9001cc金沙以诚为本

方肃

Fang Su

中国著名摄影教育家，全国高校摄影协会副主席，9001cc金沙以诚为本硕士生导师。

展览名称：P&I SHANGHAI 2017

展览时间：2017.7.13——7.16

展 位 号：E1B17

展 馆：上海新国际博览中心

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.

我很荣幸能为方教授的摄影作品作序。方教授和我是在2013年的平遥国际摄影节上经由张倩偶然介绍相识的。张倩是一位年轻的中国艺术家，也是我的朋友，曾于新西兰也就是我的本国深造过。张倩不只是我的志愿翻译，她更知道我多么愿意结识中国的摄影师和教育工作者并欣赏他们的作品。吃午饭的时候，我见到了方肃和他的同事以及9001cc金沙以诚为本的学生们。作为一个领导者和导师，他的备受尊崇是显而易见的。这更让我迫不及待地想要看他的艺术作品。

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!

在我们第二次见面的时候，这个机会终于来了。我在他的电脑上看到了大约二百张照片，果然没有让我失望。从这些亲密的小版照片中，我能感受到他诗意的视野。他低调的技术控制令人印象深刻，也使他的作品富有生命力。他的作品毫不艳丽肤浅，更确切的说，有一种由成熟和恰到好处的感受力所带来的沉着的自信。如他将要展出的“存在的秩序”中，我能察觉出几个主要的思路。首先是丰富愉快的形式主义。其次则是他非常尊重美国摄影师爱德华·韦斯顿所说的“事物本身”。在方肃的作品中，存在也是有秩序的。现实生活中，存在是由人和系统进行排序的；是出于历史和文化习惯、良好意愿、实用主义、设计、冷漠甚至无知等目的进行排序的。换句话说，任何存在都以这样或那样的形式排列着：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国的某些方面，即是一种富有中国特色的存在。但是他所拍摄的异国的照片，文化传统或许很不同于中国，但就住所而言其实与中国并没有很大的不同。

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.

不论住在哪里，那些专横的指示牌都会提醒人们自然灾害或人为灾害。在公共场所，并不是只有坐轮椅的老人或者残疾人需要方向指引，健全的人们同样需要。一经艺术家想象，这些指示牌便成了别的东西。这些标识由于他们奇怪的并置会被注意到。当一个人考虑这些标识所简化的秩序和背后的历史时，这些标识所隐含的意想不到的幽默和讽刺也就引起了注意。北京城独一无二美轮美奂的紫禁城过去从来不是一个旅游胜地，更不会过于关心观光者的安全。而现代标志，例如方肃作品中出现的尴尬的指向标，其唯一的目的便是游客的安全。他所拍摄的官方标识，位于风化奇异、色彩丰富的古老城墙上。全景照片与传统风景绘画有许多相似之处。这些城墙上的标识，从音乐的角度来看，就像微妙的管弦乐作品中突如其来的铙所发出的显著响声，这便是这些标识所带来的反差。

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.'

之所以提及音乐，并非突发奇想。音乐是方肃视觉艺术中最根本、几乎是理所当然的一个层面。因为他来自一个音乐世家。[解释一下家庭与音乐的联系吗？]而且，作为一个摄影师，他的视角与阿尔弗雷德·斯蒂格利茨、爱德华·韦斯顿和安塞尔·亚当斯这些伟大摄影师一样，深受音乐的影响。当斯蒂格利茨拍摄他著名的“等价物”系列云朵的照片时，他想到的是音符。“我想要这样一组照片，当欧内斯特·布洛赫（伟大的作曲家）看到的时候会惊叫：音乐！音乐！啊，为什么是音乐呢！你究竟是怎么做到的？然后他会充满热情地指着小提琴、长笛、双簧管和铜管乐器讲他非得创作一个叫做“云”的交响曲不可。不同于德彪西，而是更像云的交响乐”。

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.

爱德华·韦斯顿曾说过，当他从自己的作品中感觉到巴赫的赋格曲时，他便知道自己成功了，这句话使他出名。他承认自己的许多作品中都有富于节奏感的形式，不论这形式是沙丘、蔬菜还是人。安塞尔·亚当斯的经典风光照片，其大肆渲染的复杂色调和空间，是通过多次大规模冲洗照片而实现的，因而常被比作贝多芬的音乐。亚当斯决定做一名摄影师之前可以选择做一个音乐会钢琴演奏家，这绝非偶然。他高超的技术，即摄影中所用的分阶测光法，使得人们在照片曝光之前能够精确地看到最终照片的外观。直到用10阶视觉色调影调范围替代钢琴的音阶，这一技术才得到了发展。

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.

当然，与国外的例子相似，中国传统音乐的旋律和节奏也能通过书法和绘画表现出来。对于耳聪目明的专业人士，我敢肯定方肃的摄影作品中轻柔的视觉交响曲会发出更为显著的声响，即便有些中国观众在欣赏典范照片独一无二的美和特质的过程中并没有预料到。

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.

从形式上来说，一张照片与系列中的其他照片排列在一起，可以看作是“视觉管弦乐”，有着自己的特点、变化和情绪。因此，比起大型的摄影展，亲切的小书通常更能传达作者的想法和感受，可以自己掌握看的节奏。这个节奏就如同音乐中的节奏，很关键而且容易控制。简单地翻一页照片，或慢或快，浑然不知其顺序、情绪和复杂程度在控制着我们的思绪。

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，方肃的一些摄影作品，尤其是代表性的全景照片需要在更大的范围进行观看，不一定非要一个系列地看，而是单个的看。当你的双眼从照片的这一端向另一端轻轻地漫游，从观察中寻找意义时，你才能全身心的投入其中。追溯一个人眼睛从一个细节到另一个细节的运动轨迹，这一过程在我看来就像是指挥一个乐队。意义并不只来自段落的排列，而是从始至终的整个经历。刚刚描述的画面似乎很熟悉。但使照片栩栩如生的是所描绘物体在画框中的放置，以及明与暗、大小不一的形状、各种颜色的平衡。

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，它之所以引起我们的注意，在于摄影师好奇的眼睛、社会意识及历史意识、诗意的敏感（简单中蕴含的复杂）、熟练的技巧以及幽默感。因此，我很荣幸向大家推荐方肃的摄影作品。

John B. Turner,约翰·特纳

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

新西兰奥克兰大学摄影专业教授

（摄影：方肃）

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