被遗忘的影像记忆——袁毅平摄影(txt+pdf+epub+mobi电子书下载)

作者：朱炯

出版社：中国摄影出版社

格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT

被遗忘的影像记忆——袁毅平摄影试读：

“中国摄影文丛”序

摄影的力量在于它从诞生之日起就扩张了人类视觉的版图，注定了参与历史生活的深度和广度，成为人类启迪心智、认知自我、追问真相、探索未来的重要方式。

摄影的发展在于摄影创作、理论、教育、技术器材、传播载体等的全面进步。强大的摄影创作呼唤强大的理论评论。

如何站在新的历史起点，放眼世界的天空，理清中国摄影与世界摄影的渊源关系、中国摄影与中国文化的互动历程，建立居于本土立场和东方文化的摄影价值坐标，确立中国摄影文化的本土立场，如何针对当前的摄影创作、摄影作品乃至摄影现象进行研究，如何对过往的摄影历史进行明晰梳理，从学理上完善中国摄影的理论体系再造，构建具有时代特色、民族特征和实践特点的中国摄影理论体系已经成为当下中国摄影事业发展绕不开的重要话题，已经成为当代摄影人义不容辞的历史使命。

虽然众多的摄影媒体是理论探讨的重要载体，互联网论坛上的争鸣讨论可以汇聚观点，博客、微博也成为新的摄影理论研究的阵地，但与我国蓬勃发展的摄影创作和庞大的摄影队伍相比，摄影理论评论的学术成果展示与推广仍显薄弱。2013年，中国摄影家协会以“中国摄影文丛”系列图书的方式，不断推出中国摄影理论评论的阶段性成果，力图呈现严肃鲜活的思考、理性深入的批评、独到见解的论断乃至独特创新的理论体系，以启迪创作、面向未来。

以“客观、公正、开放、多元”的主旨打造的“中国摄影文丛”公益平台源于摄影，回归摄影。

摄影：为时代留史，为民族纪行，为人民立言，为人类写心。

是为序。

Preface for Collection of Chinese Photographic Essays

Photography is one of the most powerful apparatus because it expanded the human’s visional territory once it was born, and the depth and width it involved in history and live are extraordinary. Photography is an important way of awakening heart, realizing self, finding truth, and pursuing future.

The development of photography depends on progress of creative works, theory, education, techniques and media. The powerful creative works need powerful theories and critiques to echo with them.

Standing on the new historical point and looking at the sky of the world, as contemporary photographers, we have to take our historical mission and face these important topics: how to sort out the historical relation of Chinese photography to the world photography? How to figure out the interaction of Chinese culture and Chinese photography? How to represent the indigenous culture and set up the oriental cultural photographic coordinates? How to establish the local standpoint of Chinese photographic culture? How to study the contemporary photographic creation, works and phenomena? How to clarify the past photographic history? How to improve the Chinese photographic theoretical system and build up one with characteristics of our time, with ethical traits and features from practicing?

Although photographic media is important place for theoretical discussion, and the debate on internet also brings points, and even blogs and Weibo become new battle field for photographic theory study, comparing to the booming of our photographic creation and huge troops of photography, the exhibition and expansion of photographic theory and critique are still very limited. In 2013, the CPA decides to publish a series of books in the name of The Collection of Chinese Photographic Essays . We plan to introduce the Chinese photographic theoretical research phase by phase, and present the results of serious thinking, the reviews on depth, the special points and even the unique and creative theoretical system, so that enlighten our creation and prepare us to face the future.

The Collection of Chinese Photographic Essays bases on the principles of “Objective, Justice, Openness and Diversification,” and it starts from and returns to photography.

Photography is for recording history, for documenting ethical deeds, for memorizing expression of people, and for conveying the heart of people.

