光素描——西方早期摄影概念与“东西对流”的视觉现代性

Light Drawing:.Early Photography Concepts in the West and the Visual Modernity of"Reversing Concepts between the East and the West"

19世纪40年代,“摄影”这一新名词在西方普及之前,曾出现过以“日光版”“达盖尔版”“美之印”为代表的命名,承载着西方早期摄影观念的流变:从强调以非人工手绘干预的自动印刷术为自然本身的成像,到特别冠以艺术家之名为摄影作品确权,显示出摄影术对文艺复兴以来西方主流视幻艺术追求的“客观性”的攻克,再到以负片技术真正进入机械复制时代,使可量产的美景成为可能。以“光素描”为名的摄影术,不仅实现了西方主流视觉文化中的“客观性”的完成,更激发了西方现当代艺术家的“主观性”。与之相对照的19世纪至20世纪的中国近代视觉文化转型,则呈现出从“主观性”到“客观性”的演进趋势,折射出宗白华在中西比较视域下明确提出的“东西对流”的文化走向。

In the 1840s,before the new term"photography"became widely accepted in the west,such terms as"Heliography","Daguerreotype"and"Calotype"demonstrated changes of early photography concepts in the west:from emphasizing natural images created through automatic printing without manual intervention,to confirming artists'rights to photographic works by showing artists'names(demonstrating the"objectivity"pursued by mainstream visual art in the west since the Renaissance was changed),and to entering the era of mechanical reproduction via the negative film technology,making it possible to mass-produce beautiful scenery.Photography,also known as"light drawing",not only makes the"objectivity"in mainstream western visual culture a reality,but also inspires the"subjectivity"of modern and contemporary western artists.In contrast,visual culture in China in the modern era from the 19th Century to the 20th Century developed from"subjectivity"to"objectivity",reflecting the"reversing concepts between the east and the west"proposed by Zong Baihua in his comparison of China and the west.