Fu Wenjun Art Catalog

ART

U F W N E UN

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傅 文俊 傅 文俊 集 集

ANTHOLOGY

傅 文俊 集

A

傅文俊的这批影像很有视觉感，切入到新的

“八国联军”来命名作品，会在中国人心中

视觉角度，有很突出的效果。这个效果就是

引起对历史的回忆。

contemporary society, contemporary China, and contemporary globalization. Obviously, Fu Wenjun is pursuing a new height, new horizons or new

艺术家要实现他的意图和目的。毕竟，今天

World

的影像是一个主动性的视觉创作，而不是被

实际上，作者试图以一个具有历史含义的词

the hope that China today has an open attitude

动性的创作。被动性可能是抓拍、也可能是

来和当代社会、当代中国包括当代全球化进

historical concept, and today it has been expanded to

记录，从艺术家角度实际上是一种被动，尽

行对话。显然，艺术家是在追求一个新的高

管他是主动去发现。他的这组作品即属于这

度、新的视野或新的角度去看中国的社会文

New

景是八个国家在世博会的建筑，但前景是一 台笔记本电脑屏幕，里面有圆明园的图景。

重的文化心理的释放，这恰恰是在与新的世 界景观接触后的一种新的国与国的文化态 度，表明一个民族心理、民族自信的态度。 只有走出历史的不自信，才能走向更开放、 更自觉的文化广域。所以，傅文俊的画面传 递的信息或视觉的感受，是积极的，而不是

Begins 悲壮的，或消极的。弹指间，一个新的世界 开始了。

Wang Chunchen 《万国园记-英国》傅文俊 数绘摄影 Story of Expo Garden - UK Pavilion, Fu Wenjun, Digital Pictorial Photography

327x150cm 2012

Head of the Department of Curatorial Central Academy of Fine Arts China,

成了联动关系，形成时间对比之下的几层关

Curator of Pavilion of China at the 55th

系。电脑为现代的产物，也是当代高科技产 物，具有时代的当下性。但图像内容却是过 去的圆明园。因此，外景与内景形成了时间 的对比、对峙。

burden. This is exactly a new state-to-state cultural attitude after contact with the new world landscape, is

external space images form a linkage, and build

a national psychology with self-confidence. Only by

several levels of relationships under the time contrast.

stepping out of the historical lack of self-confidence

The computer is a modern product and a contempo-

影技术，组合起来形成新的视觉方式。它们

can Chinese people move towards a more open and

rary high-tech product, with the nature of the current

conscious cultural field. Therefore, the message or

为今天的艺术家创造了新的可能性，也意味

era. But the images displaying are the Old Summer

visual experience conveyed by Fu Wenjun's artworks

着更加的主观和主动。对傅文俊而言，这样

Palace of the past. Therefore, the interior and exterior

is positive, not tragic, or negative. In a flash a new

scenes bring out a time contrast and confrontation.

world begins.

分，可以使他自由地创想观念的实现。这是

In fact, the artist’s intention is here. The reason why

In today’s China and world, the contemporary

一种艺术的文化表达的潮流和趋势，傅文俊

he refers to this series as “Story of Expo Garden” is

photography creation has seen such a conscious use

to replace the historical concept, and brings the most

of computer technologies and photography techniques

historically tragic words into the contemporary

to form a new visual way. They create new

globalized landscape, that is, to have a conversation

possibilities for today's artists, and make the creators

actively and subjectively with Western countries. This

仅仅是技术的结合，还包括当代的文化、社

more subjective and proactive. For Fu Wenjun, such

conversation has many hidden lines. To the Chinese

techniques and methods became part of his artistic

会、如何看待事物、如何表达的结合，这

people, “story of Expo Garden” (万国园记,

media, which allow him to freely realize his concepts.

wanguoyuan ji, literally means garden of nations) is

This is a trend of cultural expression in art. Fu Wenjun

relate to the aggression and powerful invaders against

uses a specific practice to make a stand, and also

China, an inequal relationship between nations that

further promotes to combine traditional photography

today's world should have. Although the equal

with contemporary digital technology, which is not only

relationship has not yet reached universal status that

a combination of technology, but also a combination of

everyone, every country, every nation has, although

contemporary culture, society, how to look at things,

there are economic, culture and political conflicts and

and how to express. In this way, art becomes more

contests in the globalization, the closely related term

and more valuable and meaningful.

的技术和手段成为他的艺术的媒介的一部

用具体的实践来表达一种姿态，也是进一步 推动传统摄影和当代数字化技术的结合，不

样，艺术也就变得越来越有价值、有意义。

事实上，作者的意图正在这里。作者之所以 称这组作品为《万国园记》，是在置换历史 概念，将最具有历史悲剧色彩的这组词汇拉 入到当代的全球化景观中，即主动、主观地 与西方诸国家进行对话。这种对话藏有很多 潜台词。“万国园记”对中国人来讲，就是 对中国的侵略、强势的列强，而并不是当今

perspective brings a prominent effect, which is the intention and purpose he wants to realize. After all, today’s photography is an active visual creation, not a passive one. The passive one could be candid

系还没有达到普天之下，人人平等、国家平

actually passive from the artist’s point of view,

等、民族平等、文化平等，虽然全球化中也

Garden belongs to the active creation, which reflects

although he is actively discovering. Story of Expo the characteristics of China’s photography art creation in recent years. In the moment I saw these works, I felt that they were much clearer than Fu

为之。这里，对圆明园象征下的中国近代历

Wenjun’s previous artworks, and the language was

史进行再思考，关键在于要做到什么立场，

brighter and more straightforward than before. The

是否提出当代看问题的新的文化眼光。所

327x150cm 2012

Wenjun is very impressive visually. A new visual

pictures, or documentary photography, which is

“八国联军”就使时光倒退。这是作者有意

Story of Expo Garden - France Pavilion, Fu Wenjun, Digital Pictorial Photography

The photography series Story of Expo Garden by Fu

社会的国与国之间的平等关系。虽然这种关

有经济、文化、政治的冲突、角逐，但是叫

以，以这样一个具有文化象征意义的词语

327x150cm 2012

Gardens). In this way, the images in the computer and

围，都出现了这种自觉地运用电脑技术、摄

文/王 春辰

《万国园记-美国》傅文俊 数绘摄影 Story of Expo Garden - USA Pavilion, Fu Wenjun, Digital Pictorial Photography

palace of Qing dynasty, reputed as the Garden of

当代的影像创作在今天中国、包括世界范

《万国园记-法国》傅文俊 数绘摄影

history and the release of heavy cultural psychological

展即意味着抛弃历史的阴影，也意味着对沉

了，从语言上也比以前明快、直截了当。背

Venezia

tion alliance” means abandoning the shadow of

个概念已经被拓展开。八国联军的概念被扩

感觉到它们比以前作者的其他作品要明确多

International Art Exhibition – la Biennale di

region. The expansion of the concept of “eight-na-

今已经G8、G20、甚至环亚太地区国家，这

术创作特征。这批作品在我看到的一瞬间，

Research of CAFA Art Museum at the

G8, G20 and even to countries in the Asia-Pacific

的态度。“万国园记”是一个历史概念，而

这样，电脑之中的图像和外在的空间图像构

中央美术学院美术馆学术部主任， 2013年威尼斯双年展中国馆策展人

towards the world. “Garden of nations” is a

化，借以希望今天的中国具有开放的看世界

种主动创作，体现着最近几年国内的影像艺

新的世界 开始了

perspectives to look at Chinese society and culture, in

background is the national pavilions of eight countries

“eight-nation alliance” (in 1900, the Eight-Nation Alliance consisted of troops from eight nations of German Empire, Japan Russia, Britain, France, the United States, Italy and Austria-Hungary invaded Beijing and pillaged the city. The Old Summer Palace was one of the cultural heritages looted and destroyed.) could make time go back. This is the intention of the artist. The key to rethinking the modern history of China under the symbol of the Old Summer Palace consists in what position to take and whether to propose a new cultural perspective on contemporary issues. Therefore, naming the series with such culturally symbolic words can refresh Chinese people’s memories of history.

in the Shanghai Expo Garden, and the foreground is a laptop screen displaying pictures of the Old Summer

In fact, the artist attempts to use a historically

Palace (Yuanming Yuan, Chinese imperial garden and

meaningful word to have conversations with

大学毕业后，在现代艺术博物馆

最初让我感到惊叹的是，他的图像和埃及圣

于20世纪的惊人想象力，同时和古代艺术品

I had graduated from college and was working at the

Many photographers, began by recording what the

forth many images from my Western sensibility. What

Museum of Modern Art, New York, when I was having

camera saw. They soon realized that what they saw

Wenjun says about these images are not what I or

difficulty being fitted for contact lens. My eye doctor

and what the camera recorded were not the same.

someone else would see. What I saw came from the

（MoMA）工作的时候，我在隐形眼镜佩

甲虫宗教符号之间的联系。我并不了解大足

完美的融合在一起。他让它们存在于同一时

戴上出了一些问题。眼科医生告诉我，根据

石刻，但能感受到造像穿越时空的高雅与精

代，而非相差几百年。宗教与世俗的融合为

tried to convince me that because of the corrections

This is what led Wenjun to use conceptual photogra-

stored images in my mind and my historical Western

needed that I should have one eye fitted for close up

phy to record his mind’s images. In looking through

perspective. What Wenjun intended and what I

viewing and one for distance informing me that one

Wenjun’s first photographs and those of today, you

“saw” was sometimes at odds. Reading about his

does not see with one’s eyes but with your brain. I

can see his progression initially it was the camera’s

influences and history adds another dimension to

found that difficult to believe and proceeded to have

viewpoint that was primary. His images today reflect

viewing what he produced. When an artist, like

contacts for a medium distance which worked fairly

more of the images in his mind.

Wenjun, has such a plenty of knowledge and imagery,

矫正需要，我的一只眼睛要佩戴近视镜，另

致。另一个在我脑子浮现的图像是蝴蝶或飞

他的作品再增加了一个维度。将迥然不同的

一只要佩戴远视镜，他还说，人不是用眼睛

蛾的茧。当然，当我读到作品的题目《幻

图像并置，构成一个和谐的整体，这让人惊

看东西，而是用大脑看东西。我很难相信他

化》时，我明白了自己的反应。

叹不已。

的话，于是自己决定佩戴中等距离的隐形眼 镜，效果还相当不错。有一个周末，我决定

作为一名艺术家，我习惯于观看一幅作品而

我亲眼看过傅文俊的一组艺术作品，但我可

well. One weekend I went into work, knowing that I

anyone who views them will be enriched, both

could get much accomplished with the telephone not

intellectually and visually.

ringing and interruptions by colleagues. Almost

去博物馆工作，想到不会有电话的烦扰、同

先不去看它的题目，甚至艺术家的名字。我

以说，他拥有出色的才华，为真实的物体赋

事的打断，我感到很高兴。突然，一只隐形

觉得这样使我不受固有观念和图像的干扰。

予了独特的魅力。石像的坚硬是真实的，雕

out of one eye. I could not find it anywhere. I did not

眼镜从眼睛里弹了出来，到处找也找不到。

傅文俊运用古代和当代艺术创建了他的图

塑周围抽象的形状凭借其生命力让人感觉是

have my glasses me and to go home and retrieve

我没有带眼镜，要回家拿再返回博物馆得花

像。我看到了希腊/罗马雕塑的图像，这让

活生生的。夏布不像是夏布的照片，而是实

一个半小时。我发现，没有隐形眼镜的一只

我感到惊奇。对人体骨骼X光片的使用是源

实在在的存在。

文/理查德·L·图克 Richard L. Tooke

了眼科医生那里，为每一只眼睛配上了不同 的镜片。从那时起我明白，大脑会过滤眼睛 发来的图像，大脑让你看到大脑想让你看见

早是学油画的。后来，“纪实摄影”成为他 工作的一部分，即记录历史事件或日常生 活，再之后，他从事着观念摄影。观念摄影

Fu

曾任美国纽约现代艺术博物馆（MoMA）版权与复制部主任， 在摄影领域拥有三十多年的经验； 那不勒斯艺术博物馆艺术之友协会主席、策展人。

是记录相机看到的世界。他们很快发现，他 们看到的和相机记录的不是一回事。这促使 傅文俊使用观念摄影记录其大脑内的影像。 观看他从早期到现在的作品，你能发现他的 艺术发展：最初主要是相机的视角，而如今 的作品更多地反映出其大脑内的影像。 曾经所有的照片都使用胶片，有一些“纯粹 主义者”认为胶片捕捉到的图像应该未经任 何处理地洗印出来。有些人甚至洗印出底片 的边缘以证明洗印来源于底片，非常纯粹， 绝无剪裁或处理。随着数码影像的发展，艺

关于作品的阐释，却不是我或其他人所看到 的那样。我看到的来源于我头脑中存储的图 像和我的西方历史观。他想要表达的和我所 “看到”有时是不一致的。了解他所受的影 响和他的个人经历会为解读他的作品增加一 个维度。任何人观看如同傅文俊这样拥有丰 富学识和想象力的艺术家的作品时，都会在 智力和视觉上感到获得了丰富和充实。

Rock Carvings, but their sophistication and refinement

prints made from the negatives were pure, with no

certainly spoke to me from across time. My next vision

cropping or manipulation. With the advent of digital

brought to mind a chrysalis of the butterfly or moth. Of

images, the artist could change the imagery to show

course, when I read his title: Illusory Metamorphoses, I

what was in their minds and not just what the camera

could understand my reactions.

recorded. This of course was possible with film, but it

and was fitted with different lens for each eye. From that time on I realized that the brain filters the images that your eyes send to it and that it is the mind that lets

was a long and complicated process, which many

As an artist myself, I tend to look at a work of art

artists found too cumbersome.

without reading its title, or even the name of the artist. I feel that frees me of preconceived ideas and images.

you see what it wants to.