传承

摄影术诞生170余年来，摄影文化不断丰富发展，形成了大量的精神财富和物质财富。摄影文化的传承就是这两种财富在前辈和后辈之间的传递和承接过程。由于历史的原因，中国的摄影文化传承迫在眉睫。如何系统、完整地对既往摄影成就进行梳理研究，成为摄影理论界尤其是摄影史研究学者的一个重要课题。这个课题架构庞大、层次繁复，任重道远，但“对老摄影家的专业成就进行学术梳理”无疑是一项迫切需要进行的具体工作。

传承问题不是一件机械性的事务，也不是设定几个项目就能够完成的，更不是形式大于内容的一种作秀。摄影文化的传承，需要用严谨的科学态度、责无旁贷的使命感、不懈钻研的精神和丰富多样的形式，对有形的摄影艺术成就，对影像承载的历史，对影像传达的多元、饱满的思想，进行系统、全面的梳理和研究。

中国摄影家协会自2013年开始，由理论研究部牵头启动了这一工作，与业界专家学者一起，对老摄影家进行了包括个人历史口述、摄影作品整理、理论学术讨论、史料资料汇编等工作。这些工作的成果，也陆续地通过媒体发表、展览展示、编辑出版等形式表现出来。这次将这些成果归入“中国摄影文丛”陆续出版，既凝结了前辈们在摄影艺术领域多年的创作与思考，也是对中国摄影史的尊重和对摄影前辈的致敬。

谨以此书，向所有为中国摄影文化传承做出贡献的专家、学者、工作人员表示衷心的感谢。王瑶2014年6月

Heritage

“If I have seen further it is by standing on the shoulders of giants.” The famous saying of Newton tells the relation of heritage to development. Developing and making progress on the Chinese photography need a spirit of innovation. Moreover, need to inherit the old Chinese photographic culture.

Since the creation of photography, it has been more than one and seventy years. Photographic culture has been developed richly, and there are abundant physical and spiritual fortune left. Inheriting photographic culture means transferring and receiving the two kinds of fortune from the forerunners to the followers. Since the historical reason, there is a clear and present danger to inherit the Chinese photographic culture. How to systematically and completely sort out the achievements of the Chinese photography becomes an important topic of the Chinese photographic theorists.The topic is a huge, complicated and much time-consuming project. Within it, doubtlessly, “Academically sorting out the old photographers’ works” is the most necessary concrete job.

Inheriting is not a mechanical job, and cannot be done by setting up a few projects. It should not be a show of form instead of content. To inherit the Chinese photographic culture, we need a scientific attitude, a sense of mission and abundant forms. We need to systematically and completely sort out the achievements of Chinese photography, the history of images, and the diversified thoughts on image expression.

The Theoretical Study Department of Chinese Photographers Association started the project in 2013. Working together with the professionals and theorists, they sort out some achievements of the old Chinese photographers. The project includes individual oral history recording, photographic works collecting, theoretical discussing, and historical material categorizing, etc. The results of the huge project have been published through media, exhibition, and books. The books on achievements of the old Chinese photographers will be categorized into “Chinese Photographic Collections” and published gradually. The collection reflects the creation and thinking of the Chinese forerunners in the field of photography, and is also a salute to the Chinese photography history and to those brilliant Chinese photographers.

I appreciate all the professionals, scholars and workers who dedicated to the project of sorting and studying and devoted themselves to inherit the Chinese photographic tradition. This book is for you all.Wang YaoJune, 2014

往事散记

我自1939年跨入摄影之门，追光蹑影，迄今已有70多个年头了。悠悠岁月，我与摄影相随相伴，形影不离。 期间，先后干过10年人像摄影，10年新闻摄影；然从1958年调到中国摄影学会后，直至1990年我离岗，长期从事摄影刊物的编辑工作和摄影理论的研究工作，从此我拍照片都成“业余”的了，也就是说没有指定性拍摄任务。这在选材、立意和表现等方面，相对来说要自由得多，然而其局限性也正在于此。一些地方，一些场合，一些事件，乃至一些生活角落，都没有条件亲自面临和拍摄了。所以我后来拍摄的一些照片，大多是在出差或者出访的时间“顺手牵羊”地“牵”来的。其题材内容的选择，也往往是跟着自己的摄影感觉而随景随取的。这种现象从我最近的影展作品中可见一斑。

