摘要
由于摄影具有忠实重现客观事实的特性,梁思成在中国古建筑历史的研究中,特别是在中国营造学社期间(1930—1940年),采用了摄影作为最主要的记录工具。但与当时其他的中国古建照片对比,尤其与日本学者所拍摄的调研照片相比较,本文强调摄影在当时也是对于中国建筑文物的一种论述方式。梁思成的调研照片不但重新建构中国古代建筑在现代中国的重要性,更引发对于中国古代遗产一种怀旧的省思。处在动荡年代的中国,只有透过摄影影像才能将这些客观的建构与主观的省思保存和记录下来。
In an endeavor to write a modern history of Chinese architecture during the 1930s—40s,Liang adopted photography for both a new means of visual documentation and for its capability of representing an objective reality.In this paper,however,I argue to look past the alleged photographic truth by reconsidering Liang’s photographs in a context where different authorities and foreign powers were competing to define a Chinese cultural past by taking an interest in the nation’s ancient buildings.In particular,this paper brings attention to the differences between Liang’s photographs and those taken by Japanese scholars,who were on a mission to declare Japan’s cultural dominance in East Asia.I suggest that when viewed in this context of a modern China,Liang’s architectural images not only redefine the cultural heritage,but also evoke a nostalgic vision of the past,a vision that was to be mediated and preserved only through photography during the tumultuous years of modern China.
出处
《中国建筑史论汇刊》
2011年第1期315-336,共22页
Journal of Chinese Architecture History
关键词
梁思成
营造学社
摄影
古建调研
文物
Liang Sicheng
Yingzao xueshe
photography
architectural survey
cultural relics