My first viewing of his conceptual photography brought

Wenjun has built his images using ancient and contemporary art. I was surprised by seeing some images of Greco/Roman sculpture. The incorporation of X-rays of skulls and skeletons was a brilliant layer of imagery from the 20th century, but melded perfectly with the ancient works of art. He has made them to exist in the same time period and not hundreds of secular also adds another dimension to his photographs. Putting these disparate images together as a cohesive whole is amazing.

Wenjun

I have seen only one of Mr. Wenjun’s photograph series in person, but I can tell you that his technical skill in endowing the images with reality of their individual qualities is astonishing. The hardness of the stone sculptures is real, the abstract shapes around the sculpture seem alive with their own beings. The grass cloth does not seem to be a photograph of grass cloth, but is grass cloth itself.

理查德·路易斯·图克收藏与傅文俊《幻化》No.1合影 Richard L. Tooke with Fu Wenjun’s artwork Illusory Metamorphoses No.1

images in a book, or online, is very frustrating to me,

现出来。我不喜欢在书上或网上观看作品， 因为我认为艺术作品的比例和大小全然体验 作品无法割裂的一部分。傅文俊无疑是一位

as I believe that scale and size of works of art are I apologize for this lengthy introduction, but I relate my

integral part of experiencing their full impact. This is a

story for a specific reason. In Mr. Fu Wenjun’s

mature artist who continues to push the boundaries of

statements about his work he talks about beginning as

his art. Where he ventures next is something that we

成熟的艺术家，他不断拓展着自己艺术创作

a traditional painter of oil on canvas. Then “docu-

的外沿。他下一次的冒险在哪里，让我们拭

mentary photograph”, i.e. the recording of historical

目以待。

or daily events was his métier, then on to conceptual photography. When he discovered conceptual photography, this opened up a way for him to create images of reality in concert with images from his mind.

Illusory

I am looking forward to seeing many of Wenjun’s photographs in an installation setting. Looking at

我希望更多傅文俊的作品，以展览的形式呈

通过胶片来完成，但是非常漫长而复杂的过

我西方式的感情中产生了许多图像。傅文俊

religious symbols. I was not familiar with the Dazu

even printed the edges of negatives to show that the

years apart. His combination of the religious and

仅仅是用相机记录。当然，这在以前也可以

我第一次观看傅文俊的观念摄影作品使我从

images and the sacred Egyptian Scarab with its

film should be printed with no manipulation. Some

curator.

术家能够改变图像，展示他们的思考，而不

程，让许多艺术家感到麻烦。

I was initially struck by the relationship between his

“purists” who thought that the images captured on

Ex-president of Friends of Art at the Naples Museum of Art,

傅文俊夏布摄影 《幻化》系列作品

and

When all photographs were made on film there were

Former Director of Rights and Reproductions at MoMA,

为他开启了一种将现实图像与其脑中的图像 呼应起来的创作方式。许多摄影师在最初都

excellent vision up close and the one with the contact

myself. I subsequently went back to my eye doctor

工作，完成自己设定的工作内容。之后我去

样一段经历。在傅文俊的自述里，他说他最

and a half. The eye without a contact lens gave

was able to complete the tasks that I have set for

只眼睛看远处非常清晰。我决定留下来继续

我为冗长的引言感到抱歉，但我有意引述这

them and get back to the Museum would take an hour

lens made distance vision clear. I stayed at work and

眼睛看近处非常清楚，而隐形眼镜还在的一

的事物。

immediately I inadvertently flicked one of my contacts

His

should all look forward to with anticipation.

理查德·L·图克，艺术硕士，2014年5月 Richard L. Tooke, MFA - May 2014

Metamorphoses

Culture Integration and Digital Pictorial Photography --- Review on Fu Wenjun’s Recent Artworks

fundamentalism can’t succeed in our times. The traditional culture is scattered and fragmentary, the

文化融合与数绘摄影 ——读傅文俊近作

contemporary culture is open, tolerant and integrative, meanwhile both are inseparably interconnected. In Fu Wenjun’s works, you can find that the different

cultures with a very long distance and time can be juxtaposed harmoniously, so you can feel that

nowadays people really live with a new cultural

乎寻常的偶发与任意，显然体现出他离距操控性 力量的自由与自信。

Art creation is always a personal matter. We live in a

psychology.

world with diverse and complicated information, so it’s crucial to be able to face the multi-cultural

To Fu Wenjun, diverse cultural integration is a very

communication, collision, conflict and integration. The

natural thing; what he should face is just the computer

首先，他已不在乎摄影和绘画的区别，其画面往

American scholar Samuel P. Huntington draws out the

screen that gathers all images. Photographic source

往通过对摄影图像的破坏而成形。这不独是因为

aspect of conflict, and believes it as the proof of world

materials have left their original situation, go into the

split. However, the conflict is inevitable, and the

computer and become the information that will

politicians never forget to make use of it to serve their

stimulate the artist’s inspiration. What he is doing is

political purposes. But the so-called culture, to the

to feel the relationship between history and present

end, is the way of living under different circumstances

time, objects and individuals. Because Fu Wenjun has

and in different historical moments. Therefore, people

the freedom of destruction and the possibility of

who believe in common human natures will always

recombination, he doesn’t care about the

strive for the world cultures’ communication among

documentary nature of the photography, neither the

遗存的残缺本身就承载着历史沧桑，更是因为在

艺术创作始终是个人的事儿。一个人生活在

不同文化的相互关系中，某种文化的完整性并不

这个信息纷纭、资讯繁复的世界上，最要面

存在。要求这种完整性往往是出于文化霸权的要

对的便是多元文化的交流、碰撞、冲突和融

求。从某种意义上讲，亨廷顿正是秉持西方文化

合。美国学者塞缪尔·亨廷顿抽出其冲突方

中心论，才会得出文化必然冲突、世界必然分裂

the collisions and for the integration among the

style of painting. Thanks to scrawl lines, freely-ap-

面，视之为世界分裂的依据。然而，冲突固

的结论。原文化主义和原教旨主义一样，在今天

conflicts. In personal terms, the diversity of culture

pearing or hidden forms, unexpected light and

--- from ancient to modern times, in every corner of

然不可避免，政治家也念念不忘利用它来为

已无胜利之可能。传统文化的零散化、片段化，

darkness, simple or cool-warm combined colors, and

the world --- is the base of spiritual abundance as

various photo post-treatment methods, his images

well as the precondition for personality. It is

are very variable: juxtaposition and transparency, high

noteworthy that Fu Wenjun aspires to it.

definition and obscurity, solid and dreamlike effects,

与当代文化的开放性、包容性和相互嵌入的可能 性是相辅相成的。当我们在傅文俊作品中，看到

harsh brushstrokes and slight changes. Fu Wenjun

相距万里、相隔千年的不同文化如此协调地并置

Fu Wenjun travels around the world and collects the

has really entered a computer quick processing and

一处时，你可以感到，今天的人们确已生活在新

images that inspire him, from architecture to street

freely on-the-spot creative state, which is phylogenic

scenes, from portraits to artworks. He doesn’t rely

and stepwise. The formation of his personal style is

on images taken straight away to complete his works.

not rational nor based on the regulations, but is the

Just from the beginning, while shooting, he’s getting

result of the interaction and the mutual promotion

prepared for the later stage of “painting”. He is

between the subjective conception and the potentiality

more interested in the solid subjects, in order to make

stimulation. From the mottled, bright, abundant and

up the virtuality of the digital images. His attention

even extremely complicated color effects, we can feel

moves from the comparison of the Western and the

Fu Wenjun’s excitement during the art creation, filled

Eastern culture into the changes of the world cultures

with intense art endowments and impulsive aesthetic

from the ancient times to now. This makes Fu Wenjun

pursuits.

的文化心理之中。

对傅文俊而言，各种文化的交集是自然而然的，

be able to get rid of the restriction of ideology, going back to the creative process inspired by the artistic

In Fu Wenjun’s works, post-production is an

nature and the perception on cultures. In his recent

他要面对的无非是眼前这台将一切图像汇聚其中

important part, but different from computer painting, he

works, the extraordinary accidental and arbitrary

never gives up taking photos, lingering on the

的电脑视屏。摄影素材进入其中，早已离开来源

elements obviously show his freedom and confidence

connection between photography and reality in his

on separating himself from the power of control.

fantasy images. His photography is the result of a

现场，成为激发灵感的资讯。他之所为乃是如何

continuous drawing and altering process; his

去感受历史和今天、对象和个人的关系。因为有

Firstly, Fu Wenjun doesn’t care about the differences

“painting” is a “painting” which can’t be finished

破坏的自由与重组的可能，傅文俊既不在乎摄影

between photography and painting. His works come

by hand. Just along with the endless changes of

into being by the destruction of the photographic

reality and illusion, fact and fiction, the art probably

images. This is not only because the incomplete

can catch the secrets of history and human beings,

remains carry the vicissitudes of history, but also

human beings and history.

的纪实性，亦不在乎绘画的风格化。随手涂鸦的

自己的政治目的服务。但所谓文化，说到底也

线条、任意隐显的形体、突如其来的光暗以及基

就是人在不同环境和不同历史中的生存方式。

调单纯或冷暖复杂的色彩，再加上摄影后期处理

所以，相信人类有共同属性的人们总会努力，

的各种手段，使傅文俊眼前画面极具变化性：叠

exist. The demand of this integrity starts always from

去做世界文化在碰撞中的交流和在冲突中的融

加与透明、高清与朦胧、实体与空灵、大笔横扫

the cultural hegemony. In a sense, Huntington

合。因为对个人而言，文化的丰富性——古今

与颗粒变化等等。傅文俊真正进入到电脑快捷处

往来，东西南北——既是精神充实的基础，亦

理、临场自由发挥临场发挥的创作状态。这种创

是个性独特的前提。傅文俊有志于此，善莫大

作状态是发生学和过程性的，其个人特点的形成

焉。

既非理思亦非规约，而是主观构想与潜能激发相

because, within the mutual relationship of different cultures, the integrity of a certain culture doesn’t

believes in Western culture-centered theory, so that he draws the conclusion: cultures are bound to

conflict, world is bound to split. Cultural and religious

互作用、相互推动的结果。我们从画面上斑驳、

文/王 林

Wang Lin

批评家、策展人， 四川美院教授、硕士生导师， 西安美院客座教授、博士生导师

傅文俊在世界各地穿行，用镜头收集为之感动

绚丽、丰富甚至繁复到极致的色彩效果，可以感

的图像，从建筑到街景，从人像到艺术品。他

受到傅文俊创作时的兴奋，其中充满激越的艺术

从不依靠瞬间抓拍来完成作品。从一开始，就

天分与冲动的美学追求。

通过拍摄来为后期绘制做准备。为此，他更多 关注那些实体感强的对象，以弥补电脑图像的

傅文俊作品的后期制作占了很大比重，但不同于

Art critic, curator, Professor and graduate tutor of Sichuan

虚拟性。他把以前对东西文化对比的兴趣，转

电脑绘画的是，他始终不弃摄影形象，在虚幻图

Fine Arts Institute, visiting professor and doctoral supervisor

移到世界文化的古今变化上。这种调整使傅文

绘中仍然留恋摄影与真实的联系。他的摄影是不

俊在很大程度上得以摆脱意识形态制约，重返

断被绘制涂改的摄影；他的绘画是手工性无法完

August 3, 2015

艺术天性与文化感悟的创造性过程。近作中异

成的绘画。正是在真与幻、实与虚的无穷变化

Beside the Peach Flower Mountain at Sichuan Fine Arts Institute

of Xi'an Academy of Fine Arts

中，艺术或能捕捉到历史与人、人与历史的秘 密。

2015年8月3日 四川美院桃花山侧

修饰、拼接与叠加 ——读傅文俊的数绘摄影

自从摄影技术发明以来，它就一直在为自己

现成品和实际发生的事件，无需艺术家的加

的艺术地位而奋斗。摄影不被当作艺术，原

工改造，也可以成为艺术作品。由此，艺术

因在于它是机械复制的结果，主要由光学和

与非艺术之间的边界彻底模糊了。在当代艺

化学等因素决定，人的心灵无法渗透其中。

术的语境下，我们无法否认摄影是艺术，就

尽管摄影师也有手艺高低之分，但手艺所起

像我们无法接受绘画是艺术一样。今天有许

的作用也是相当有限。美学家们津津乐道于

多摄影被认为是艺术杰作，也有无数绘画被

绘画与摄影的区别：摄影与绘画存在本体论

关在艺术的门槛之外。判断艺术与非艺术的

上的不同。摄影可以在法庭上作证据，哪怕

标准发生了变化。绘画无法凭借自身就必然

它有点模糊；绘画则不能，哪怕它描绘得更

是艺术，摄影也不会因为自身就必然不是艺

加清晰。由此可见，摄影与对象有关，用来

术。

记录对象；绘画与主体有关，用来表情达 意。记录对象的是技术，表达情意的是艺

有了数码合成技术之后，摄影发生了哪些变

术。摄影与绘画的区别，由此可见一斑。

化呢？首先，显而易见的是修饰。在胶片摄 影时代也有修饰，但是修饰的程度有限，而

文/彭 锋

Peng Feng 北京大学艺术学院教授、 2011年威尼斯双年展中国馆策展人

但是，美学家们在摄影与绘画之间划下的这

且有较高的技术要求。不是所有人都可以进

条界线，遭到了技术和艺术的双重挑战。从

行修饰，即使是技艺高超的技师，也不能随

技术角度来说，数码成像技术的出现，完全

心所欲地修饰。在数码摄影时代，修饰的技

摧毁了摄影与对象之间的因果关系。摄影家

术门槛大大降低，修饰的程度大大提高。只

Professor at Peking University School of Arts,

可以像画家一样，采集各种图像元素来表情

要掌握简单的技术，就可以随心所欲地进行

Curator of Pavilion of China at the 54th

达意。观众可以像欣赏绘画作品一样，读解

修饰。照片不再受到与对象的因果关系的束

摄影作品的情绪和寓意。今天摄影要在法庭

缚，因而不再是不以人的意志为转移的；相

上作证，首先得弄清楚它是否是数码合成的

反，照片完全服从主观意愿的安排，它甚至

产物。换句话说，摄影要在法庭上作证，首

比绘画更加柔软，我们的心灵更加容易渗透

displayed at “Harmony in Diversity: Fu Wenjun’s Digital Pictorial Photography Exhibition”

先需要证据来给自己作证。从艺术的角度来

进去。于是，摄影成了美化现实的主要途

at the National Art Museum of China, 2017.

