采風(fēng)，一場(chǎng)穿越千年的創(chuàng)作體驗(yàn)

陳淡寧

5月7日到13日，浙江省攝影家協(xié)會(huì)組織了浙江攝影家浙東“唐詩(shī)之路”采風(fēng)活動(dòng)。采風(fēng)團(tuán)一行20人從杭州出發(fā)，前往新昌、天臺(tái)、奉化，最后回到杭州。

“這次出去采風(fēng)的都是浙江攝影界的精兵強(qiáng)將?！辈娠L(fēng)團(tuán)領(lǐng)隊(duì)、浙江省攝影家協(xié)會(huì)秘書長(zhǎng)毛小芳向筆者介紹，每位參加采風(fēng)的攝影家均自報(bào)創(chuàng)作選題，晚上有輪值討論會(huì)，并邀請(qǐng)當(dāng)?shù)財(cái)z友旁聽、參與討論會(huì)，還和途經(jīng)市縣攝協(xié)會(huì)員舉辦講座點(diǎn)評(píng)交流活動(dòng)，“這既是一次影像理念的傳播，又是一次跨界藝術(shù)家的駐留創(chuàng)作?！?/p>

“這次是攝影協(xié)會(huì)的集體采風(fēng)，之后會(huì)有小分隊(duì)繼續(xù)深入創(chuàng)作?！泵》颊f(shuō)，根據(jù)采風(fēng)創(chuàng)作的情況，攝影協(xié)會(huì)已經(jīng)將相應(yīng)的成果展列入了計(jì)劃：“設(shè)想在2019年舉辦浙江攝影家浙東唐詩(shī)之路影像文獻(xiàn)展。”

那么在這些攝影家、藝術(shù)家眼中，這條唐詩(shī)之路究竟是什么模樣呢？

孫敏（浙江省攝影家協(xié)會(huì)副主席）：

手機(jī)拍攝，記錄有時(shí)代特征的影像

孫敏告訴筆者，6天的采風(fēng)中他大約拍了300多張照片：“全是手機(jī)拍的，我已經(jīng)堅(jiān)持了6年的手機(jī)創(chuàng)作了。”

孫敏給筆者展示了一些他所拍的照片，其中很大一部分是寺廟或者寺廟周邊的景象，供果、柴房、寺廟一角懶洋洋的小貓、行走僧人飄起的僧袍……

“十多個(gè)人一起去創(chuàng)作，各自選擇一個(gè)相對(duì)小一些的切入點(diǎn)?！睂O敏說(shuō)，“而我關(guān)注更多的是沿途的大小寺院。因?yàn)樘拼?shī)人大多在寺院落腳，因此浙東一帶的佛道文化更顯‘唐韻?！?/p>

“在出發(fā)前，我提醒自己要‘忘記唐詩(shī)?！睂O敏說(shuō)。在他看來(lái)，走唐詩(shī)之路，不是用圖片去解釋唐詩(shī)，也不是簡(jiǎn)單圖解歲月的變遷?！扒昵暗奶迫耍谩?shī)這工具，來(lái)表達(dá)行走在這條路上的感受，而我們用‘?dāng)z影這工具，來(lái)表達(dá)行走在這條路上的感受。相同的是這條路，不同的是工具、時(shí)代和感受。這是文字與影像的穿梭，是跨越千年的對(duì)話。”

在孫敏拍攝的300多張照片里，有張照片讓他覺得格外感慨。照片拍攝于奉化巖頭村，一邊是中式古建的飛檐，而另一邊是設(shè)計(jì)十分現(xiàn)代的建筑，建筑外還有一個(gè)蜘蛛俠的雕像。

“時(shí)代的元素，千年的跨越，中西文化的融合，在那一個(gè)瞬間，體現(xiàn)得淋漓盡致。”孫敏說(shuō)，“我總覺得那些花啊草啊水啊，一千年前跟現(xiàn)在也沒有多大的區(qū)別，一千年后可能還是這樣。而在今日的唐詩(shī)之路上，其實(shí)還有許多值得記錄、具有時(shí)代特征的影像?！?/p>