不过，任何事物都有它的两面性。既然我拍照片要受到上述的一些局限，那我就把镜头主要对向老百姓，对向平民百姓日常的普通生活，对向老百姓憨厚的性格。尽管我做得还很不理想，但我这样做了。

由于有些影像资料在“文革”中毁损，另有一些因故暂时无法取出制作。因而这本书显得比较单薄和零散。有些该向观众展示的生活画面，在这本书中却“缺席”了。

摄影，具有一个独特的重要功能 ­纪实功能。它能把特定时间、特定场合、特定事件真实、形象地记录下来，永久地留在人们的记忆之中。但愿我这个展览中的一些记录往事的照片，能够起到上述作用的哪怕万分之几，我就高兴了；更多的是我愿听到批评的声音。

最后，十分感谢中国文联和中国摄协领导的关心和支持，为我出版这本回顾性的画册，也要感谢主编朱炯副教授和她的研究生何博与杨露等，还要感谢参与出版事务的理论部主任吴砚华。他们为这本书付出了许多辛勤劳动。袁毅平2014年6月

Several Things in my life

Since I entered the door of photography in 1939, it has been more than seventy years until now. In the long history, I accompany the photography to chase light and shadow. I worked on portrait photography for ten years, on news photography for another ten years, and then I worked as an editor and a photographic theorist in the Photographic Society of China, from 1958 to 1990 I retired. During the later period, I became an amateur photographer, that meant I didn’t have any assignment. Considering theme, purpose and expression, I had more freedom than others, but the limitation came from that too. Some places, some official activities, some social events, and even some common nooks, I could not go and shoot. Therefore I took photos only if I was on a business trip or during an official visiting some places. On theme and content, I just followed my photographic sense and shoot casually. You can sense the spontaneity and the casualty through the works in this exhibition.

However, one coin has two sides. Since I had such limitation, I focused on common people, their simple lives and their unvarnished personalities. I might not do as good as I expected, but I did try.

Since part of my image materials were destroyed during the Cultural Revolution and part of them cannot be made temporarily, the catalogue thus looks weak and fragmented. Some photos that show common life of people are absent here.

Photography, besides its perceiving and aesthetic function, also has another important function--to document reality. It can record special time, special occasions and special events vividly and thus exist in people’s memories forever. I hope my works recorded the past in this exhibition can function like that, even just a little, I will be very happy. I would like to hear more criticizing voice.

In the end, I appreciate the care and support from the China Federation of Literary and Art Circles and the China Photographers Association, who hold the precious photo album. I also want to thank the editor in chief Zhu Jiong (associate professor of Beijing Film Academy) and her graduate students He Bo and Yang Lu. They spent a long time on and work very hard for this catalogue.I also want to thank Wu Yanhua, the chief leader of the Theory Study Department of the CPA.They all dedicate themselves to the project.Yuan YipingJune, 2014

熟悉与陌生：作为摄影师的袁毅平

在中国摄影界，袁毅平，是一个熟悉的名字，是一位资深的摄影前辈。《东方红》，1961年拍摄的一幅天安门日出的彩色风景照片，既是袁毅平的传世佳作，也成了他的个人标签。