看，自从现成品成为艺术以来，已经没有人

径，成为日常生活审美化的主要方式。

International Art Exhibition – la Biennale di Venezia

《昨夜西风》（傅文俊，数绘摄影，摄影综合媒介，105x180cm，2017） 在2017年中国美术馆举行的“和而不同：傅文俊数绘摄影展”上展出。 A Wind from Yesterday (Fu Wenjun, Digital Pictorial Photography, photography mixed media, 105x180cm, 2017)

Decoration, montage and Overlying --- Review on Fu Wenjun’s Digital Pictorial Photography 再执着于心灵的渗透和技巧的高明。拾得的

修饰可以让照片比现实更美，但是美并不能 让照片成为艺术。在今天这个日常生活审美 化的时代，美成了日常生活的基本特征。然 而，艺术毕竟要跟日常生活有所不同。在日 常生活不美的时代，美可以成为艺术的特 征。在日常生活已美的时代，对于艺术来

说，美不仅无益，反而有害。为了与美的日

的任何其他因素，没有摄影，没有演员。

常生活拉开距离，艺术有可能要跟美决裂。

深度和密度，像反复绘制的油画作品一样， 令人回味无穷。傅文俊用摄影来追求油画效

因此，修饰只是将照片变成美的商品，但不

与徐冰用拼接去制造流动的影像艺术不同，

果，与他早年从事油画创作有关。但是，傅

足以将它变成艺术。照片要成为艺术，反而

傅文俊用叠加制造静态的摄影艺术。像徐冰

文俊没有像大多数艺术家那样，利用照片来

要抵制修饰。

并不改变影像一样，傅文俊也没有改变照

创作油画，而是相反，用照片来体现油画的

片，他们都不是生产卡通或动漫的艺术家。

趣味。

除了修饰之后，数码摄影技术还方便了拼

徐冰用拼接的方式，将监控录像资料转变成

接。电影中的蒙太奇技术，在数码时代更是

了艺术品；傅文俊用叠加的方式，将普通照

在“昨夜西风”系列中，傅文俊将宋版书和

游刃有余。通过拼接来生产意义、表达观

片转变成了艺术品。在傅文俊的作品中，有

胡杨树的图片叠加在一起，形成了自然与文

念、制造戏剧性效果，成为当代影像艺术的

通过多层照片的叠加，造成抽象绘画的效果

明的相互映衬。宋版书和胡杨树都经受了长

主要手法。例如，徐冰正在创作的《蜻蜓之

的“数绘抽象”系列。在通常情况下，艺术

时间的洗礼，它们凝聚的时间的印痕，很容

眼》，就取材于拾得的监控视频。徐冰从海

家通过减除和提取，就能将具象作品变成抽

易让人发思古之幽情。这个系列作品呈现出

量的监控录像中，找出他需要的主人公、情

象作品。但是，傅文俊采取的是相反的路

来的趣味，与王国维所说的古雅十分接近。

节、场所等故事片所需要的全部元素，将毫

径，通过不断的叠加和累积，创造出抽象的

王国维将古雅视为中国美学特有的趣味，

不相关的视频拼接成了悬念丛生的故事片。

作品。由于是叠加和累积，不是减除和提

“昨夜西风”系列作品是少有的能够体现中

除了剪辑之外，《蜻蜓之眼》没有用到电影

取，傅文俊的抽象数绘系列作品具有特殊的

国美学精神的摄影作品。

“和而不同”系列可以被视为“昨夜西风”

Ever since the invention of photographic technology, it

degree was limited with high requirements of the

a mirror, which make us to see the game between

had been struggling for its position in the art field. Why

technique. Not everyone could do the decoration,

humanity and divinity.

the photography was not considered as an art

even the technician with superb skill was not able to

西方经典雕塑和中国历代名画的叠加。于

consists in the fact that, it was determined by the

do it follow his inclination. In the digital age, the

Post-industrial Era is a large-scale photography

是，自然与文化的对话，就演变成为中西文

optical and chemical factors, and the human spirit had

decoration techniques have become much easier,

installation created by Fu Wenjun, composed of five

no way to penetrate. Although photographers varied

thus the degree of decoration is highly increased. Just

huge tires and four video projections. Chongqing, a

on their technical skills, the techniques made a

grasping the simple techniques, one can do the

mountainous city, is known for its heavy industry. The

difference in a very limited way. Aesthetic scholars

decoration as he pleases. The photography is free

high-rises on the mountains and cross-river bridges

have been taking delight in talking about the

from to the limitation of the cause-effect relation of the

bring people a sense of sublimity that is hardly to find

ontological differences exist between painting and

object. Therefore, photography is not independent of

时候，却没有丝毫违和之感。傅文俊以自己

in information society. Post-industrial Era delivers

photography. In a court trial, photos could be the

man’s will any more. On the contrary, it can be

accurately this sense of sublimity created by modern

特有的方式，诠释了和而不同。和而不同是

evidence, although a little blurred. Paintings could not

arranged completely on man’s will, and be even

industries. However, it is not a glorious moment for

do the same, even if they makes much clearer

softer than the painting, as our spirit can go deep

中华文明赖以长盛不衰的智慧，今天也只有

modern industries, but instead their last days. Even

description. We can notice that photography is linked

inside in an easier way. Consequently, photography

though modern industries will leave, they will leave the

它才能解开文化多样性与文明冲突之间的死

to the object, aimed to record such an object; painting

has developed into a major method to beautify the

stage of history in a grand style.

is linked to the subject instead, aimed to express ideas

reality, becoming a principal way to aestheticize the

or feelings. The technology aims to record an object,

daily life.

系列的变体，傅文俊将胡杨树的照片替换为

化的对话。追求完美形体的西方雕塑与崇尚 虚灵气韵的中国绘画，代表两种全然不同的 审美理想，但是当傅文俊将它们叠加起来的

结。

Fu Wenjun not only has paved the way for the

while the art aims to express ideas or feelings.

《和而不同》（傅文俊，数绘摄影，摄影综合媒介，105x180cm，2017） 在2017年中国美术馆举行的“和而不同：傅文俊数绘摄影展”上展出。

Therefore, the differences between photography and

The decoration can make the photography more

painting can be conjured up through seeing just a part.

beautiful than the reality, but the beauty cannot make

Harmony in Diversity (Fu Wenjun, Digital Pictorial Photography, photography mixed media, 105x180cm, 2017)

the photography become an art. In the current time of

displayed at “Harmony in Diversity: Fu Wenjun’s Digital Pictorial Photography Exhibition”

However, the boundary of photography and painting

daily life aestheticization, beauty has become a basic

at the National Art Museum of China, 2017.

drawn by the aesthetic scholars has encountered the

characteristic of the daily life. However, art should be

twofold challenge of technology and art. From the

different from the daily life. In an era that daily life was

俊选取骰子作为博弈的象征，投下骰子溅开

prospective of technology, the appearance of the

not beautiful, beauty could become a characteristic of

的水花勾勒出不同国家的地图形状。骰子与

digital imaging technology has destroyed the

the art. But in an era that daily life is already very

cause-effect relation between photography and the

beautiful, for the art, beauty is not useless, but harmful

object. Photographer, like a painter, can collect any

instead. Aiming to distance with the beautiful daily life,

kind of visual elements to express his ideas or

possibly the art will break with the beauty. Therefore,

feelings. Observers can appreciate the workpiece as if

the decoration can only turn the photography into a

it was a painting, understanding the morale and

beautiful merchandise, but is insufficiently turn it into

implied meaning of the photographic work. In other

the art. For becoming the art, photography should

words, if the photography wants to be presented as

boycott the decoration.

追求和而不同，并非无视文明冲突。相反， 正是因为直面文明冲突，才需要倡导和而不 同。在“游戏”系列作品中，傅文俊非常巧 妙地表达了当今国家之间的博弈关系。傅文

地图之间不对称的比例，暗示博弈已经成为 当今国家的重要内容。 与“游戏”关注国与国之间的博弈不同， “他心通”关注人与人之间的博弈，尤其是

evidence in a court trial, it needs evidence to prove

人与自我之间的博弈。作品的基本因素是佛

itself first. From the perspective of art, after the

Beside of the decoration, the digital photography

像和人头的透视影像。傅文俊通过巧妙的处

ready-mades having become artworks, there is no

technology has also provided convenience to the

one insists any more on the spirit penetration and

montage. In our digital times, the montage technique

advanced techniques. The pick-up ready-mades and

used for the filmmaking can be done with skill and

real-happened events, without any working and

ease. Taking use of the montage for the purpose of

transformation by the artists, can also be considered

producing meaning, expressing ideas and creating

理，很好地揭示了今天人性与神性的关系。 佛像相对较小，或许暗示今天神性的萎缩。 放大的头骨，表明自我的膨胀。但是，头骨

as artworks. Then the boundary between art and

的模糊和可朽，又表明自我是暂时的，神性

dramatic effect, has become a principal method in the

non-art is completely blurred. In the context of

contemporary video art. For example, Eyes of

才是永恒的。这组作品衍生出来的丰富寓

contemporary art, we cannot deny photography is art,

Dragonfly, an undergoing film project of artist Xu Bing,

just like we cannot accept painting is art. Today

意，真是耐人寻味。它也像一面镜子，让我

has drawn its material from the collected surveillance

numerous photographic works are regarded as art

videos. From tremendous number of videos, Xu Bing

们看见自己身上的人性与神性的博弈。

masterpieces, at the same time a lot of paintings are

finds out all the necessary elements composed of a

left out the door of art. The standard to judge if

story, including characters, plots, places, and makes

something is art or not has changed. Painting is

the montage of unrelated videos, developing into a

《后工业时代》是傅文俊的大型影像装置作 品，由五个巨大的轮胎和四面投影组成。作

inevitable to be an art just for its nature, and photography is inevitable not to be an art just because of its nature.

品的内容大多取材于作者生活的重庆。山城 重庆以重工业闻名于世，依山崛起的大厦和 飞跨两岸的大桥，给人以信息社会少有的崇

Since the born of digital composing technology, what has happened to

高感。傅文俊的《后工业时代》，非常精准

the photography? Firstly,

地传达了现代工业造就的崇高感。然而，这

and obviously, it is the

并不是现代工业的辉煌时刻，而是它的末日 来临。现在工业即使要退出历史舞台，也是 轰轰烈烈地退场。

photography, his works also represent the manifestation of a wide and profound thinking on the society and life, which is very charming. As for Fu Wenjun, photography is not merely a tool to record reality, but a brush to express his ideas or feelings, a proclamation permeated with philosophy.

story film permeated with suspense. Except of the

the Euphrates poplar with the overlying of Western

montage, Eyes of Dragonfly does not use any other

classic sculptures and Chinese ancient paintings.

elements of film, no photography, no actors.

Then the dialogue between nature and civilization has evolved into the dialogue between Chinese and

Different from Xu Bing, who uses the montage to

Western culture. It is evident that they represent two

produce video art in dynamic state, Fu Wenjun applies

completely different aesthetic ideals: Western

the overlying to create photography art in static state.

sculptures pursue a perfect form, while Chinese

Xu Bing does not change the videos, and similarly Fu

paintings adore the light and intangible spirit.

Wenjun also does not change the photos. They are

Nevertheless, with the overlying performed by

not artists who produce cartoon or manga. Xu Bing,

Wenjun, they do not appear to be inharmonious. In his

with the method of montage, has transformed the

own special way, the artist interprets the harmony in

surveillance videos into artwork; while Fu Wenjun, with

diversity, which represents a wisdom contributing to

the method of montage, has transformed the ordinary

the continuous development of Chinese civilization

photos into artwork. In his works, Fu Wenjun does the

and which can untie the hard knot of culture diversity

overlying of photos in multiple levels, and creates the

and clash of civilizations.

2017年2月23日于北京大学蔚秀园 Wei Xiu Park of Peking University, February 23 2017

series Digital Pictorial Abstraction series featured with the effect of abstract painting. Normally, the artist can

Seeking harmony in diversity does not

change a realistic work into an abstract one by way of

involve ignoring the clash of civilizations.

deduction and extraction. However, Fu Wenjun has

On the contrary, precisely because we are

applied the opposite way, creating abstract works with

facing directly the clash of civilizations, we

constant overlying and accumulation. Thanks to the

need to advocate the harmony in diversity.

overlying and accumulation, not the deduction and

In the series Game, Fu Wenjun has

extraction, his digital pictorial abstract workpieces are

brilliantly expressed the current relationship

characterized by special depth and density, just like

of gambling among countries. The dice is

the repeatedly painted oil paintings, which provide

chosen as symbol of the game, and the

endless aftertaste to the spectators. Probably with

water splashes created from the throwing

regard to his experience with oil painting creation in

of dice outline the map of countries. The

his early stage, Fu Wenjun uses the photography to

asymmetric proportion of dice to maps

pursue the effect of oil painting. Unlike many artists,

implies that the game has become an

he does not use photography to assist oil painting

essential content of national politics

creation, but on the contrary, presents the delight of oil

nowadays.

painting through the photography.

