传统文人画学的自觉延续与现代转化——关于郎静山的“集锦摄影”批评之批评

Conscious Continuation and Modern Transformation of Traditional Literati Painting——The Criticism on the Criticism of Lang Jingshan’s“Collection Photography”

在近现代民族危机的历史语境下,中国摄影艺术家从一开始就表现出探索摄影艺术“中国化”和“民族化”的自觉性。其中郎静山及其创制的“集锦摄影”作为典型的代表,不惜牺牲摄影媒介的基本属性,将摄影作为延续传统文人画学的“画笔”,因此遭受到了凌厉的批判。结合新近的研究成果,对这种基于媒介自律论的摄影批评进行反思,在承认其合理性一面的同时,主张跳脱出摄影艺术本体论的视野局限,还原郎静山进行“集锦摄影”创作的传媒语境和政治历史背景,发掘出另一个不同面貌的郎静山:他不仅是摄影美学“中国化”的实践者,同时也是“现代美育工程”的参与者,以及新“国族叙事”的开拓者。

In the historical context of modern national crisis,Chinese photography artists have shown their consciousness of exploring the“sinicization”and“nationalization”of photography from the very beginning.Among them,Lang Jingshan and his“Collection Photography”,as a typical representative,did not hesitate to sacrifice the basic attributes of photography media,and took photography as a“brush”to continue the traditional literati painting,which resulted in severe criticism.Based on recent researches,this paper aims to reflect on this kind of photography criticism based on media self-discipline theory.While acknowledging its rationality,it advocates breaking away from the vision limitation of photography art ontology,restoring the media context and political history background of Lang Jingshan’s“Collection Photography”creation,and discovering another Lang Jingshan with a different perspective:he is not only a practitioner of“Chinese”photography aesthetics,but also a participant in the“modern aesthetic education project”and a pioneer of the new“national narrative”.