实际上，自20世纪40年代至21世纪初中国摄影发展的历程中，袁毅平具有多重身份：摄影师、编辑、摄影理论研究者、摄影评论人、摄影家协会领导者、摄影活动组织者。时间将袁毅平与摄影编织成了一个实心球，从照相馆人像摄影扎实训练起步，到职业新闻摄影的锤炼，进一步以编辑的视点审视和评价影像，进而研究摄影的理论与美学。袁毅平以一位在摄影的自觉实践中成熟起来的领导者，参与摄影行业政策、规范的制定与决策、执行与推广。袁毅平为人谦逊，待人热情，五十多年来，太多活跃在摄影行业一线的人，无论天南海北，都喜欢称袁毅平为“老师”，因为他们都或多或少地受到过袁毅平直接的提携和帮助。2014年，88岁的袁毅平早已被尊为“袁老”。近几年他积极主动地向摄影界敞开自己，不仅愿意讲述一生的摄影历程，也不遗余力地翻箱倒柜，打开一包又一包牛皮纸口袋和旧信封。他期待这些散落的底片与文稿，将往事和影像重新呈现。这也是以袁老为代表的摄影前辈，送给中国摄影界的一份丰厚馈赠吧。

我在2013年初接受中国摄影家协会理论研究部“中国摄影文化抢救计划”的任务，开始做袁毅平口述历史及摄影研究。在大学从事摄影教学二十年，我每天面对年轻的面孔。也许职业的因素有着潜移默化的作用，我的理念早已明晰，摄影的历史，只有让年轻摄影人接受才能传承，中国的摄影前辈和摄影历程，需要年轻人的理解和认可。年轻一辈的摄影人知道袁毅平的不多。不仅因为《东方红》这样的影像，淹没在互联网的海量影像洪流中，不足以吸引眼球，也因为中国摄影史的呈现中，经典名家常常只有一个人名、两三张作品、四五个头衔。摄影人、摄影活动、摄影思潮和时代进程缺乏血肉相连的整体性展现。如果现在要回答年轻人的提问：袁毅平是谁？我该如何去证明袁毅平的多重身份及其价值呢？他个人的成就在中国摄影的发展历程中又起到了怎样具体而微的作用？我该介绍袁毅平的哪些摄影经历才可以引导年轻人更好地认识和理解中国摄影发展的脉络？非常遗憾地说，以上的问题在研究项目开始之前我是无法回答的。甚至，我觉得熟悉袁毅平的很多摄影界人士，也不能够说出袁毅平五十年摄影生涯中的二十张优秀照片，写过的十篇重要文章，推动和实施的三五个重要的摄影工作项目。

因此，做袁毅平摄影研究的目的就非常明确了：我希望通过对袁毅平的口述采访、摄影资料、文章和手稿的整理，清晰地梳理他摄影生涯的脉络，准确地还原他在摄影领域的成长、发展轨迹，真实呈现出袁毅平的个人成就与中国摄影行业的关系。进一步而言，通过对他的个案研究，我不仅要在中国摄影历史版图上为他找到一个经纬度明确的位置，还要能够画出一幅3D图形，描绘出他这座山，他的轮廓、形状甚至他内部蕴藏的宝藏。我确信中国摄影历史的蓝图，必需依靠这样一个点一个点，一座山一座山来定位、描绘。

一年前，我组织了一个小团队，希望和年轻的人一起做袁毅平摄影研究。首先我带领了两名“80后”研究生，何博与杨露，进行口述历史的采访工作。

自2013年3月至6月底，每周两次，每次三小时，上午9点到12点，我们三人去位于北京北土城边的袁老家进行口述采访。这样的集中采访进行了二十五六次，大约有80多个小时的采访录音。2013年下半年及2014年3月以来，我们的采访小组继续与袁老会面、交谈、整理照片。目前已经积累有100多个小时的采访录音。

袁老住在80年代初盖起来的六层砖结构的老式楼房中，社区安静，旁边有医院和大面积的绿色公园。他选择了这样方便的环境，但是却不得不将就着狭小的居住空间。袁老和老伴一起生活在一套小三居室内，他的房间长约五六米，宽两米多，单人床、写字台、简单的沙发和满满的书柜。袁老总是坐在朝阳的窗户前的书桌边，每次我都是贴着墙坐，以保持和袁老面对面说话。我们之间的距离，不超过一米。而另外的两个年轻研究者则在这间狭小的屋子里面度过了100多个小时观看袁老的侧面甚至背影。每一次采访，我们九点到，袁老让保姆给我们倒上水，有时备一些水果。他自己则在三个小时的交谈过程中，不喝水，不上厕所。只是有时电话铃响，摄影界的活动邀请或者老朋友的电话问候打断我们的交谈。87岁的袁老以清晰的思路向我们这些他的下一代、下下代追述从童年开始的人生，讲述摄影界的三教九流。他讲话有南方口音，但是很容易懂。袁老的讲述很口语，很轻松，但是也有故事性强的，有很多细节，很文学。他讲起故事来，会自己禁不住先笑起来。