“浙東唐詩(shī)之路是浙江的榮幸，也是浙江寶貴的歷史文化遺產(chǎn)和精神財(cái)富?！睂O敏說(shuō)。

沈珂（浙江省攝影家協(xié)會(huì)主席團(tuán)委員）：

跋山涉水，感受古人游歷浙東路程

這是一次目標(biāo)明確的行動(dòng)，與唐詩(shī)對(duì)話，與古人相遇，與山水相融，用身體感受歷久彌新的“浙東唐詩(shī)之路”?！霸谖业慕?jīng)歷中，像這樣圍繞特殊文脈探尋而身體力行的，應(yīng)該是有生以來(lái)第一次。”沈珂說(shuō)。

對(duì)于這“有生以來(lái)的第一次”，沈珂的評(píng)價(jià)是：值得期待。

“首先，這是一次不同年齡、不同風(fēng)格的創(chuàng)作者相互融合碰撞的行程，是一次充滿頭腦激蕩可能性的行程?！鄙蜱嬲f(shuō)，一路上，他與成員們同室論道，茶余飯后，討論最多的是“有形”與“無(wú)形”的問(wèn)題。

另一個(gè)值得期待的理由是“與唐詩(shī)對(duì)話、與古人邂逅，穿越千年時(shí)空，感受古人游歷浙東、遠(yuǎn)涉山水的歷程。游歷之間，自然也探尋著城鄉(xiāng)的面貌、世人的狀態(tài)、文明的境遇，感懷時(shí)光蹉跎。當(dāng)然，最動(dòng)情處依然是老友重逢，令此行充滿著快樂與想象”。

此次“唐詩(shī)之路”行走，對(duì)沈珂而言，思考最多的還是創(chuàng)作的基本問(wèn)題?！霸谖铱磥?lái)，所謂創(chuàng)作，立意在前，轉(zhuǎn)換在后。有感而心動(dòng)，心動(dòng)而生意，生意而作為，創(chuàng)形于無(wú)形，這應(yīng)該就是創(chuàng)作的基本原理。此次采風(fēng)，因‘詩(shī)而起，因‘路而行，如何融‘詩(shī)融‘路于影像，也即探尋于文脈而創(chuàng)形于表達(dá)，這是考驗(yàn)創(chuàng)作者的根本問(wèn)題?！?/p>

這一路，沈珂一直在思考：是因詩(shī)而有路，還是因路而有詩(shī)？“延伸開來(lái)，古人因路而詩(shī)，抑或因詩(shī)而路，再或因會(huì)友而路，再有詩(shī)？恐怕現(xiàn)在誰(shuí)都很難說(shuō)清楚。文化傳承與嬗變總有其各自的道理和原因。對(duì)我們而言，行走于此路，著重于對(duì)唐詩(shī)的理解，還是對(duì)山水的理解，抑或?qū)θ宋氖浪?、生老病死的理解，在我看?lái)，皆無(wú)不可，但重點(diǎn)還是行動(dòng)?！?/p>

臨行前，在采風(fēng)團(tuán)的微信群中，沈珂看到一位團(tuán)員說(shuō)過(guò)一句“創(chuàng)作看緣”，“這句話完整的意思應(yīng)該是：觀察靠腦，感受靠心，創(chuàng)作靠緣。創(chuàng)作是一次高級(jí)的燒腦運(yùn)動(dòng)，同時(shí)必須借助于身體力行。更重要的是，創(chuàng)作能否成功，恐怕還要看是否具備合適的時(shí)機(jī)與條件，若緣分未到，縱有馳騁之意，終不可強(qiáng)求?！?/p>