2015年8月3日 四川美院桃花山侧

《游戏-日本》（傅文俊，数绘摄影，100x100cm，2013） 在2017年中国美术馆举行的“和而不同：傅文俊数绘摄影展”上展出。 Game – Japan (Fu Wenjun, Digital Pictorial Photography, 100x100cm, 2013)

decoration. The

In the series A Wind from Yesterday, Fu Wenjun

Decoration did exist

displayed at “Harmony in Diversity: Fu Wenjun’s Digital Pictorial Photography Exhibition”

overlays the images of a page made from a

already in the era of

at the National Art Museum of China, 2017.

woodblock printing in Song Dynasty and a Euphrates

using films to produce

poplar, leading nature and civilization to set each other

photography, but the

off beautifully. Both of the two objects have gone through the test of a long time, so, as symbols of time

傅文俊不仅开创的数绘抽象摄影技法或流

they can evoke people’s nostalgia towards ancient times. The works embody a taste that is very close to

派，他的作品所展现出来的对社会和人生的

the “classic elegance” proposed by the modern

思考的广度和深度更是让人深思。在傅文俊

Chinese scholar Wang Guowei. This scholar regarded

手里，摄影不再是记录事实的工具，而是表 情达意的画笔，是充满哲理的檄文。

technique or school of digital pictorial abstract

the “classic elegance” as a very special interest in

《和而不同》（傅文俊，数绘摄影，摄影综合媒介，105x180cm，2017） 在2017年中国美术馆举行的“和而不同：傅文俊数绘摄影展”上展出。 Harmony in Diversity (Fu Wenjun, Digital Pictorial Photography, photography mixed media, 105x180cm, 2017)

the Chinese aesthetics. A Wind from Yesterday represents one of the few photographic works able to give expression to this Chinese aesthetic spirit.

displayed at “Harmony in Diversity: Fu Wenjun’s Digital Pictorial Photography Exhibition” at the National Art Museum of China, 2017.

Different from Game, that pays attention to the gambling among countries, Thought Reading focuses on the game among people, especially between the person and himself. The basic elements in the series are some Buddhist statues and pictures of the human skull under the X-ray. Fu Wenjun, with ingenious treatments, reveals the relationship between humanity and divinity in our time. The Buddhist statues are relatively small, which possibly implies the shrinkage of the divinity nowadays. The enlarged skull refers to the expansion of the self. However, the skull is blur and will be rotten, indicating that the self is temporary

Harmony in Diversity can be seen as a variant of A

and the divinity is forever. The meanings conveyed by

Wind from Yesterday, in which Fu Wenjun replaced

this series give us much food for our thinking, just like

艺术家傅文俊的数绘摄影之构图和表现方式

法等连接起来。作品内流畅的墨韵全是中国

中只有作品的主题有所变化。每张摄影的内

流露出极致的视觉效果。艺术家们常以过去

元素，但与木刻版画相关的图像却又可能与

容与其他摄影的并非必然相关；唯有当个别

与现在的发展为创作灵感，傅文俊亦如是，

东方和西方文化风格相关，因它们带有曼·

方块在特定大主题下组成一对或一组时，它

他如画的摄影风格与路易·达盖尔

雷（1890–1976）与安迪·沃霍尔

们才算属于同样的主题。由此可见，傅文俊

（1787-1851）在1820年代初期的摄影作

（1928–1987）艺术风格的影子。不过，

的数绘摄影所呈现的并非传统设计构图上的

品的绘画性关系密切。傅文俊的当代作品虽

将雕塑和建筑主题结合，并将中文文字融入

协调，而是技巧的统一。观众能从中明白，

然蕴藏与继承了上述特质，但在技巧上却未

抽象的绘画性当代摄影之中，正是傅文俊新

他的摄影带来一种印制和装裱摄影的新方

受路易·达盖尔的风格所限，亦绝非纯粹的

颖的艺术形式的标志。

法。该方法本身就是一种艺术，一种能将视

绘画；它乃是在单色和彩色摄影方面，建立

觉表现方式独立于描绘主题的方式。

出一种深深植根于多层中国文化的语言。

这一系列的作品分析，进一步带出几个额 外、且并非傅文俊作品或一般摄影所独有的

傅文俊的数绘摄影常被誉为富有诗意。诗歌

事实。傅文俊的作品呈现出技法和大小相同

是一种以文本为基础的媒介，通过文字描述

的影像，所有的摄影都是由九个体积较细小

来激发读者的想象力，思考能呈现出口语对

的方块组合而成的大方块（100 x 100 厘

话内容的图像。在傅文俊的数绘摄影中，影

图1 《相机绘画：傅文俊的摄影创作》展览，香港大学,2019年

像是最重要的，图像内容则是一种叙述。观

Figure 1 “Digital Brush: The Photographic Process of Fu Wenjun”,

众欣赏他的作品时，不像在阅读一则图画故

exhibition view, University of Hong Kong, 2019

米），以达致多层效果。这种方块设计营造 出一个工整规范、重复密集的视觉效果；当

Fu

事，而是更多地投入于一种视觉内容上的哲 学思考。如此，文字与影像合而为一，在观

傅文俊的数绘摄影

众的脑海里擦出火花，使作品的历史与文化 涵义变得完整。 傅文俊在《缘来缘去》和《无人私语》（图 傅文俊在《空山新雨后》、《小楼咋夜又东

7-8；数绘摄影，100 x 100 厘米，2017─

风》、《行到水穷处》（图2-4；数绘摄

2018)）两幅摄影作品中，运用颜色来丰富

影，100 x 100 厘米，2017─2018)中挥洒

创作主题。他的单色影像与水墨画产生强烈

墨水，绘出一组三乘三的浮凸方格，反映阴

共鸣，其彩色摄影却散发出中国木刻版画的

影与空间把主图墨迹层层延伸。众多作品中

特征。那代表宝塔的淡蓝色调，构成一个由

所展现的分层效果，可见他力求打破摄影规

木版墨痕造成的和谐统一的影像。这种特质

范。对傅文俊而言，一张照片可被切割和延

和重叠的环形图案，塑造出另一种立体的幻

展，在它与空间和光线互动时，创出一个全

象；又或者可以说是一幅帘子或一块动人的

新的艺术角度。在同一个光与暗互相辉映的

面纱。

立体图像中，不同色调的灰色与深黑色的变

义、视觉关系和装裱技艺，为观众带来意想 不到的体验。他的影像既非全然抽象，亦非 纪实摄影。其摄影感染力的糅合与解读，为 我们带来一种源于达盖尔的时代、用以重现 自然的新艺术形式。文字的加入使不同的元 素在傅文俊的视觉作品内得以重新调配，从 而激发起引领我们突破传统数码摄影框框的 想象力。

化并置呈现。

《无人私语》中的“面纱”由一连串的中文 图2 《空山新雨后》

正如传统的黑白照片一样，对比效果是赋予

Wenjun's Digital Pictorial Photography

傅文俊的摄影蕴藏丰富多样的文化与艺术涵

Figure 2: After Fresh Rain in the Mountain

文字构成。传统有谓书画同源，皆因两者都 以毛笔和水墨创作。傅文俊的摄影作为现代

影像活力的重要元素。傅文俊的作品与水墨

媒介，联系和拓展了传统的转印技法；不管

画的视觉联系，正提醒着观众，湿润的黑色

他是否有意为之，其作品的确使“书画同

和画家挥动（画笔）笔触时产生的明暗墨痕

源”这一概念更为充实。

是同样重要的。多个世纪以来，画家们一直 苦练如何透过画笔来呈现水墨的浓淡效果。

傅文俊作品中另一项值得关注的地方在于他

在傅文俊作品的光影意趣中，传统中国文化

对色块的运用——那让人联想起新水墨运动

对“墨韵五色”(即干、湿、浓、淡、黑)的

的元素。《大珠小珠落玉盘》和《更待江南

应用、干墨与湿墨之间的细微差别、或墨染

半月春》（图9-10；数绘摄影，100 x 100

画的朦胧效果，都一一隐藏了。

厘米，2017─2018）两幅色彩配搭看似简 单的作品里，墨韵气息相当浓厚；傅文俊并

《不二法门》、《宝马》（图5-6；数绘摄

非只是简单地混合色彩，而是利用在不同的

影，100 x 100 厘米，2017─2018）等作

独立方块区域来创造画面的深度和饶富趣味

品以抽象的构图描绘佛陀和唐代宝马。两张

的并置效果。立体对象的描绘、光影的意

作品并非直接描绘佛陀或宝马，而是一个侧

图3 《小楼咋夜又东风》

面描绘，主题就像被一层轻纱遮盖着，与画

Figure 3: East Wind Blew Again Last Night

趣、对比色彩的联想等多层元素，组成一幅 深入而层次丰富的构图。

文/罗诺德

Florian Knothe

传统面貌不仅限于技巧表达，更包含融合了

傅文俊艺术创作的本质建基于多个文化涵

艺术史学家和博物馆专家， 香港大学美术博物馆馆长， 并教授艺术史和博物馆研究

当代摄影和古代中国艺术形式，特别是立体

义：他的摄影将传统绘画风格与技巧、传统

Art historian and museum professional. He directs the

雕塑的图像；这就像上文提及的光影意趣，

图像与一种未有明确定义、看似盖着一块面

University Museum and Art Gallery at HKU, and teaches art

实为平面与立体之间的对话。

纱般隐秘却是有助凝聚起各种媒体的表现手

笔下如梦似的图像非常相似。傅文俊作品的

history and museum studies.

The visual quality of Master Fu Wenjun’s Digital

brush to master the application of solid to diluted

colour, an element in Fu’s work that is reminiscent of

Pictorial Photography is apparent in terms of both its

watery ink. The culture of applying the traditional ‘five

compositions from the New Ink Painting Movement. In

composition and presentation. As artists make

ink tones’ (dark dry ink, dark heavy ink, heavy ink,

Dancing Notes and Stay More in Spring (Figures

reference to the past and its continuous development,

light ink and bland ink)—as well as the nuances found

9–10; digital pictorial photography, 100 x 100 cm,

Fu has related his own painting-like presentations to

in dry and wet ink, or the blurred spread in ink-wash

2017–2018) an inky quality prevails through the

the painterly quality of Louis-Jacques Daguerre's

paintings—are eluded to in Fu’s interplay of light and

seemingly simple application of colour in adjacent,

(1787–1851) photographs from the early 1820s.

shadow.

though separate, individual areas. A depth and

Beyond this reference and lineage, his contemporary

图4 《行到水穷处》 Figure 4: Where the Water Ends

interesting form of juxtaposition are created by

work is neither technically limited in the way that

Images such as The One and Only Way and Precious

working within these discrete areas, rather than by

Daguerre's was, nor is it merely pictorial. In both

Horse (Figures 5–6; digital pictorial photography, 100

simply mixing the colours. As with the layering of

mono- and polychrome applications, Fu has

x 100 cm, 2017–2018) combine the abstract

elements, the representation of three-dimensional

developed a language that is indicative of a rapport

composition with depictions of a Buddha and Tang era

objects and the interplay of light and shadow, the

with deeply engrained layers of Chinese culture.

horse. Both images are not straight forward

association of contrasting colours evokes a deep and

depictions, but instead illustrate artworks that appear

multi-layered composition.

Fu's digital work has been described as poetic. Poetry

as if they are being seen through a veil, reminiscent of

is a text based medium that describes in words and

the dreamy representation of the brush. The traditional

The quality of Fu’s artistic production lies in its

evokes the readers’ fantasy to think of images to

aspects of Fu’s work reach beyond technical skill

multiple connotations: his photography creates a link

illustrate the verbal dialogue. In Fu's form of digital

and incorporate an iconography that relates these

between conventional painting styles and techniques,

photography, the image comes first and the pictorial

contemporary photographs to ancient Chinese art

between traditional iconography and a less defined

content suggests a narrative. Rather than a story in

forms, especially to sculptures—objects in the

expression that may seem like a veil but, actually

pictures, Fu’s viewer engages more philosophically

round—that, like the earlier shadow play, return to a

helps to bind together the media. While the ostensibly

with the visual content. Text and image become one

dialogue about two and three dimensions.

fluid ink is entirely Chinese, his wood block

and provoke each other to complete, in a viewer's

图9 《大珠小珠落玉盘》 Figure 9: Dancing Notes

print-related images may relate to Eastern as well as

mind, the historical or cultural connotations being

In the photographs Come and Go and Nobody to Talk

Western forms of culture, as they contain stylistic

displayed.

With (Figures 7–8; digital pictorial photography, 100 x

precedents that are also found in the work of Man Ray

100 cm, 2017–2018), the master photographer

(1890–1976) and Andy Warhol (1928–1987).

Exhibitions of Fu’s work (Figure 1), such as the

expands his theme by employing colour. Whereas his

However, the incorporation of sculptural and

recent display at the University of Hong Kong,

monochrome images are strongly related to ink

architectural topics, as well as Chinese characters in

demonstrate how his creative output can be summed

painting, his colour photography resembles the

contemporary photography with abstract painterly

up through the concept of ‘Digital Pictorial

characteristics of Chinese woodblock printing. The

tones, is the trademark of Fu’s innovative art form.