听一位老人讲故事，需要一种能力。在采访进行了一个月之后，我越来越意识到自己做这个项目的优势。我的父亲朱正明曾经在《大众摄影》杂志1979年复刊后担任过十年的编辑，所以协会的很多叔叔阿姨我都熟悉，至少也熟悉他们的名字。所以，袁老的讲述，对于我来说是极为生动的，石少华、陈勃、徐肖冰、吴印咸、佟树珩、朱宪民、吕厚民、杨绍明、尚进、张家琪、朱家实、陈淑芬……我头脑中那些来自于少年时代父亲的片断描述都形象化、完整化了。这也让我觉得离袁老很近。我想袁老也感受到了这一点。我不是以一名记者的身份来提问，我们是一起来梳理中国摄影走过的道路。在这条路上，袁老牵引着我，看行业里熟悉的人所经历过的陌生的事。在采访的过程中，我不断地提出问题，关于那些具体的人和事，希望能够让袁老讲述更多的细节。

采访中瓶颈也存在过。当采访进行到两个多月的时候，也就是袁老给我们讲人生与摄影将近40个小时后，中国摄影已经进入了改革开放后的20世纪80年代。这一次，袁老用三个小时，就把整个80年代到他1990年离休，都讲完了。然后他说，退休了，慢慢也就没有什么事情了。好像袁老下“逐客令”了，讲完了？这让我非常不甘心。十年改革开放进程中摄影的发展，怎么能够三小时就结束了呢？袁老也接着问我，下次你们再来，我讲什么呢？我跟袁老说我三天后还会来，提前一天告诉他谈什么。这真的是一个挑战。

在历史学的范畴，口述历史是1948年产生于美国的历史记载与研究的新方式，它开创了建立人类个体记忆库的理念。依据个人口头对历史讲述所必然带有的主观性，具体的叙述带来的琐碎性，使史学界总会发出质疑的声音。袁毅平讲述他自己，我作为一个晚辈，一个没有亲身经历的人，怎么来判断这些叙述的可靠性。真实与非真实，怎么把握？袁毅平是个谦和的人，他的人生哲学是“退一步海阔天空”，他的讲述会弱化掉什么？截止到那时，我还没有开始整理他的照片，如果依据当时对他的认识，该以什么样的标准来选择影像？我重新问自己，我们做他的口述历史和摄影研究的目的是什么？我想，应该是在梳理出他的摄影轨迹之后，以他为引子，描绘并印证中国摄影发展的一段脉络。他手中有不少重要的摄影资料，他曾经自豪地说，手上有《中国摄影》杂志从创刊到2000年的所有期号。在中国，恐怕没有几个人有如此完整的收藏。我在出了袁老家门的时候有了个好主意。我马上给袁老打电话，就请他把《中国摄影》杂志从头拿出来，我跟他一起看一遍。袁老很少拒绝人，他回答我说，那有很多合订本啊。

于是我们又和袁老工作了两个月，把《中国摄影》杂志自1974年复刊到1990年第一期他离休前的所有期刊一页一页地看过来。这个过程真是大开眼界，而且袁老几乎清楚每一张照片和文章背后的故事。中国摄影的历程如此生动地呈现到我的眼前。袁老应该是比较满意我的这个主意，因为我感受到他的记忆之泉喷涌不止。

