本文選題：于德水　切入點(diǎn)：“中原攝影群體”　出處：《南京師范大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

【摘要】：河南地處中原,是中華民族最重要的發(fā)源地之一,是最具漢民族文化特色和風(fēng)情的農(nóng)業(yè)大省。黃河穿越黃土高原,挾泥沙、過(guò)三門(mén)峽乘勢(shì)而下,在這里泥沙淤積造就最適宜農(nóng)耕的土地,而決口改道又常使百姓災(zāi)難重重。在與黃河的恩恩怨怨中,地處中原的河南成為古代東亞農(nóng)業(yè)經(jīng)濟(jì)中心,發(fā)展出最成熟的東方農(nóng)耕文化。在這樣一個(gè)的歷史文化悠久和宏闊的現(xiàn)實(shí)背景中,當(dāng)攝影成為一種觀察方式的時(shí)候,攝影人的目光非常自然的落在了這塊厚重的土地上。上世紀(jì)80年代以后,隨著人們的主體意識(shí)的漸漸覺(jué)醒,中原地區(qū)厚重的歷史文化和人文積淀、中原文化所具的生命力、中原地區(qū)特殊的地理環(huán)境以及中原大地上億萬(wàn)農(nóng)民的生存狀態(tài)等,給這片土地上的人在文學(xué)、戲曲、美術(shù)、舞蹈等藝術(shù)形式的創(chuàng)作上都帶來(lái)了靈感和題材,每個(gè)人都在那個(gè)各方面還都匱乏年代尋找一種釋放的方式。對(duì)自己的本土、本民族文化訴求也成了攝影家們的內(nèi)心的愿望,但由于特殊年代下教育的缺失使他們內(nèi)心的精神貧乏,也導(dǎo)致他們沒(méi)有積累足夠的文化素養(yǎng)去用文學(xué)、戲曲、美術(shù)、舞蹈等藝術(shù)手段來(lái)表達(dá)自己內(nèi)心的想法,他們選擇最熟悉的“工作工具”——照相機(jī),將“工作”變?yōu)椤皠?chuàng)作”,通過(guò)鏡頭來(lái)觀察和體悟,一點(diǎn)點(diǎn)地填充教育缺失下內(nèi)心精神的饑渴。他們選擇了用照相機(jī)來(lái)記錄,將鏡頭聚焦于這片土地上的人的生存狀態(tài)和生活方式。并在拍攝方式上開(kāi)始了長(zhǎng)期關(guān)注一個(gè)人群和一個(gè)區(qū)域的人文狀態(tài),形成了系統(tǒng)化的影像語(yǔ)言形態(tài)。以于德水為代表的“中原攝影群體”的攝影家們的作品散發(fā)著一股濃郁的鄉(xiāng)土情結(jié),因?yàn)樗麄兊那楦信c精神已經(jīng)和腳下的黃土地糅合在一起,凝結(jié)于他們的作品之中,如于德水的《黃河流年》、《中原土》,姜健的《主人》,趙震海的《矸石山上撿煤人》,閻新法的《紅軍流散人員》等。這些關(guān)于中原地區(qū)農(nóng)民及其生活的影像幾乎收視了不同身份、不同境遇和不同狀態(tài)下的人群,他們用純粹的記錄的方式將河南這片厚重的土地和這片土地上的人展現(xiàn)于我們的面前。通過(guò)對(duì)于德水和“中原攝影群體”的全方位研究,我們可以看到中原地區(qū)深厚的歷史文化積淀、特殊的地理位置、人的生活及生存狀態(tài)對(duì)攝影家的影響,我們看到一個(gè)階段性、地域性攝影本體語(yǔ)言的演變過(guò)程,觀察與被觀察的結(jié)果、人文關(guān)懷對(duì)責(zé)任的拷問(wèn)、現(xiàn)實(shí)與歷史的關(guān)系等等。最終得出結(jié)論“中原攝影群體”的攝影家們內(nèi)心強(qiáng)烈的表達(dá)本土、本民族文化訴求的愿望讓他們選擇了照相機(jī)這個(gè)工具,通過(guò)攝影這個(gè)載體去記錄,用他們的影像來(lái)展現(xiàn)中原這塊厚重的土地。同時(shí),他們突破攝影的“唯美之風(fēng)”,去選擇純粹的記錄,這是攝影本體語(yǔ)言的回歸即攝影并非是藝術(shù)而是純粹的記錄,這也是對(duì)中國(guó)紀(jì)實(shí)攝影的豐富和充實(shí)。
[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.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J405

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本文編號(hào)：1594637