Photography’, which is his reworked term for the

seemingly subtle application of blue to represent the

traditions found at the core of the photographic arts.

pagoda suggests a uniform image created by the

The analytical focus on this series further highlights a

By blending elements of other modes of fine art into

inked impression of a printing block. This quality,

number of additional facts that are neither particular to

the photographic process, he has created a new form

together with the overlaying ring motif, creates another

Fu’s work nor to photography in general. His project

of aesthetic pleasure that embraces a range of artistic

illusion of three-dimensionality; or, put differently, a

presents images of identical technique and size. All of

media.

curtain or emotional veil.

the photographs are large squares (100 x 100 cm)

Fu’s technique puts forward cultural references on

In Nobody to Talk With, this ‘veil’ is composed of a

layered effect. In so doing, Fu displays a highly regular

both a technical and historical level, as his pictorial

string of Chinese characters; a traditional aphorism

structure in which the effect is repeated—and

compositions relate to Chinese ink painting in both

which proposes that painting and calligraphy are

intensified—while only the subject matter differs. The

technique and subject matter, as they depict Chinese

related, as they both arrive with the brush and ink.

contents of individual photos do not necessarily relate

art and architecture or include symbolic elements. By

Whether deliberate or not, Fu’s photography extends

to one another, as only certain pairs or small groups

demonstrating the complementary relationship of

this theme, as his modern medium relates to and

within the larger project adhere to similar themes. The

photographs and other modes of fine art, Fu is able to

extends these traditional techniques of image transfer.

artist presents a unity via technique rather than a

that incorporate nine smaller squares to achieve this

transform a seemingly inaccessible message into a highly approachable idea that then can trigger critical

图5 《不二法门》 Figure 5: The One and Only Way

图10 《更待江南半月春》 Figure 10: Stay More in Spring

traditional graphic composition. Viewers come to A further development is the introduction of patches of

realize that Fu’s photography introduces a way to

thought about history, society and humanity.

Artworks such as After Fresh Rain in the Mountains, East Wind Blew Again Last Night and Where the Water Ends (Figures 2–4; digital pictorial photogra-

print and mount photographs that is an art in itself,

phy, 100 x 100 cm, 2017–2018) showcase Fu’s

which prevails as an application that leads the visual

lavish use of ink, which here forms a set of squares

presentation independently from the depicted subject

that reflects both shadow and space, further

matter.

expanding the inked image. The effect of layering found in much of his art is a prime example of how he

With such an array of varied cultural and artistic

strives to break photographic norms. For Fu, a

connotations, visual relationships and mounting

photograph can be dissected and expanded so as to

techniques, Fu’s photography challenges viewers

interact with space and light in the creation of new

and presents something quite unexpected. His images

artistic perspectives. The differing shades of grey and

are neither predominantly abstract nor documentary in

gradation to a deep black are juxtaposed within the

nature. The combination and interpretation of his

same three-dimensional presentation of light and

photographic influences offers a new employment of a

dark.

form that was originally introduced—in Daguerre's days—for the reproduction of nature. These various

As in traditional black-and-white photography,

elements realign in his visual work by incorporating

contrast brings liveliness to the images. The visual

texts so as to stimulate a fantasy that leads viewers

relationship with ink painting further reminds the

beyond conventional forms of digital photography.

viewer that the saturation of the black and the (brush)

图6 《宝马》 Figure 6: Precious Horse

flow’s darker and lighter traces are of consequence.

For centuries, painters trained the handling of the

图7 《缘来缘去》

图8 《无人私语》

Figure 7: Come and Go

Figure 8: Nobody to Talk With

罗诺德博士，2019年5月 Florian Knothe, May 2019

Pho

tog

摄影

raph

y

集

Leaving the Stage

《退场》

《退场——遗留》 Leaving the Stage - Leave Behind

《退场——凝结于此》 Leaving the Stage - Condense in Here

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

110x140cm, 2008

110x140cm, 2008

傅文俊的摄影《退场》系列作品，向观众展示

一对象的。这也就是说，傅文俊摄取的图像，

漫长的使用之后，因老化或被更先进的设备所

了那些从“岗位”上退下来，已经废弃不用的

以及对图像所进行的改造，不仅把仍然在场的

取代而退出历史舞台这一事实，重要的是艺术

机车、工厂等形象。“退场”的主题和作品的

工业文明给景观化、艺术化了，而且更为重要

家对这些象征着工业文明的对象所采取的文

视觉效果都表明，作者是从一个现代之后的特

的是把他们给历史化了。这意味着，对于作者

化、艺术和美学的立场与态度。

定立场和视角，去呈现和表达现代工业文明这

来说，重要的并不是这些机车、工厂在经历了

——《历史的意味》，邹跃进（中央美术学院 教授）

Leaving the Stage

《退场》

《退场——再次守望》 Leaving the Stage -On Watch Again,

《退场——从何而来，从何而去》 Leaving the Stage - Where Came from, Where to Go

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

110x140cm, 2008

110x140cm, 2008

Fu Wenjun’s photographic series Leaving the Stage

perspective. That is to say, the industrial civilization

going to leave the historic stage after a long time of

presents to the audience the figures of the abandoned

still on view is landscaped and artisticized, but more

use for being old or replaced by more advanced

and useless locomotives and factories. The theme

importantly is historized in the images taken by Fu

equipments; but it lies in the cultural, artistic and

and the visual effect of the series indicate that the

Wenjun and the image transformation made by him.

aesthetic position and attitude the artist has towards

artist displays and expresses the modern industrial

Therefore, to the artist the importance doesn’t lie in

these industrial civilization symbols.

civilization from a post-modern position and

the fact that the locomotives and the factories are

--- "The Meaning of History", Zhou Yuejin (Professor of the Central Academy of Fine Arts, China)

Illusory Metamorphoses

《幻化》

《幻化》No.1 Illusory Metamorphoses No.1

《幻化》No.6 llusory Metamorphoses No.6

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

110x140cm, 2009-2011

110x140cm, 2009-2011

《幻化》将X光照射下人体的骨骼样式化处理后

将荣昌夏布作为摄影成像媒介，这是非物质文

艺术的方式重新建构它与大众的关联，使它在

与大足石刻合为一处，在这件作品中我想探讨

化当代性转换在艺术上的尝试。荣昌夏布在中

我们周围延续。

信仰，以及与信仰相关的生死、存在与虚幻、

国已经存在了上千年，现在它即将消失。无论

当下与未来。

是博物馆保护还是商业开发，荣昌夏布都不可 能恢复器用性，它一直在远离大众。我希望以

——傅文俊

Illusory Metamorphoses

《幻化》

《幻化》No.2 llusory Metamorphoses No.2

《幻化》No.8 llusory Metamorphoses No.8

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

110x140cm, 2009-2011

110x140cm, 2009-2011

The work Illusory Metamorphoses combines the

The use of the Rongchang grass cloth as a

thanks to the commercial exploitation, the grass cloth

models of the X-ray human skeleton with the Dazu

photographic media is an artistic experiment on the

is unlikely to regain its usefulness. It keeps going

Grottoes; here I intend to explore the faith, as well as

contemporary transformation of the intangible culture.

away from the public. I wish to rebuild its relationship

the related concepts of life and death, existence and

The Rongchang grass cloth has existed in China for

with the public in an artistic way, making it live around

illusion, present and future.

thousands of years, but now is disappearing. No

us.

matter being under the protection of the museums or

---Fu Wenjun

Thought Reading

《他心通》

《他心通》No.2

《他心通》No.6

Thought Reading No.2

Thought Reading No.6

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

110x140cm, 2009-2011

110x140cm, 2009-2011

“他心通”是佛教六大神通之一，即证得心

所谓通晓他人智慧，我认为这是一种隐喻。观

是对当今文明重要的提醒：当科技无限外求的

智，如实了知他人心中所思所想的神通。《他

看容易受到欲望的干扰，所以肃然佛家讲了向

时候，我们忽视了对自己的关照，科技在欲望

心通》系列作品拍摄自中国重庆市的大足石窟

外观看的神通，其最终还是落在了自身，并认

驱使下正面临着失控的危险。

群，在这系列中，我让石窟造像和头部CT影像

为“内观”是最重要的事情。佛家讲“戒、

拼合起来，这是我对当今文明反思的作品。

定、慧”，首先就是要去除妄念。“他心通”

——傅文俊

Thought Reading

《他心通》

《他心通》No.5 Thought Reading No.5 数绘摄影 Digital Pictorial Photography 《他心通》No.7 Thought Reading No.7

110x140cm, 2009-2011

数绘摄影 Digital Pictorial Photography 110x140cm, 2009-2011

"Thought reading" is one of the six supernormal

way to present my reflection on the modern

reason, even though the Buddhism talks about the

powers believed by the Buddhists, which refers to the

civilization.

supernormal power of looking outward on others, in

ability of reading other people's ideas just through

one should clean his own delusion and desires.

driven by human desires is facing the risk of losing its control.

the end the Buddhism is oriented toward human

Thought reading can be understood as a significant

looking at them. In the series“Thought Reading”, I

What is defined as "a thorough understanding of the

himself. It believes that "looking inward" is the most

warning towards our modern civilization: with the

combine the Buddhist statues taken in Dazu Grottoes,

others' ideas", in my opinion, is just a metaphor. The

important matter. The Buddhism tells people about

development of technology, we ignore to take good

Chongqing (China) with human head CT images, as a

seeing is easily influenced by one’s desires. For this

"discipline, concentration and wisdom", but first of all

care of ourselves (our mind); and the technology

---Fu Wenjun

No Realms

《无界》

《无界》No.1 No Realms No.1

《无界》No.2 No Realms No.2

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

150x150cm, 2009-2011

150x150cm, 2009-2011

中国佛教信仰的世俗性值得研究，但即便是最

部分。运用此类形象作为创作资源，以个人选

实用的中国信徒，也得去面对问题。死亡恐惧

择、组合及后期处理的方式，去重新触及不能

展人，四川美院教授、硕士生导师，西安美院

不仅是产生宗教的心理基础，而且产生了原始

回避的终极问题，是傅文俊对当代消费文化和

客座教授、博士生导师）

人类对于另一世界的想象力——比如佛教造像

享乐主义风尚的反拨。人活在世上，也许只有

的历史就不期而至成为中国古代艺术史的重要

意识到生之为生不过是向死而生的时候，人生

才会去追求意义，艺术也才会有所价值。

——《向死而生的言说》，王林（批评家、策

No Realms

《无界》

《无界》No.5 No Realms No.5

《无界》No.8 No Realms No.8

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

150x150cm, 2009-2011

150x150cm, 2009-2011

Although it is worth studying the secular nature of the

history of the Buddhist statues has become by chance

composition and postproduction personally chosen,

---"Speech about Living towards Death", Wang Lin

Chinese Buddhist faith, even the most observant

an important part of the ancient Chinese art history.

exploring again the inevitable final question. People

(art critic, curator, Professor and graduate tutor of

disciple has to face problems. The fear of death not

The artist Fu Wenjun shows his contraposition

live in this world, but only when they realize that living

Sichuan Fine Arts Institute, visiting professor and

only represents the psychological base for the birth of

towards the contemporary consumption culture and

the life is just living towards death, then they can

doctoral supervisor of Xi'an Academy of Fine Arts)

the religion, but also brings out the primitive human’s

the hedonism trend, employing these figures as

pursue the meaning of life, art can be meaningful as

imagination about another world --- for example, the

resources for the work, using techniques of

well.

Goldbach's Conjecture

《歌德巴赫猜想》

《歌德巴赫猜想》No.1 Goldbach's Conjecture No.1

《歌德巴赫猜想》No.2 Goldbach's Conjecture No.2

夏布数绘摄影 Grass Cloth Edition Digital Pictorial Photography

夏布数绘摄影 Grass Cloth Edition Digital Pictorial Photography

110x140cm, 2009

110x140cm, 2009

在《哥德巴赫猜想》系列作品中，我选用了货

货币获得了任何一种其他事物都不具备的穿透

当，就其原由再简单不过，正如萧伯纳所说，

币符号、头部CT片、以及骰子和科学公式为主

力，抹去任何事物的特殊性，就像科学公式一

对金钱的共同关心，是我们文明中一个充满希

要元素。以此表现在金钱制约下人类思想如何

样具有普遍套用性。货币使人们摆脱各种实物

望的真相。但是它正像哥德巴赫猜想一样，内

把握现实与未来，以及金钱诱导下后现代社会

的羁绊，展示出人类自主性发展的努力，但同

容十分简洁，但它的证明却异乎寻常的困难。

中“自我”的分崩离析。

时也陷入自设的陷阱。它的效应似乎理所应

——傅文俊

Goldbach's Conjecture

《歌德巴赫猜想》

《歌德巴赫猜想》No.6 Goldbach's Conjecture No.6

《歌德巴赫猜想》No.8 Goldbach's Conjecture No.8

夏布数绘摄影 Grass Cloth Edition Digital Pictorial Photography

夏布数绘摄影 Grass Cloth Edition Digital Pictorial Photography

110x140cm, 2009

110x140cm, 2009

In the series Goldbach’s Conjecture, I choose the

inducement of money in the postmodern society.

showing the efforts the human beings have made for

However, it is just like the Goldbach’s Conjecture, of

currency symbols, head CT films, the dice and the

The currency is provided with a penetration power that

their independent development; but in the meanwhile

which the content is very simple, but very difficult to be

scientific formulas as the main elements, with the

nothing else could possess, which removes the

they fall into the trap created by themselves. Its effect

proved.

intention to show how our human beings restricted by

particularity of anything else, just like scientific

seems obvious, and its principle is quite easy; just as

money to grasp the present and the future, and to

formulas that are universally applicable. The currency

Bernard Shaw said: the common concern for money

manifest the disintegration of “ego” caused by the

free people from the trammels of the real things,

in our civilization is a real situation filled with hope.

