作者：王树洲
出版社：中国摄影出版社
格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT
太行风骨试读：
Preface 序言
陈长芬发源于青藏高原巴颜喀拉山的黄河咆哮东去，几经回肠，平息于河套沙漠。从地图上看，可望东去直插京津归渤海。但它不是这样，而是经包头急转朝南，绕太行山西侧，东折北上，再归渤海。这里可能隐藏着有一个华夏山水情缘，具有史诗故事……如果这样，“华山”、“吕梁山”和“东条山”又是故事中的“话说”……
太行山到底是什么？太行山有金、木、水、火、土！这个2005年我在为山西摄影家秦红宇《王莽岭》画册的序言中已曾经表达过。那时，我没有翻书、查字典，不知古人称“太行”为“五行”，完全是一种即兴的感觉。
两个月前，姜健兄弟带树洲先生来我工作室，约我为他的《守望太行》摄影画册写几句话，当时我有些发难，一是觉得题材太大，二是觉得题目有些俗、旧，当时我既没有答应，也没有推辞。
春节那几天，京城的烟花爆竹弄得我不得安宁，只好用寻找影像的方式作些解脱。正好有机会才看到了树洲的有关“太行”的摄影作品。
又过了半月，我以虔诚的心态重新打开树洲留下的光盘，仔细翻阅每幅作品。我以为这个大题材的摄影需要有一个明确的理念和呈现方式的思考。于是，我把这些意见向姜健和树洲作了表达。
我多次解读了作者的作品，断然去掉“风光”和“风景”常用的陈词理念，认为“风骨”的理念思维更为恰当。
在这些作品里，我清楚地看到了作者的影子，看到了作品后面的故事。在风里、雪里、雨里、雾里，雷鸣电闪、洪水猛兽、天崩地裂，摄影者成为现场的参与者和见证人。更可贵的是，它能把我带到故事的现场，让我的肉体和灵魂亲临其境，感悟那里的荒蛮和奇特，体验人类过程的源本。这就是“风骨”。太行的“风骨”，中华的“风骨”，人类的“风骨”，也是作者的“风骨”。
同样，山崖上的人家，山坡上的庄稼，石缝里的小草以及水边的青苔，绿得像翡翠，犹如一座绿城，这是太行另外一种“风骨”，是一种具有强大生命力之“气场”。
我心目中的太行是一座神山。作品《老爷顶》就是它其中的一个化身。如果说，人们还没有意识到它是一座神山，但我意识到它是一座山神。因为它给人们一种天地造化和特别的敬畏感。我以为天地间多有一些这样的山神，我们所生存的空间就不会像今天遭到这样肆无忌惮地破坏了。
这里，我要特别提示，作者并没有用过分的词藻和艳丽的色彩作渲染，而是作了朴实无华、神秘、深奥、博大、空灵的表达。
我曾几去太行，但从没有给我留下有“路”的概念，因为那里的沟壑到处是路。有的人一辈子在那里转着转着，也从没想到过外面还有什么样的世界。然而，只有那些进香者和外出经商者可就完全不一样了。这里讲的是一种付出，一种与众不同的付出。我以为树洲就是这个样子。树洲面壁太行、感悟太行、守望太行。
树洲来京给我带来太行山里的两包山楂干，我有些舍不得吃，我把它放在香茶里，有时也当着做鱼的调料，更喜欢把它放在黄酒里。这样做我以为更能体味出树洲作品的真情和魅力。（作者系世界十大摄影名人之一、中国当代著名艺术家）
Preface
Chen ChangfenThe Yellow River, which has its source in Bayan Har Mountains in the Tibetan Plateau, roars eastward. After several twists and turns, it rests on Hetao Desert. Seen from the map, it could move straight east passing Beijing and Tianjin and merge itself with Bohai Sea. But the truth is: it makes a sharp turn at Baotou and moves southward, passing around the west of Taihang Mountain. It turns at the east and moves northward and then merges with Bohai Sea. Here in the river a fated love for the Chinese landscape may be hidden behind epic stories. If this is so, Huashan Mountain, Luliang Mountain and Dongtiao Mountain are part of these epics...
What is meant by Taihang Mountain? It has the elements of metal, wood, water, fire and earth. I already mentioned this in 2005 in the preface to Wang Mang Ridge by Qin Hongyu, a photographer from Shanxi. At the time I wrote the preface, I did not consult books or dictionaries. I did not know that Taihang meant Five Elements in ancient China. I hit upon this idea purely by accident.
Two months ago, Brother Jiang Jian brought Mr. Wang Shuzhou to my studio, who asked me to write a few words for his album Keeping Vigil for Taihang. I was at a loss how to respond. For one thing, I felt that the theme was too big. For another, the topic was too old and commonplace. At the time, I did not accept his request or did I reject it.
During Spring Festival season, the fire crackers disturbed my mind and I had to find an escape by means of reading photographs. And I took this opportunity to view the photo works about Taihang by Shuzhou.After half a month, I opened the disc left by Shuzhou with a sincere mind, reviewing every picture in it. I concluded that the photos with such a big theme requires an explicit idea and ways of expressions. I conveyed my thoughts to Jiang Jian and Shuzhou.
I gave many thoughts to the work and recommended that the cliches such as "scene" or "landscape" be avoided. "the strength of character" would be more appropriate to convey the spirit of the album.
In these works, I clearly see the shadows of the author and the stories behind the works. In the wind, the snow, the rain, the fog, in the thunder, in the flood, in the face of ferocious animals, in the cracking of heaven and earth, the photographer was a participant and witness. The good thing about this album is that it brought me to the scenes of the stories and felt their presence physically and spiritually.I was able to experience wilderness and exotism there and the origin of human progress. This is "character". It is Taihang's "character", China's "character", "the character" of human race as well as "the character" of the author himself.
Similarly, the houses on the cliff, the crops on the slope, the grass in the stone crevice and moss on the water margin are as green as jade. Practically it is like a green city. This is another kind of "character" in Taihang. This is a vigorous "field of energy"
Taihang is a holy mountain in my heart. The work Laoye Ding is one of its embodiments. While most people do not realize its divine nature, I feel keenly about it, because it inspires a special awe in connection with divine creation. I believe if more of the holy mountains like this are preserved, we will have more breathing space unlike what we have today to bear the consequence of reckless damage of nature.
Here I wish to point out that the author never uses flowery language or bright color for exaggeration. Instead, he expresses himself with plain language with touches of mystery, depth, breadth and freedom.
I have been to Taihang several times, but don't remember there is any "road", because roads were everywhere in the gullies. Some people spent the whole life there, not knowing what the outside world was like. Only those pilgrims and merchants were completely different. We are talking about here sacrifice, a sacrifice that is totally from others in the person of Shuzhou. He faced Taihang, was inspired by Taihang and kept vigil for Taihang.
Shuzhou brought two bags of dry haw from Taihang to Beijing for me. I really treasure them. I sometimes put it in the fragrant tea, sometimes use it as food for fish. I even more often put it in the red wine. In so doing, I can understand better the truth and appeal of Shuzhou's works.(The writer of this preface is one of the ten most noted photographer in the world. He is a noted artist in contemporary China.)
试读结束[说明：试读内容隐藏了图片]