通过和袁老一起翻阅《中国摄影》杂志，首先中国摄影界的诸多人物的形象在我的头脑中逐渐丰满起来，我看到了石少华、张印泉等老一辈摄影家的许多作品，了解了王立平、凌飞的照片如何在20世纪80年代进行探索，摄影的现代性是怎么被讨论出来的，等等。也正是在对中国摄影五十年的整体面貌做了回顾与解读之后，我找到了整理袁毅平摄影的标尺。

2013年6月，袁老打开他书柜下面的门，指着满柜子塞得鼓鼓囊囊的旧信封、旧口袋，“照片太多了”。在此以前袁老所做的口述中，并没有说太多他本人的摄影创作。他除了谈及在服务于新闻报业时期的一些拍摄经历，作为编辑的身份，袁老说他的摄影是“顺手牵羊”式的，是非专业的摄影。在这些一包包不起眼的旧袋子里面，我找到了一万多张底片和照片。于是我们的谈话内容自然地转到了他的摄影实践上。

袁毅平自1958年以后自命为“业余”摄影师，他能够使用单位的相机有禄莱、徕卡，自己还买了一台莫斯科牌相机，旁轴6×9cm的中画幅。他用阿克发和柯达黑白胶卷，偶尔能获得水溶性彩色胶卷，或者是过期的彩色胶片，有时是灯光型胶片，也会有拍电影的朋友将电影盘片的片头剪下来，缠成胶卷送他。在那个物质匮乏的年代，他总是有机会奢侈地获得胶片来拍摄。

在20世纪50年代至70年代末，袁毅平以一种训练有素的职业摄影的意识和习惯，泛目的、泛功用性地拍摄了他经历的很多社会活动及政治运动。在他的柜子里躺了四五十年的牛皮纸口袋中，是各种规格的底片和小样。他对这个时期的底片基本都整理过，底片袋上有标记，还有照片上留下来的剪裁划线。这些底片和照片的数量，大约在上千张。这些影像中有少量涉及西南地区的生产建设与生活，主要内容是北京60、70年代人的面貌和天安门的大型活动，也有与中国摄影学会工作相关的空间与活动，如江苏水乡劳作的人们，河北涿鹿农村人的生活，还有阿尔巴尼亚人和社会……这些题材本身在中国的视觉档案中是缺失的，是陌生的。

我首先申请将袁老所有的影像都进行数字化存档，希望这个庞大的数字影像库能够尽早地公开，成为社会文化的公共资产。接下来要将这些底片和照片整理收存。这个浩大的工程到目前为止还没有落实。

经过了一年多的口述采访，整理袁老的照片，我们要提交第一份研究报告了。在他众多的身份中，我觉得首先应该全面肯定和充分展现的是他作为摄影师的一面，这也是他之后从事编辑、摄影理论与批评研究、行业领导等领域工作重要的出发点和依据。因此，我们无论是以空间展览的方式、纸媒出版物的方式，还是网络传播的方式，都希望向公众呈现出的是作为摄影师的袁毅平。他经过七八年上海照相馆训练，具备了良好的视觉专业素养，又在社会主义建设初期经历了八年新闻摄影记者生涯的锤炼，练就了摄影的选题意识、影像与社会和历史的相互作用意识。袁毅平在20世纪50年代末转型为摄影刊物的编辑，他会不自觉地以专业的素质与精神，进行非专业目的的拍摄。所谓非专业摄影或者业余的摄影，核心问题是他拍摄的大部分照片不是为了发表，不直接服务于国家意志的传播。他的拍摄动机出自于一种自觉，即认为应该拍摄。他的六组近百张核心影像作品包括 ：1962年江苏省苏州甪直地区，三年困难时期后期农村面貌的社会调查；1963年河北涿鹿县“送影展下乡”；1964至1965年山东曲阜焦河大队“四清运动”面貌；20世纪50年代十三陵水库等水利建设和20世纪60年代工业生产；20世纪50年代至世纪末天安门广场的活动与人的面貌；1969年天津“五七干校”等等。