--- Fu Wenjun

Neighbors

《街房邻居》

《街房邻居》 Neighbors 数绘摄影 Digital Pictorial Photography 1600x110cm, 2009

《街坊邻居》是重庆大工业转型后，艺术家傅

重庆可以说是成功地从旧工业基地向新型工业

傅文俊耗费几年的时间，走街串巷收集散落在

文俊对地方人文生态的关怀和重构。

基地转型的代表之一，在这一过程中重庆的人

城市边缘的那些濒临拆迁的吊脚楼，用镜头记

文生态遭遇了历史性的变迁，尤其以重庆原生

录了它们风韵犹存的倩影。他根据史料对这些

——评傅文俊新作《街坊邻居》，王文娟（艺

态吊脚楼为特征的民居逐渐被现代化城市规划

零散的建筑进行了重新规划和复原，将那些支

术批评家）

所替代。

离破碎的记忆修复成了《街坊邻居—人文生态

的文献》这幅历史画面。

Neighbors

《街坊邻居》

《街房邻居》局部 Neighbors，details 数绘摄影 Digital Pictorial Photography 1600x110cm, 2009

Neighbors illustrates artist Fu Wenjun’s thinking and

that have successfully transformed from a traditional

reconstruction of the local human ecology after the

industrial base into a new-type one. In the process,

significant industrial transformation happened in the

the city’s human ecological environment was

Fu Wenjun spent several years walking around the

the fragmented memories into a historical scene

city Chongqing.

historically changed. Especially the traditional

city to find the stilted buildings that scattered in the

depicted in the work Neighbors.

residential houses characterized by the stilted

edge of the city on the verge of demolition. He

buildings were gradually replaced by the modern

recorded their their charming images with his camera

Chongqing is one of the representative cities in China

urban planning.

lens. Based on the historical materials, he replanned and restored these scattered building images, bringing ---Review on Fu Wenjun artwork Neighbors, Wang Wenjuan (art critic)

《殊途同归》 Reach the Same End by Different Routes 数绘摄影 Digital Pictorial Photography 100x80cm, 2012

《失之交臂》 Lose an Opportunity Close at Hand 数绘摄影 Digital Pictorial Photography 100x80cm, 2013

《中西合璧》 Combination of Chinese and Western 数绘摄影 Digital Pictorial Photography 100x80cm, 2011

Clouds of Hometown

《故乡的云》

《故乡的云》No.13 Clouds of Hometown No.13 数绘摄影 Digital Pictorial Photography 110x140cm, 2013

《故乡的云》No.1 Clouds of Hometown No.1 数绘摄影 Digital Pictorial Photography 110x140cm, 2013

这个系列作品的首先能体现出傅文俊良好的艺

傅文俊兼具了摄影家和画家的角色，努力而出

——贾方舟，中国第一代当代艺术批评家，现

First of all, this series of works can reflect Fu Wenjun's

photography. As a creator, Fu Wenjun has concurrent

---Jia Fangzhou, China's first-generation contempo-

术修养，其次让其艺术家的身份更加丰富且多

色地将二者融合。作品从文化本身出发，对信

今仍活跃于当代艺术前沿的重量级艺术批评

good artistic accomplishment, and secondly, make his

roles of photographer and painter, and work hard and

rary art critics, heavyweight art critic and curator who is

元化。《故乡的云》把绘画因素融汇进摄影当

念和仪式做出了人性上的思索与展现，让那朵

家，策展人

artist's identity richer and more diverse. "Clouds of

brilliantly to merge the two. Starting from the culture

still active at the forefront of contemporary art

中，其背景的处理具有艺术创新精神，很好地

漂浮在人像之上的云承载了创作者的情怀与期

Hometown" integrates painting factors into photography.

itself, the works make a human reflection and display of

Its background processing has an artistic innovative

beliefs and rituals, allowing the clouds floating on the

表达了绘画性语言和摄影语言，作为创作者，

望。

spirit and displays well characters of painting and

portraits to bear the creator's feelings and expectations.

National Treasure

《国宝》

《国宝》No.1 National Treasure No.1

《国宝》No.11 National Treasure No.11

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

80x100cm, 2014

80x100cm, 2014

文化遗存是世界的还是民族的，这的确是个问

看来，造像仿佛获有了“法身”一般。这种乐观

更是现实的权利，即对“真身”掌握的同时也拥

Whether cultural relics are world or national is indeed a

have become "treasuries" for storage and display. From

is distinguished between an "actual one" and an

题。世界化正在发展，而世界化在文化层面带给

是当代“复制”技术造成的，我们也身处于“复

有了“发布权”和“阐释权”。

question. Cosmopolitanization is developing, and the

this point of view, the statues seem to have an

"embodiment". What's more, the right of reproduction

人首要的感觉便是“无疆界”。经由现代传媒，

制的时代”。复制既是技术，本身又是一种社会

primary feeling of cosmopolitanization at the cultural level is

"embodiment". This optimism is caused by contemporary

declares more realistic rights, that is, who own the actual

各大博物馆存放的“国宝”变作数字信息，而其

现象。而经由复制，关于“相”更是区分出了

"borderless". Through modern media, the "national

"replication" technology, and we are also in the "era of

objects has the right to publish and interpret them.

treasures" stored in major museums have become digital

replication". Replication is a technology and a social

所在博物馆则沦为存放和展示的“库房”。这点

“真身”与“法身”。不止于此，复制昭示出的

information, while the museums in which they are located

phenomenon as well. And through replication, the "image"

——傅文俊

---Fu Wenjun

Autumn in a Leaf

《一叶落知天下秋》No.7 Autumn in a Leaf No.7

《一叶落知天下秋》No.1 Autumn in a Leaf No.1

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

120x120cm, 2014

120x120cm, 2014

《一叶落知天下秋》将恢宏壮观、富有设计感

生命。如果这样无度地发展下去，生态破坏、

的现代化建筑置于镂空的、失去血肉的干枯树

物种灭绝都将成为必然的后果。

叶中。工业化和城市化是人类发展必然面对 的，而它对自然生态却造成了不可逆转的严重 创伤。一座建筑的建成，需要破坏多少自然的

《一叶落知天下秋》

——傅文俊

Autumn in a Leaf

《一叶落知天下秋》

《一叶落知天下秋》No.9 Autumn in a Leaf No.9

《一叶落知天下秋》No.10 Autumn in a Leaf No.10

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

80x100cm, 2014

80x100cm, 2014

Autumn in a Leaf is filled with magnificent, spectacular

the picture. The industrialization and urbanization are

immoderate way, the destruction of the ecosystem

and designed modern buildings. The cold lines,

global themes that every country should face, sooner

and the extinction of the species will be the inevitable

minimalist tones and airtight layout produce a

or later. However, they have brought about the

outcome.

constrained impression to the audience. The whole

ecosystem irreversible big wounds. The construction

structures are placed on pierced leaves; the withered

of a building needs to damage a number of natural

leaves without flesh and blood add a trace of sorrow to

lives. If the world continues to develop in such an

--- Fu Wenjun

Photographic Narrative

《公元前350年》 350 B.C. 数绘摄影 Digital Pictorial Photography 140x175cm , 2014-2015

《摄影叙事》

《民以食为天》 Food Is the God of People. 数绘摄影 Digital Pictorial Photography 140x175cm, 2014-2015

傅文俊先生对不同地域文化和各个历史时期进

生的作品正是将这些带有明显时代特征的矛盾

方式，而是最终的目标。实际上从某些方面来

历史总是在重复，而人类作为整体在地理和文

——弗朗切斯科·萨维里奥·鲁索，意大利艺

行了成功研究。在风格上，他受到多个方面的

的事物叠加在一起，创作出带有讽刺意味的现

说，作品中某些方面的元素选择旨在表达一种

化差异之下有着共同的相似之处。

术评论家、策展人

启发，包括中国古代王朝，特别是唐宋时期的

代肖像画。从这种意义上说，每个画面都是历

永恒的概念。因此，每一件艺术作品都成了没

典型艺术形象、较为现代和摄影化的图像，还

史性摄影叙事的重要组成部分。傅文俊先生总

有反命题的命题，由强大有力、在东西方历史

有使人联想到西方教堂的雕塑造型。傅文俊先

是谈到艺术史，对他而言，这不是一种探寻的

进程中反复出现的证据所支撑；这告诉我们，

Photographic Narrative

《摄影叙事》

《穹顶之下》 Under the Dome

《一抹千秋》 A Touch of Centuries

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

140x175cm , 2014-2015

140x175cm , 2014-2015

Mr. Fu Wenjun has the winning attempt to examine

churches. The Master’s artworks are dances

goal. He therefore analyses some aspects which are

mankind as a whole has similarities beyond

---Francesco Saverio Russo, Italian art critic and

different cultures and eras. From the stylist inspiration

intersecting strong eras of wars and warriors,

meant to express a timeless concept. In this way, the

geo-cultural position.

curator

drawn by a typical figuration of some Chinese

superimposed by cutting contemporary portraits. In

expression of every artwork becomes a thesis with no

dynasties, like the Song and the Tang dynasties, to

this sense, every image is a fundamental part of the

possibility of anti-thesis, full of proofs which we find

more modern and photographic depictions, to

synopsis. The Great Master, Fu Wenjun, always talks

again many times in history, western and oriental, to

sculptures which remind some of many western

about history of art; it’s not a means, but the main

remember that history is repeating itself and that the

Photographic Narrative

《摄影叙事》

《远行》 A Long Journey 数绘摄影 Digital Pictorial Photography 140x175cm , 2014-2015

Photographic Narrative

《唯马首是瞻》 Take the Horse Head as Guide 数绘摄影 Digital Pictorial Photography 140x175cm , 2014-2015

《摄影叙事》

《云里雾里》 Among the Cloouds 数绘摄影 Digital Pictorial Photography 140x175cm , 2014-2015

Photographic Narrative

《裙带关系》 Nepotism 数绘摄影 Digital Pictorial Photography 140x175cm，2014-2015

《摄影叙事》

A Wind from Yesterday

《昨夜西风》

《昨夜西风》No.1 A Wind from Yesterday No.1

《昨夜西风》No.2 A Wind from Yesterday No.2

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

105x180cm, 2017

105x180cm, 2017

宋代词人晏殊曾写道：“昨夜西风凋碧树，独

逝；然而登高望远，凋敝只是眼前一景，路漫

骋望其绵延千年的内在生机。胡杨枯而不倒，

不总是厚重和压抑的，历史也可以很鲜活。截

上高楼，望尽天涯路。”这句诗长盛不衰，流

漫，催人上下求索。

顽强地矗立在西北大漠。宋版书则以繁复和精

取历史的惊鸿一瞥，终究是为了将目光转向更

美的制作手法，被国人视为无价之宝。两样旧

遥远的未来。

传至今，近代大学者王国维曾用来它来形容治 学与做事的境界。中国人爱它，是因为其中蕴

数绘摄影《昨夜西风》呈现出一种类似的张

物，被艺术家以叠加的手法新颖别致地并置在

含着生动的辩证法：树木凋敝，提醒人时光易

力——胡杨与宋版书看似已死，今人却可从中

一起，传达出后现代主义的美学要旨。历史并

——傅文俊

A Wind from Yesterday

《昨夜西风》

《昨夜西风》No.3 A Wind from Yesterday No.3

《昨夜西风》No.4 A Wind from Yesterday No.4

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

105x180cm, 2017

105x180cm, 2017

Yan Shu, one of the most noted litterateurs in

sentence as a metaphor to describe the mental state

one part of the view. Long as the way is, people will

China, is displayed on a page made from woodblock

people for their complicated and exquisite craftsman-

Northern Song dynasty, wrote a line which endured

that one had to go through in order to be successful.

keep on searching the unknown.

printing in Song Dynasty. People can sense a vitality

ship. Two seemingly lifeless old forms are brought

through ages: “Last night, the west wind withered

The reason why so many Chinese people love this line

which has lasted for over a thousand years. The truth

back to life in superposition, which conveys the very

green trees. Ascending the tall building alone, I had a

is because there is a vivid dichotomy in it: the withered

Digital Pictorial Photography “A Wind from

is that withered euphrates poplars stubbornly stand in

aesthetic purpose of postmodernism. History is not

full view of the road that stretched far way.” A

trees remind people that time is fleeting. However,

Yesterday” presents a similar tension: the image of

the desert. Books of Song woodblock printing are

always heavy and depressing, it can also be fresh. I

modern scholar Wang Guowei once cited this

seen from a distance, the depressed scene is but only

euphrates poplar, a plant that grows in northwest

regarded as priceless cultural heritages by Chinese

capture a glimpse of the history, but the final aim is to

direct our attention to the future.

--- Fu Wenjun

Red Square

《红场》

《红场》 Red Square 数绘摄影 Digital Pictorial Photography 140x560cm , 2017

2017年我去了俄罗斯旅行。参观位于莫斯科的

宣布完成。这让世界都很震惊，但却是命中注

In 2017, I traveled to Russia. When visiting the renown

25th December 1991 in just about thirty minutes. It

红场时，导游提到了一句俄罗斯现任总统普京

定会发生的，就如同许许多多人类历史中发生

Red Square in Moscow, the tour guide cited some

surprised the world, but it destined to happen, like

的话，“谁不怀念苏联，谁就是没良心；谁若

的事一样。

words from the present Russian president Vladimir

many significant changes in human history.

