以于德水为代表的“中原摄影群体”研究

发布时间：2018-03-10 18:57

本文选题：于德水　切入点：“中原摄影群体”　出处：《南京师范大学》2015年硕士论文　论文类型：学位论文

【摘要】：河南地处中原,是中华民族最重要的发源地之一,是最具汉民族文化特色和风情的农业大省。黄河穿越黄土高原,挟泥沙、过三门峡乘势而下,在这里泥沙淤积造就最适宜农耕的土地,而决口改道又常使百姓灾难重重。在与黄河的恩恩怨怨中,地处中原的河南成为古代东亚农业经济中心,发展出最成熟的东方农耕文化。在这样一个的历史文化悠久和宏阔的现实背景中,当摄影成为一种观察方式的时候,摄影人的目光非常自然的落在了这块厚重的土地上。上世纪80年代以后,随着人们的主体意识的渐渐觉醒,中原地区厚重的历史文化和人文积淀、中原文化所具的生命力、中原地区特殊的地理环境以及中原大地上亿万农民的生存状态等,给这片土地上的人在文学、戏曲、美术、舞蹈等艺术形式的创作上都带来了灵感和题材,每个人都在那个各方面还都匮乏年代寻找一种释放的方式。对自己的本土、本民族文化诉求也成了摄影家们的内心的愿望,但由于特殊年代下教育的缺失使他们内心的精神贫乏,也导致他们没有积累足够的文化素养去用文学、戏曲、美术、舞蹈等艺术手段来表达自己内心的想法,他们选择最熟悉的“工作工具”——照相机,将“工作”变为“创作”,通过镜头来观察和体悟,一点点地填充教育缺失下内心精神的饥渴。他们选择了用照相机来记录,将镜头聚焦于这片土地上的人的生存状态和生活方式。并在拍摄方式上开始了长期关注一个人群和一个区域的人文状态,形成了系统化的影像语言形态。以于德水为代表的“中原摄影群体”的摄影家们的作品散发着一股浓郁的乡土情结,因为他们的情感与精神已经和脚下的黄土地糅合在一起,凝结于他们的作品之中,如于德水的《黄河流年》、《中原土》,姜健的《主人》,赵震海的《矸石山上捡煤人》,阎新法的《红军流散人员》等。这些关于中原地区农民及其生活的影像几乎收视了不同身份、不同境遇和不同状态下的人群,他们用纯粹的记录的方式将河南这片厚重的土地和这片土地上的人展现于我们的面前。通过对于德水和“中原摄影群体”的全方位研究,我们可以看到中原地区深厚的历史文化积淀、特殊的地理位置、人的生活及生存状态对摄影家的影响,我们看到一个阶段性、地域性摄影本体语言的演变过程,观察与被观察的结果、人文关怀对责任的拷问、现实与历史的关系等等。最终得出结论“中原摄影群体”的摄影家们内心强烈的表达本土、本民族文化诉求的愿望让他们选择了照相机这个工具,通过摄影这个载体去记录,用他们的影像来展现中原这块厚重的土地。同时,他们突破摄影的“唯美之风”,去选择纯粹的记录,这是摄影本体语言的回归即摄影并非是艺术而是纯粹的记录,这也是对中国纪实摄影的丰富和充实。
[Abstract]:Henan, located in the Central Plains, is one of the most important birthplaces of the Chinese nation and a large agricultural province with the most cultural characteristics and customs of the Han nationality. The Yellow River crosses the Loess Plateau, carries sediment, and rides down through Sanmenxia. Here the silt creates the most suitable land for farming, and the decision to change course often causes disaster to the common people. In the grudges against the Yellow River, Henan, located in the Central Plains, became the agricultural economic center of ancient East Asia. Develop the most mature Oriental farming culture. In such a historical and cultural background, when photography becomes a form of observation, After -20s, with the awakening of people's subjective consciousness, the heavy historical culture and cultural accumulation in the Central Plains, the vitality of the Central Plains culture, The special geographical environment in the Central Plains and the living conditions of hundreds of millions of peasants in the Central Plains have brought inspiration and themes to the people on this land in the creation of literature, drama, fine arts, dance and other artistic forms. Everyone was looking for a way to release himself in that era of scarcity. For his native land, the cultural appeal of his own nation had become the inner desire of the photographers. However, due to the lack of education in the special age, their inner spirit is poor, and they also fail to accumulate enough cultural literacy to express their inner thoughts by artistic means such as literature, drama, art, dance, etc. They chose the most familiar "work tool"-the camera, turned "work" into "creation," observed and realized through the lens, filled little by little with the hunger of the mind under the absence of education. They chose to record it with a camera. Focusing on the state and way of life of the people on this land, and starting a long-term focus on the humanistic state of a group and an area in the way they are filmed. A systematic image language form has been formed. The works of photographers of the Central Plains, represented by Yu de Shui, exude a strong local complex because their emotions and spirits have been combined with the yellow earth under their feet. Condensed in their work, For example, Yu de Shui's Yellow River floating year, Central Plains soil, Jiang Jian's master, Zhao Zhenhai's Coal Man on the gangue Hill, Yan Xinfa's Red Army drifters, and so on. These images of peasants and their lives in the Central Plains almost show different identities. People in different situations and different states, they show the thick land of Henan and the people on this land in a way of pure record. Through the comprehensive research on Deshui and the "Central Plains Photography Group," We can see the deep historical and cultural accumulation of the Central Plains, the special geographical location, the influence of people's life and living conditions on the photographers, and we can see the evolution process of a stage, regional photography Noumenon language. The results of observation and observation, the torture of responsibility by humanistic concern, the relationship between reality and history, etc. Finally, the conclusion is drawn that the photographers of the Central Plains have a strong inner expression of their homeland. The desire of their own national culture led them to choose the camera as a tool, to record it through photography as a carrier, and to use their images to show the thick land of the Central Plains. At the same time, They break through the "aestheticism" of photography and choose pure records. This is the return of the language of photography, that is, photography is not an art but a pure record, which is also the enrichment and enrichment of documentary photography in China.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J405

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