這即是與唐人作詩(shī)相似相近之處。

汪瀅瀅（獨(dú)立攝影師）：

按下快門，連接古人的詩(shī)意與詩(shī)境

攝影師汪瀅瀅這一次只帶了一臺(tái)膠片相機(jī)和一個(gè)微距鏡頭。此次唐詩(shī)之路，她拍攝了300多張照片。

汪瀅瀅說(shuō)，她的照片主要分為兩類：“一類是古建筑及廟宇。浙東一帶完整保存了很多的古建筑，那些附著在建筑之上的，有歷史意味的圖案一直以來(lái)都很吸引我?！?/p>

為了縮短她與那些雕梁畫棟的距離，汪瀅瀅想盡了辦法。

“比如有一個(gè)古戲臺(tái)旁的牛腿，我從后臺(tái)一個(gè)很小的類似于候場(chǎng)的空間進(jìn)去，那里有一個(gè)通道，走上去之后就會(huì)離那些部件比較近了?！?/p>

還有一類是植物?！跋啾葓?chǎng)面恢宏的風(fēng)景，我更喜歡一些細(xì)致的東西。我平時(shí)的拍攝就比較細(xì)膩。對(duì)微觀世界的關(guān)注也會(huì)比較多。這一路山麓的植被非常漂亮?！?/p>

唐詩(shī)中也不總是“白日依山盡，黃河入海流”，亦有“木末芙蓉花，山中發(fā)紅萼”。

對(duì)汪瀅瀅來(lái)說(shuō)，唐詩(shī)之路的采風(fēng)是一場(chǎng)尋找痕跡之旅。她將鏡頭從一些嶄新之處移開，對(duì)準(zhǔn)了那些有可能與古人相遇之處，那些有時(shí)光痕跡的地方。

“因?yàn)橹挥羞@些地方能激發(fā)我的想象，能感受到他們是如何克服重重困難，費(fèi)盡周章地來(lái)到此地，而這種想象讓我對(duì)這些浸潤(rùn)在時(shí)光里的舊東西有了拍攝的沖動(dòng)。”汪瀅瀅說(shuō)。

那些山間野廟里小小的神像質(zhì)樸可愛，而那些古剎名寺里還未被改造的角落，也讓汪瀅瀅按下了快門：“一切都在迅速變化，特別想把這一刻留下來(lái)?！?/p>

“唐詩(shī)造就了中國(guó)人的審美?！蓖魹]瀅說(shuō)，“如果我的影像能與古人的詩(shī)意與意境連接，那就最好不過(guò)?！?/p>

這一路，她腦中揮之不去的是李白的《夢(mèng)游天姥吟留別》?！疤炫_(tái)這里的人文氣息特別足，你能感受到那些浸入整個(gè)環(huán)境中的文化內(nèi)涵。比如在廟宇周邊，你時(shí)不時(shí)可以看到一些穿著斯文、上了年紀(jì)的人。也許是市民，也許是游客。他們就站在山邊的圍欄旁，什么都不做地眺望遠(yuǎn)方。我相信這是因?yàn)樗麄儽贿@里的某種氣息吸引。那一刻，融入景中的那些人，應(yīng)該也或多或少地觸摸到了古人能在此地寫出絕妙詩(shī)句的靈感吧。”

“這一路，有種超越了我想象的神奇與美。只嫌膠卷帶得還不夠?！蓖魹]瀅說(shuō)。

李舜（青年藝術(shù)家）：

視頻采風(fēng)，創(chuàng)作需要天賦和緣分

李舜并不是傳統(tǒng)意義上的攝影師，只是他的藝術(shù)創(chuàng)作總與攝影有些關(guān)聯(lián)。一周的采風(fēng)中，他錄制了20到30段的視頻，大約5分鐘一段。

“與自然相關(guān)的東西，始終貫穿著我去年的創(chuàng)作脈絡(luò)。”李舜告訴筆者，借著唐詩(shī)之路采風(fēng)的機(jī)會(huì)，他想去拍一些新素材。