是想回到苏联时代，谁就是没脑子。”1991年 12月25日的半个小时内，苏联解体的消息向外

Putin, “Whoever does not miss the Soviet Union has no heart. Whoever wants it back has no brain.” The

——傅文俊

Dissolution of the Soviet Union was announced on

--- Fu Wenjun

Red Square

《红场》局部 Red Square details 数绘摄影 Digital Pictorial Photography 140x560cm , 2017

《红场》

Misplacement

《错位》

《大珠小珠落玉盘》 Dancing Notes 数绘摄影 Digital Pictorial Photography 100x100cm, 2017-2018

《迪拜的鱼》 Dubai Fish 数绘摄影 Digital Pictorial Photography 100x100cm, 2017-2018

艺术家傅文俊的数绘摄影之构图和表现方式流

傅文俊的当代作品虽然蕴藏与继承了上述特

——罗诺德博士（Florian

露出极致的视觉效果。艺术家们常以过去与现

质，但在技巧上却未受路易・达盖尔的风格所

学家和博物馆专家，香港大学美术博物馆馆

在的发展为创作灵感，傅文俊亦如是，他如画

限，亦绝非纯粹的绘画；它乃是在单色和彩色

长，并教授艺术史和博物馆研究

的摄影风格与路易・达盖尔(1787–1851)在

摄影方面，建立出一种深深植根于多层中国文

1820年代初期的摄影作品的绘画性关系密切。

化的语言。

Knothe），艺术史

Misplacement

《错位》

《更待江南半月春》 Stay More in Spring

《红樱桃》 Red Cherry

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

100x100cm, 2017-2018

100x100cm, 2017-2018

The visual quality of Master Fu Wenjun’s Digital

(1787–1851) photographs from the early 1820s.

Pictorial Photography is apparent in terms of both its

Beyond this reference and lineage, his contemporary

with deeply engrained layers of Chinese culture.

---Florian Knothe, art historian and museum professional. He directs the University Museum and

composition and presentation. As artists make

work is neither technically limited in the way that

Art Gallery at HKU, and teaches art history and

reference to the past and its continuous development,

Daguerre's was, nor is it merely pictorial. In both

museum studies.

Fu has related his own painting-like presentations to

mono- and polychrome applications, Fu has

the painterly quality of Louis-Jacques Daguerre's

developed a language that is indicative of a rapport

Misplacement

《错位》

《六月雪》 June Snow 数绘摄影 Digital Pictorial Photography 100x100cm, 2017-2018

《空山新雨后》 After Fresh Rain in the Mountain 数绘摄影 Digital Pictorial Photography 100x100cm, 2017-2018

Misplacement

《错位》

《梦境》 Dream

《逆风如解意》 If the Wind Understands

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

100x100cm, 2017-2018

100x100cm, 2017-2018

Misplacement

《错位》

《人间四月》 April

《缘来缘去》 Come and Go

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

100x100cm, 2017-2018

100x100cm, 2017-2018

Human Nature for Food

《食色》

《食色》 Human Nature for Food

《食色》No.2 Human Nature for Food No.2

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

60x60cm, 2017-2018

60x60cm, 2017-2018

Human Nature for Food

《食色》

《食色》No.1 Human Nature for FoodNo.1

《食色》No.5 Human Nature for Food No.5

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

60x60cm, 2017-2018

60x60cm, 2017-2018

Ask Tea

《问茶》

《问茶》No.10 Ask Tea No.10 数绘摄影 Digital Pictorial Photography 30x30cm, 2018

《问茶》 Ask Tea 数绘摄影 Digital Pictorial Photography 30x30cm, 2018

Ask Tea

《问茶》

《问茶》No.1 Ask Tea No.1

《问茶》No.21 Ask Tea No.21

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

30x30cm, 2018

30x30cm, 2018

Wind from Tibet

《西藏飘来的风》No.6 Wind from Tibet No.6 数绘摄影 Digital Pictorial Photography 60x60cm, 2018

《西藏飘来的风》

《西藏飘来的风》No.4 Wind from Tibet No.4 数绘摄影 Digital Pictorial Photography 60x60cm, 2018

Wind from Tibet

《西藏飘来的风》

《西藏飘来的风》No.7 Wind from Tibet No.7

《西藏飘来的风》No.10 Wind from Tibet No.10

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

60x60cm, 2018

60x60cm, 2018

F1

《F1》 F1 数绘摄影 Digital Pictorial Photography 40x40cm, 2018

《F1》

《F1》No.3 F1 No.3 数绘摄影 Digital Pictorial Photography 40x40cm, 2018

F1

《F1》

《F1》 No.11 F1 No.11

《F1》No.16 F1 No.16

数绘摄影 Digital Pictorial Photography

数绘摄影 Digital Pictorial Photography

40x40cm, 2018

40x40cm, 2018

Passage of Time

《斗转星移》

《斗转星移》No.2 Passage of Time No.2

《斗转星移》No.4 Passage of Time No.4

摄影综合媒介 photography mixed media

摄影综合媒介 photography mixed media

50x50cm, 2019

50x50cm, 2019

Passage of Time

《斗转星移》

《斗转星移》No.5 Passage of Time No.5

《斗转星移》No.6 Passage of Time No.6

摄影综合媒介 photography mixed media

摄影综合媒介 photography mixed media

50x50cm, 2019

50x50cm, 2019

Re-reading of Art History

《重看美术史》

《重看美术史-安迪·沃霍尔，玛丽莲·梦露，1967》 Re-reading of Art History - Andy Warhol, Portraits of Marilyn Monroe, 1967 摄影综合媒介 photography mixed media 200x200cm, 2019

《重看美术史-毕加索，女人半身像，1944》 Re-reading of Art History - Pablo Picasso, Bust of a Woman, 1944 摄影综合媒介 photography mixed media 90x90cm, 2019

西方美术史很多人都看不懂，包括从事艺术行业

仍有许多艺术家或喜欢艺术的人们仍然怀着极大

方式和当今人们对艺术的认知与看法，对经典艺

的人，对于过去那些不同时代产生的艺术家和他

的兴趣一遍一遍又一遍地去阅读观看。我自己也

术作品进行了再次创作，希望能够给观众朋友们

们创作的作品，并不能从根本上去了解。因此多

不例外，记得几十年来，多多少少全面或有选择

带来一些启发性地思考。

少年来人们一直在探索研究，甚至从深层次的角

性地看过好几遍，也并没把它完全弄明白。对于

度去解读，最终都不能完全弄明白。时至今日，

《重看美术史》系列作品，我按照自己所理解的

——傅文俊

Re-reading of Art History

《重看美术史》

《重看美术史-波提切利，维纳斯的诞生，1485-1486》 Re-reading of Art History - Sandro Botticelli, The Birth of Venus, 1485-1486

重看美术史-卡拉瓦乔，捧水果篮的男孩，1593》 Re-reading of Art History - Caravaggio, Boy with a Basket of Fruit, 1593

摄影综合媒介 photography mixed media

摄影综合媒介 photography mixed media

90x90cm, 2019

90x90cm, 2019

Many people can’t understand the Western art

interpretation, but ultimately can’t fully get it. Up to

regard to the series "Re-reading of Art History", I

history, including the ones who work in the art

this day, there are still many artists or people who love

select some classic art works to re-interpret them in

industry. They can hardly have a complete

art still read and see it over and over again with great

the way I understand and the perceptions people have

comprehension of the artists and their works created

interest. I am no exception. I remember for decades I

about art in the current times. And I hope to bring

in past different times. So for many years people keep

have been reading it fully or selectively for many

some inspiring thinking to the audience.

exploring, researching, or even doing in-depth

times, but I have not fully understood it as well. In

---Fu Wenjun

Re-reading of Art History

《重看美术史》

《重看美术史-拉斐尔，西斯廷圣母，1513》 Re-reading of Art History - Raffaello, the Sistine Madonna, 1513 摄影综合媒介 photography mixed media 90x90cm, 2019

《重看美术史-文森特·梵·高，割掉耳朵后的自画像，1889》 Re-reading of Art History - Vincent van Gogh, Self-Portrait with Bandaged Ear, 1889 摄影综合媒介 photography mixed media 90x90cm, 2019

Re-reading of Art History

《重看美术史》

《重看美术史-雷诺阿，珍妮·萨玛利身着低领裙装，1877》 Re-reading of Art History - Pierre-Auguste Renoir, Jeanne Samary in a Low Necked Dress, 1877

《重看美术史-雅克·路易·大卫，马拉之死，1793》 Re-reading of Art History - Jacques-Louis David, Marat Assassinated, 1793

摄影综合媒介 photography mixed media

摄影综合媒介 photography mixed media

200x200cm, 2019

90x90cm, 2019

Re-reading of Art History

《重看美术史》

《重看美术史-马奈，女神游乐厅的吧台，1882》 Re-reading of Art History - Manet, A Bar at the Folies-Bergère, 1882

《重看美术史保罗·高更，塔哈马纳的祖辈，1893 + 爱德华·蒙克，呐喊，1893》 Re-reading of Art History - Paul Gauguin, Tehamana has many parents, 1893 + Edvard Munch, The Scream, 1893

摄影综合媒介 photography mixed media

摄影综合媒介 photography mixed media

200x200cm, 2019

200x200cm, 2019

inst

alla 置 装 集

tion

Post-Industrial Era

《后工业时代》

《后工业时代》 Post-Industrial Era 数绘摄影装置 Digital Pictorial Photography Installation 尺寸可变 variable dimensions 2015 作品起始于对达芬奇的《维特鲁威人》素描的思

的数理结论是纯粹理性分析的产物，而理性的启

有，那么工业进程是否也应该进退有度？另外也

化到数字化的转换，一个小小的数字芯片，可以

区的工业化面貌，表现出它们各自的城市工业化

考，众所周知，维特鲁威人是艺术大师基于黄金

蒙带来了工业革命。作品的呈现方式是镶嵌于破

因为轮胎自身就是时间与空间的记录器。我的作

囊括多少信息量，其中自然蕴含真伪、也蕴含优

进程，以及与其他工业文明之间在时间与空间上

分割点试图创作“完美比例”的男性人体。

旧的机车车轮，之所以将作品镶嵌在圆形的轮胎

品就是对工业文明的反思，我将抽象化的厂房摄

劣，就像工业化进程一样，伟大中也伴随着毁

的衔接。

上，一是模拟维特鲁威人方形与圆形的基底，试

影图片根据画面的平面布局形式贴以电路板实

灭。另外车轮背面装有LED投影机，投影的是同

问工业进程是否也有其自身的黄金分割点？如果

物。使得作品呈现本身就是一个过程，一个工业

一世界时间下中国、迪拜、香港等不同国家和地

而“黄金分割”这一基本适用于所有艺术与建筑

——傅文俊

Post-Industrial Era

《后工业时代》

《后工业时代》 Post-Industrial Era

《后工业时代》 Post-Industrial Era

数绘摄影装置 Digital Pictorial Photography Installation

数绘摄影装置 Digital Pictorial Photography Installation

尺寸可变 variable dimensions

尺寸可变 variable dimensions

2015

2015

The project begins with my thinking on the famous

The golden ration that can apply to nearly all art forms

mounted on the round tires? Firstly, by imitating the

art project is my reflections on the industrial

information, which can be true or false, good or bad,

reflects their unique civilization and industrialization

sketch Uomo vitruviano of Leonardo Da Vinci. It is

and architecture represents the product of pure

square and round background of Uomo Vitruviano, I

civilization. According to the image plane layout, I stick

just like the industrialization process: ugliness along

process, and the temporal and spatial links between

known that with Uomo Vitruviano, the Master tried to

rational analysis. It is the enlightenment on rationality

query if the industrialization process also has its own

the real circuit boards on the abstraction factory

with greatness. Besides, the back of the tires are

them and other industrial civilization worldwide.

create a “perfectly proportioned” male body on the

that brings the Industrial Revolution. The conceptual

golden ratio. If has, should the industrialization

photos. Presenting the art project becomes a process,

equipped with LED projectors, projecting the photos

base of the golden ratio.

photography works are presented by mounting on the

process respect the scales/principals? Secondly, I

a transformation from industrialization to digitalization;

about the industrialization aspects of China, Emirate

worn-out locomotive tires. Why the works are

think the tires are the recorder of time and space. This

a very small chip can contain a great quantity of

Dubai and Hong Kong at the same world time. It

---Fu Wenjun

Post-Industrial Era

《后工业时代》

《后工业时代》局部 Post-Industrial Era，details 数绘摄影装置 Digital Pictorial Photography Installation 尺寸可变 variable dimensions 2015

Post-Industrial Era

《后工业时代》

《后工业时代》局部 Post-Industrial Era，details

《后工业时代》 Post-Industrial Era

数绘摄影装置 Digital Pictorial Photography Installation

数绘摄影装置 Digital Pictorial Photography Installation

尺寸可变 variable dimensions

尺寸可变 variable dimensions

2015

2015

Be Sad or Happy

《是喜是悲》

《是喜是悲》1 Be Sad or Happy，1 装置 installation 尺寸可变 variable dimensions 2016

作品起始于对达芬奇的《维特鲁威人》素描的思

的数理结论是纯粹理性分析的产物，而理性的启

有，那么工业进程是否也应该进退有度？另外也

化到数字化的转换，一个小小的数字芯片，可以

区的工业化面貌，表现出它们各自的城市工业化

考，众所周知，维特鲁威人是艺术大师基于黄金

蒙带来了工业革命。作品的呈现方式是镶嵌于破

因为轮胎自身就是时间与空间的记录器。我的作

囊括多少信息量，其中自然蕴含真伪、也蕴含优

进程，以及与其他工业文明之间在时间与空间上

分割点试图创作“完美比例”的男性人体。

旧的机车车轮，之所以将作品镶嵌在圆形的轮胎

品就是对工业文明的反思，我将抽象化的厂房摄

劣，就像工业化进程一样，伟大中也伴随着毁

的衔接。

上，一是模拟维特鲁威人方形与圆形的基底，试

影图片根据画面的平面布局形式贴以电路板实

灭。另外车轮背面装有LED投影机，投影的是同

问工业进程是否也有其自身的黄金分割点？如果

物。使得作品呈现本身就是一个过程，一个工业

一世界时间下中国、迪拜、香港等不同国家和地

而“黄金分割”这一基本适用于所有艺术与建筑

——傅文俊

Be Sad or Happy

《是喜是悲》

《是喜是悲》2 Be Sad or Happy，2 装置 installation 尺寸可变 variable dimensions 2016

I don’t know when will begin a story, nor how it will

of the once celebrated departed. Both of the elements

accidental or certain can be caught by sensitive

uncertainty becomes the source of people’s

begin. Whether its ending will be happy or sad is even

have surpassed their own meaning limits. The

nerves, and some secrets of the story will be

unlimited happiness and continuous thinking. In fact,

a puzzle. The installation calls forth a rational thinking

installation’s meaning of expression reflects also on

revealed. However, nobody knows when, where, in

no matter when and where the sad and happy stories

in a calm and peaceful atmosphere: inclinedly stood

the situation towards every people and everything,

what way a story will begin, develop, and finally

happen, they always constitute a significant part of the

car with a red logo, and “paper notes” scattered on

which can’t be known to be happy or sad. Possibly

conclude. Everything can be known meanwhile is

historical process in China and other places in the

the ground that represent the psychological sacrifice

the subtle moments that can’t be judged to be

unknown. Probably just because of this, the

world.

