhì)等,。適用于影像、數(shù)字版畫及藝術品復制等領域。憑借精湛的生產(chǎn)技術和穩(wěn)定的產(chǎn)品質(zhì)量,，藝美佳數(shù)字噴墨打印介質(zhì),，暢銷全球各地，已成為中國市場的領導者,。

藝美佳數(shù)字藝術紙系列均由歐洲頂級廠家生產(chǎn),，原裝進口，保留了藝術紙原有的獨特觸感,，輔以頂尖的涂布技術,，使其不懼歲月，色彩經(jīng)久不衰,，完全能滿足博物館和畫廊收藏級別的需求（ISO9706認證）,。

任何一款藝美佳數(shù)字影像介質(zhì)，都能讓您的作品呈現(xiàn)廣闊的色域,、鮮明的反差,，獲得極佳的打印效果,藝美佳數(shù)字藝術紙得到眾多攝影師、藝術家的青睞,，也成為眾多畫廊,、美術館和博物館的明智之選！