“我拍的是素材，而非作品?！崩钏凑f(shuō)他不相信，到現(xiàn)在這個(gè)時(shí)代，通過(guò)一個(gè)在1830年被人發(fā)明出來(lái)的一次成像技術(shù)，還能拍出別人沒有拍過(guò)的東西，“作品的成立需要唯一性?！崩钏凑f(shuō)。

即便在拍攝前已經(jīng)有了定位，但唐詩(shī)之路的采風(fēng)依然給李舜帶來(lái)了沖擊。為了拍攝日出，采風(fēng)團(tuán)經(jīng)常天還未亮就出發(fā)，在蜿蜒曲折的山路上行駛，坐車十分疲勞。“古人費(fèi)盡千辛萬(wàn)苦才能獲得的圖像與感受，如今可以非常輕易地獲取了。中國(guó)畫論里有個(gè)詞叫‘臥游，我們這次費(fèi)了很大勁才看到的景象，如今通過(guò)視頻、互聯(lián)網(wǎng)在家里就能看到。這是非常直接的‘臥游了?！?/p>

李舜說(shuō)，這個(gè)沖擊給他帶來(lái)了不少創(chuàng)作靈感。

有一件事令李舜印象頗深。這位總是日夜顛倒的青年藝術(shù)家，在這次的采風(fēng)里，遇見了自己平時(shí)總看不到的“霧”。

“那天的霧特大，能見度不超過(guò)30米，眼前的近山遠(yuǎn)山，從三維立體變成了平面的，近山是深綠，遠(yuǎn)山是淺灰綠，像極了莫奈的印象派作品。我以前拍過(guò)很多清晰的山水，但這次我看到的很多東西都是模糊的，它抹掉了所有的細(xì)節(jié)。我想這就是一種緣分，這種模糊有一種偶然中的必然。這種緣分其實(shí)在許多唐詩(shī)里也有體現(xiàn)。人在什么時(shí)間段看到什么東西就是一種緣分。就像只有李白夢(mèng)游天姥山，才看到了瓊臺(tái)仙境等?！?/p>

在李舜看來(lái)，藝術(shù)家并不是每個(gè)人都能做，就像并不是每個(gè)人都能成為詩(shī)人。作詩(shī)與藝術(shù)創(chuàng)作都需要與生俱來(lái)的天賦。就像他很喜歡的李白。

在某一刻李舜突然想起了李白唯一傳世的墨寶《上陽(yáng)臺(tái)帖》：“山高水長(zhǎng)，物象千萬(wàn)，非有老筆，清壯可窮?！?/p>

“這是李白曾經(jīng)看過(guò)的景象?！崩钏凑f(shuō)。這也是緣分。

Road of Poetry in Eyes

of Photographers

By Chen Danning

From May 7 to 13， 2018， a group of 20 photographers toured from Hangzhou to Xinchang， Tiantai， and Fenghua for a field study. Organized by Zhejiang Photographers Association， the tour aimed to explore the natural and cultural beauty of the “Road of Tang Poetry in Eastern Zhejiang”. The 20 participants prepared carefully for the tour. They each had a photography plan. In the evenings during the tour， they took turns at presiding at a workshop. Local photographers were invited to attend the professional powwows. The 20 photographers also compared notes with local photographers during the journey. The association plans to feature the road of poetry in photography and text at an exhibition in 2019.

Four of the 20 photographers gave their views of the Road of Tang Poetry in Eastern Zhejiang after the tour. The following is a summary of what they say.

Sun Min （vice president of Zhejiang Photographers Association and honorary president of Taizhou City Photographers Association）

During the 6-day tour， he took over 300 photos on his cell phone. He has been photographing on cell phone in the past six years. A great majority of the photos he showed me on the phone were taken in or around Buddhism temples. “The participants picked different perspectives，” explained Sun. “My focus on the temples on the tour was largely because the poets of the Tang tended to stay at temples overnight on their journeys. Their visits added a special cultural touch of the Tang to the Buddhist temples in eastern Zhejiang.”