在选择袁毅平的照片时，我有三个倾向：一是照片体现的是袁毅平在那个时代的视点和想法，二是照片要体现袁毅平所在时代的普遍情感和思维方式，三是挑选生动的、更富有人性的、真切可感的影像。10000张底片、样片首先进行数字化，然后在电脑上一一选择，这是个巨大的挑战。初选1000张，再删300张，再删……如此一层层缩小范围。在此过程中，我一直在与团队中的同学们交流对袁毅平作品的看法，年轻的学生是袁老的第一读者。我要借用年轻人的反馈，选出可以打动当代人的影像。另外，我也在选片时尽量避免选取那些具有刻板印象的照片，削弱重复那些被今天的影像阅读所规范的、20世纪五六十年代单一而坚硬的形象。因为他没有发表任务，所以拍摄更加放松，也更容易捕捉到那个时代与人的双重存在。20世纪五六十年代人们的朴素面容，透露出简单而发自内心的情怀。他的照片带给我们一种陌生感，这种陌生感包括过去时代人的面貌和情感的陌生感，也包括我们熟悉的关于过去的影像，多是那些把革命和政治强化的视觉形象。他的照片画面结构结实，视觉新鲜，具有较强的审美性。这些重现历史的碎片影像，显影出了社会主义建设初期中国人真实、可感的精神面貌。

通过此本摄影画册中的照片佐证，我认为袁毅平1958年进入中国摄影学会工作后的十年，是他摄影创作最成熟的时期。其影像摆脱了新闻宣传的实用目的，又与时代紧密结合，与现实真切的情感相连。

让我觉得颇有意外收获的，是袁毅平在20世纪八九十年代利用工作之便拍摄的许多作品，其中也包括参加摄影活动时记录摄影者拍摄状况的影像。虽然袁毅平并没有把所有照片当作自己的重要作品，但是他仍然把它们当作资料仔细保存。这些影像不时闪现出的当代色彩，常带给我视觉上的兴奋。也让我开始思考，影像如何在摄影者的把控之中，又如何逃离摄影者主观意愿的路径；摄影的历史性与当代性如何在一幅影像中同时获得存在的空间；在拍摄和观看如何孕育了一幅作品后，又让这幅作品具有生命一般成长的空间。

2014年6月在中国摄影展览馆举办的“往事散记 袁毅平摄影回顾展”和本书应该只是这个项目的开始。

Familiar and Unfamiliar: Yuan Yiping as a Photographer

Yuan Yiping is a senior and well-known photographer within the group of Chinese photographers. The Red Orient, a scenery color photo, taken in 1961, became the most famous masterpiece, yet the stereotype of his own.

Since 1950s, Yuan has played multiple roles within the history of the Chinese photography, such as a photographer, an editor, a photography theorist, a photography critic, a leader of the Chinese Photographers Association (CPA), and an organizer of photography activities. Yuan’s life and photography were bounded together tightly for a long time. Starting from the concrete training on portrait photography in photo studio, practicing on professional news photography, examining on photos from an editor’s view, and eventually studying on the theory and esthetics of photography, Yuan grows up to be a leader with abundant experience. He devotes himself into the policy and rule making, executing and spreading in the photography industry. Yuan is a humble and warmhearted person. Within the fifty years, many people from all over the country working in this industry, like to call Yuan "teacher," because Yuan more or less helped and taught them. Now, in 2014, Yuan is at the age of 88. People respect him as "Yuan Lao", which means Yuan the Master. Recent years, he opens himself actively to the Chinese photographers group. He talks about his personal history of photography and shares his personal collection—tons of old bags and envelops. He hopes the past stories and images can be represented through these old photos and letters. For Chinese photographers group, those are not only his personal memories, but also the precious gifts given from the forerunners.