“Before I set out on the tour， I cautioned myself to forget about the Tang poetry，” said the photographer. “A tour along the ancient road doesnt necessarily mean to provide photo illustrations of ancient poems. The Tang poets expressed themselves through poetry and we express ourselves through photographs. They and we differ in tools， times and feelings. This is a dialogue across more than 1，000 years through text and image.”

Shen Ke （a member of the presidium of Zhejiang Photographers Association， exhibition planner， and critic）

“I never had such an experience before，” commented the photographer. “For me， it was unique primarily because the tour explored a specific cultural subject. We photographers were of different ages and of different styles. The tour was actually an inspiring brainstorm journey.” He had discussions with the fellow photographers during the journey， focusing largely on the tangible and the intangible.

The tour gave Shen an opportunity to consider the fundamentals of photography. He explored the basic questions of the tour： the photographers took the tour because of the poetry and the road. “How we put the poetry and the road into photos was a fundamental challenge，” commented the photographer. “It would be difficult to understand why the ancient poets came to this part of the province. Cultural tradition evolves for reasons. For us， the tour could highlight different focuses： the scenic landscape， the Tang poems， the local culture， and even essential philosophical issues such as life and death. All these focuses could be portrayed in photographs about the road of Tang poetry. The key was action，” commented Shen.

Wang Yingying （an independent photographer）

With a film camera and a macro lens， she took over 300 photos on the tour. The photos fall into two categories. “One is about ancient buildings and Buddhist temples， which abound in Eastern Zhejiang. The time-old images painted and carved on these buildings appeal to me，” explained the photographer. “The other category is all about plants. I prefer the tiny to the magnificent. The flora along the road is rich and pretty. The Tang poems do portray plants and flowers.” For Wang， the tour along the road of the Tang poetry was a journey in search of ancient traces. She directed her camera at the possible places where yesterday and today encountered and where different times fused. “These places set fire on my imagination. I could imagine how the poets of the Tang took all the trouble coming to this part of the country. This imagination motivated me to visualize and photograph the past，” commented Wang.

“The Tang poetry made Chinese aesthetics，” remarked Wang. “I would be very happy if my photos could connect with ancient poems and sentimentality. The wonder and beauty of the road was more than expected. I regretted my films ran out，” she said.

Li Shun （a young artist）

Li Shun is by no means a photographer in the traditional sense of the word. His artistic creations are closely associated with photography. During the week-long tour， he made 30 short videos， each about 5 minutes long. “Nature was a consistent subject of my creations last year，” Li emphasized. “I collect materials. They are not final artworks.”

Li understood that no photographer could photograph something that hadnt been photographed since 1830 when photography was first invented. “An artistic creation demands uniqueness，” he noted. In order to grab images at sunrise and sunset moments， the group often started early in mountains. The early trips into mountains gave Li a sensational feeling. “Ancient people took all the trouble traveling far to catch glimpse of natural wonders. And they then invented a phrase describing staying at home and revisiting scenic spots through paintings and contemplations. Nowadays， we can surf the internet and access an ocean of video footages at home.”

The best memory Li cherished during the tour was the moment he ran into a huge fog. “The visibility was no more than 30 meters. The mountains near and far became two dimensional. The mountains in the distant looked light green or gray whereas the mountains nearby appeared dark green. Nature looked like artworks by Claude Monet and his fellow impressionists. I had videotaped a lot of landscape with minute details. This time， the landscape presented itself in vague terms with many details blurred or even wiped out. I believe it was my destiny to encounter such blurred images. What one sees at a specific time in a specific place is ones destiny. It was like Li Bai who saw a fairyland in his dream of Mount Tianmu. This is what Li Bai once saw，” pointed out Li Sun. He considered it his destiny to see what Li Bai saw so many centuries ago.