The Theory Study Department of the CPA sponsored a plan called "The Preservation of the Chinese Photographic Culture". I accepted one of the tasks in the early 2013 and began to study on Yuan’s photography and write on his personal history. I have taught photography in college for more than twenty years. Facing young faces everyday, I develop a very clear concept in my mind through my career. Only when the young generation accepted, the photograph history can be inherited and preserved. The Chinese photographic forerunners and their experiences need to be understood and appreciated by the young people. Today seldom young photographers know Yuan Yiping. It is not only because the image like The Red Orient was buried in the tons of photos in the internet, it seems not appealing at all, but also because the traditional way of writing the Chinese photography history. Even the well-known masters have only one name, several classical works, and some job titles appeared in books. The history was fragmented and lack of the organic connection. The photographer’s personal growth, his photographic activities, the ideological evolution through the time and the corresponding trend of photography need to be represented as a unity. If young people ask who Yuan Yiping is, how can I introduce Yuan’s multiple identities and prove his historical value to them? How can I evaluate Yuan’s personal achievements among the development of Chinese photography? Which part of his photographic experiences should I take to lead the young people to learn and understand the photographic history better? I feel sorry that I could not answer those questions when I began my study. I find out that evensome people from the photographic industry who are familiar with Yuan, can hardly name twenty best photos of Yuan, or ten important essays he written, or three photographic activities he organized.

Therefore, my target is very clear—through interviewing Yuan, collecting his photos, essays and personal writings, to get a clear chronology of his photographic life, accurately describe the track of his growth and development in the field of photography, and honestly represent the relationship between his personal achievements and the Chinese photographic industry. Furthermore, through the case study, I need to not only find Yuan’s longitude and latitude position on the map of the Chinese photography, but also draw a 3-D topography of the Yuan Mountain—to draw his profile, his shape, and even mark the inner treasure. I surely believe that the map of the Chinese photographic history needs to be done point by point and mountain by mountain.

I hope to study Yuan’ photographic life with young people, therefore I organized a small team one year ago. Born in 1980s, He Bo and Yang Lu, my two graduate students and I began to write the personal history with interview.

We went to Yuan’s home where is in the North side of the city, Beijing to do the interview. From March to June,2013, we went there twice a week and three hours every time, from 9am to 12am. We had about twenty-five interviews in all and recorded more than 80 hours of talk. We kept meeting with Yuan later on until March, 2014, and we had some casual talk and sorted his old photos out. Now we have more than 100 hours of audio record.

Yuan lives in an old fashioned 6-floors apartment that was built in early 1980s. The community is quiet and close to hospital and a big green park. He chooses the convenient neighborhood, but has to bear with the narrow living space. Yuan and his wife live in a small three bedrooms apartment. His room is about 6 meters long and two meters wide. There are a single bed, a desk, a simple armchair and shelves full of books. Yuan always sat beside the desk that face the southern window. I sat back to the wall so that we could talk face to face. The distance between us was less than one meter. In such a narrow space, the other two young researchers spent more than 100 hours seeing Yuan’s profile or even his back. We usually arrived at 9 am, and Yuan always prepared some fruits and asked maid to prepare tea for us. However, he seldom drank anything or went to restroom during the three hours talk. He stopped the interview only when sometimes the telephone rang, which was about inviting him to some photographic events or greeting from his old friends. 87 years old Yuan still had clear mind, and slowly retraced his childhood, his youth, and some interesting stories of people from different social status. He had southern Chinese accent, but still understandable. His narration was quite easy and casual, sometimes was dramatic and with lot of details. If the story was fun, he could not help his laughing.

It requires historical context or knowledge to understand an old man's story. After one month interview, I realized my advantage of doing this project. My father Zhu Zhengming used to be an editor of Popular Photography Magazine, which was reissued since 1979. Therefore, I am familiar with those uncles and aunts in the CPA, or at least familiar with most names. When Yuan told me his past, the history became so vivid in front me. Shi Shaohua, Chen Bo, Xu Xiaobing, Wu Yinxian, Dong Shuheng, Zhu Xianmin, Lv Houmin, Yang

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