---Fu Wenjun

The water that bears the boat is the same that swallows it

《水能载舟亦能覆舟》 The water that bears the boat is the same that swallows it 装置 installation 尺寸可变 variable dimensions 2016

《水能载舟亦能覆舟》

e r u t

s

p l u c

集 塑 雕

Serve the People

《为人民服务》 Serve the People 雕塑 sculpture 700x110x350cm, 2016

《为人民服务》

Intelligent Manufacturing in China

《中国智造》

《中国智造》 Intelligent Manufacturing in China 雕塑 sculpture 45x60x80cm, 2016

Marcel Duchamp’s artwork "Fountain" in 1917, displayed the daily necessities as art, without any working on it, in order to completely deny and rebel against the existing art dogma. One hundred years later, Duchamp’s deviant artistic thoughts were completely accepted, and it has become an “artistic dogma”: taking ready-made products as art, not focus on presenting the beauty, but on the aesthetics of forcing people to think.

Forty years ago, at the beginning of China's opening to the outside world, the Western contemporary art thoughts flooded into the country. Due to the influence of traditional closed-door thoughts, people did not know much about foreign art before that, but then there was blind worship and follow-up, and someone cannot distinguish between good and bad. In terms of the aesthetics and artistic thinking, they lack their own independent opinions. Today, Chinese contemporary art is still unable to break away from the imitation of Western art. This "art dogma" is difficult to break.

Art often shows the unnoticed part under the seemingly common things. The global capital wave of the past few decades has enabled some countries represented by China to achieve rapid development, and today's existing international system has limited

杜尚1917年的作品《泉》，将日用品不经任何

现作品所包含的美感，而是在于被迫思考的美学

响，人们对外国艺术形式了解不多，出现了盲目

艺术常能展现司空见惯的事物表象之下被人忽视

世界。西方神话难以一锤打破，日渐瓦解需待时

加工，像艺术品一样陈列出来，以此全面否定并

问题。

崇拜和追随，无法分清好坏，从美学上、艺术思

的部分。过去几十年的全球资本浪潮，使得以中

日。

考上都缺少自己的独立见解。时至今日，中国的

国为代表的一些国家获得高速发展，而如今现有

反叛既有的艺术教条。100年后，杜尚当时离经 叛道的艺术思想已被全然接受，俨然成了一则

四十年前，中国对外开放之初，国门一开西方当

当代艺术依然无法脱离对西方艺术的大肆模仿，

的国际体系让它们的进一步发展备受限制，这些

“艺术教条”：拿现成品当作艺术，不是为了呈

代艺术思潮大量涌入，受历来闭关自守思想的影

这一“艺术教条”难以打破。

国家正在试图打破如此局面，推动构成多极化的

their further development. These countries are trying to break this situation and promote a multi-polar world. The Western mythology is difficult to break through and it will take time to disintegrate.

——傅文俊 ---Fu Wenjun

艺术大展（NordArt）、“未曾呈现的声 音”第55届威尼斯国际艺术双年展平行展、 罗马视觉艺术三年展、伦敦艺术双年展、萨 莱诺当代艺术双年展、基安恰诺国际艺术双 年展、万国双年展、首届地中海国际艺术双 年展、意大利三年展等重要国际艺术展览。

With his Digital Pictorial Photography, Fu Wenjun intends to explore to place photogra-

Website: www.fuwenjun.com Email: fu1955@qq.com / info@fuwenjun.com

2019年傅文俊受邀参与斯沃琪和平饭店艺术 中心（上海）艺术驻留项目。

phy art in dialogue with other art media, like Chinese painting, oil painting, sculpture etc, as a result to extend the border of photography art in the current digital age.

傅文俊曾获得阿根廷国际当代艺术双年展金 奖、埃菲尔铁塔大展“世界最佳艺术家”

His works embody his thinking and reflection

奖、佛罗伦萨国际当代艺术双年展“洛兰佐

on many issues related to the Eastern and

国际艺术大奖”、全球艺术奖等国际艺术奖

Western history, culture and humanity,

项。 傅文俊以他的数绘摄影，探索摄影与中国 画、油画、雕塑等其他艺术形式进行对话， 在当下的数码时代拓展摄影艺术的边界。 其作品多呈现艺术家对东西方历史、文化、 人文方面诸多问题的思考与反思，包括全球 化背景下不同文化间的相互关系、中国传统 在快速变革社会中的遗存与传承、中国社会

including the relationship between different cultures in the context of globalization, the heritage of traditional Chinese culture in a

他的作品被中国美术馆、欧洲现代艺术博物

rapidly changing society, industrialization and

馆、香港大学美术博物馆、今日美术馆、圆

urbanization in Chinese cities.

明园遗址博物馆、日本东京都美术馆、美国 肯尼迪家族、联合国世界人民理事会、大足 石刻博物馆、重庆美术馆、广东美术馆、法 国国家美术家协会、埃及艾哈迈德·邵基博 物馆等艺术机构和藏家收藏。

National Art Museum of China (Beijing), Museu Europeu de Arte Moderno (Barcelona), The University of Hong Kong (Hong Kong), Guangdong Museum of Art (Guangzhou), Old Summer Palace Museum (Beijing), Today Art Museum (Beijing), United Nations Headquar-

的工业化与城市化进程等等。

ters (New York), and at other international art organizations presented Fu Wenjun solo

FU

中国美术馆、欧洲现代艺术博物馆、香港大

exhibitions.

学、圆明园遗址博物馆、今日美术馆、美国 His works are exhibited at significant

纽约联合国总部、广东美术馆等机构曾举办

international exhibitions, such as 1st Asia

傅文俊个人展览；他还受邀参加首届亚洲双

Biennial/5th Guangzhou Triennial, Bienal de

年展暨第五届广州三年展、佛罗伦萨双年

Cerveira, NordArt, collateral exhibition of

展、塞尔维尔双年展、德国北部艺术区国际

Fu Wenjun, born in 1955, Chinese contemporary artist, was graduated from Sichuan Fine Arts Institute. He creates principally with digital art, photography, installation, sculpture, oil painting, mixed media, and has put forward the concept and practice of “Digital Pictorial Photography”.

Biennale di Venezia 2013, entitled Voice of the Unseen Chinese Independent Art 1979/Today,

WEN

Esposizione Triennale di Arti Visive a Roma, London Art Biennale, Biennale d’Arte Contemporanea di Salerno, Chianciano International Art Biennale, Triennale dell’Arte Contemporanea.

JUN

He was invited to the art residency program at

La Grande Exposition Universelle, Interna-

Swatch Art Peace Hotel (Shanghai) in 2019.

tional Award “Lorenzo il Magnifico” of X Florence Biennale, Global Art Award.

Fu Wenjun has gained numerous awards, including the first prize from International

His artworks are collected by National Art

Biennial of Contemporary Art in Argentina,

Museum of China, Museu Europeu de Art

“The Best Artist in the World” at Tour Eiffel

Moderno, University Museum and Art Gallery The University of Hong Kong, Today Art Museum, the Old Summer Palace Museum,

傅文俊，1955 年生，中国当代艺术家， 毕业于四川美术学院， 主要从事数字艺术、摄影、装置、雕塑、油画、综合媒介的艺术创作， 提出并创立了“数绘摄影”流派。

Tokyo Metropolitan Art Museum, Kennedy Family, World Council of Peoples for the United Nations, Dazu Grotto Museum, Chongqing Art Museum, Guangdong Museum of Art, Société Nationale des Beaux Arts of France, Egypt Ahmed Shawki Museum and other significant organizations and collectors.

Selected

solo exhibitions

主要个展

见证现实：老工业基地及三线建设摄影展

第十八届塞尔维尔双年展（葡萄牙塞尔维

Biennale d’Arte Contemporanea di Salerno

（重庆美术馆，中国重庆，2019）

尔，2015）

(Salerno, Italy, 2018)

创变美术史：历史脉络与个人叙事作品邀请

北部艺术区国际艺术大展（NordArt）（德

Fine Art Asia (Hong Kong Convention and

展（中国成都，2019）

国比德尔斯多夫，2015）

威尼斯心灵世界2019国际艺术节（意大利威

首届世界摄影组织-上海艺术影像展（Photo

尼斯，2019）

Shanghai）（上海展览中心，中国上海，

美国纽约AIPAD摄影大展（美国纽约， 2019） 时间之镜——首届重庆国际实验影像双年展 （中国重庆，2019） 棕榈滩现代+当代艺术博览会（美国棕榈 滩，2019） “艺术迈阿密”国际艺术博览会（美国迈阿 密，2018） 萨莱诺当代艺术双年展（意大利萨莱诺， 2018）

《再次进场——傅文俊数绘摄影作品展》

“Again Enter the Scene --- Fu Wenjun

（重庆美术馆，中国重庆，2019）

Digital Pictorial Photography Exhibition”

典亚艺博（香港会议展览中心，中国香港， 2018）

(Chongqing Art Museum, 2019)

《相机绘画：傅文俊的摄影创作》（香港大 学，中国香港，2019）

影像上海艺术博览会（上海展览中心，中国

“Digital Brush: The Photographic Process of

上海，2018）

Fu Wenjun” (The University of Hong Kong,

《这是摄影吗——傅文俊数绘摄影个人展

Hong Kong, 2019)

基安恰诺国际艺术双年展（意大利基安恰诺

览》（戴尔瑞艺术中心，美国博尔德，

“Is It Photography – Fu Wenjun Digital

美术馆，2018）

2018）

Pictorial Photography Solo Exhibition” (Dairy

《傅文俊：数绘摄影的写意方式》（四川美 术学院，中国重庆，2017）

达》（欧洲现代艺术博物馆，西班牙巴塞罗 那，2017） 《和而不同：傅文俊数绘摄影展》（中国美 术馆，中国北京，2017）

2018）

“Fu Wenjun: Ways of Xieyi Presented in

世界艺术迪拜（阿联酋迪拜，2018）

《迷思之像——傅文俊抽象观念摄影作品 展》（广东美术馆，中国广州，2015）

Arts Institute, Chongqing, 2017)

“Harmony in Diversity --- Fu Wenjun’s Digital Painting Photography Exhibition” (National Art Museum of China, Beijing, 2017)

（联合国总部，美国纽约，2015）

Abstract Photography Exhibition” (Guangdong Museum of Art, Guangzhou, 2015) “Photographic Narrative --- Fu Wenjun’s Conceptual Photography Solo Exhibition”

《走过场——傅文俊历史观念摄影展》（今

(United Nations Headquarters, New York,

日美术馆，中国北京，2010）

USA, 2015) “Graphic Expression of Spirit” (The Old Summer Palace Museum, Beijing, 2010) “Show of Formality” (Today Art Museum, Beijing, 2010)

Chianciano International Art Biennale

“未曾呈现的声音”（第55届威尼斯国际艺

2018)

术双年展，意大利威尼斯，2013）

(Chianciano Art Museum, Chianciano, Italy,

ARTMUC (Deutsches Museum, Munich,

“观念维新-中国当代影像简史”（北京寺

Germany, 2018)

上美术馆，中国北京，2012）

World Art Dubai (Dubai, the UAE, 2018)

第4届广州三年展项目展“去魅中国想象”

Biennale delle Nazioni (la Scuola Grande della

（广东美术馆，中国广州，2012）

Misericodia, Venice, Italy, 2018)

2010法国巴黎自由艺术家会展（巴黎大皇

International Moving Exhibition of Famous

宫，法国巴黎，2010）

Chinese Artists (Museum of the Russian

“焊接”二十一世纪第一个十年中国当代艺

2017)

术国际巡回邀请展（海牙美术馆，荷兰海

Academy of Arts, St Petersburg, Russia,

Esposizione Triennale di Arti Visive a Roma

牙，2010）

(Rome, Italy, 2017)

第35届日本东京都美术馆东京都AJAC现代

London Art Biennale (London, UK, 2017)

美术展（日本东京都美术馆，日本东京， 2009）

Biennale Internazionale d’Arte del Mediterraneo (Palermo, Italy, 2017) Triennale dell’Arte Contemporanea (Verona,

Witness the Reality: Photography Exhibition

1st Asia Biennial/5th Guangzhou Triennial

on Old Industrial Base and Three-line

(Guangdong Museum of Art, Guangzhou,

Construction (Chongqing Art Museum, China,

2015)

2019) Creative Art History: an Invitational Exhibition of Historical Threads and Personal Narrative

2017俄罗斯联邦世界杰出艺术展暨中国艺术

Works (Chengdu, China, 2019)

Selected group exhibitions 家国际巡展（俄罗斯列宾美术学院研究博物 馆，俄罗斯圣彼得堡，2017）

罗马视觉艺术三年展（意大利罗马，2017） 伦敦艺术双年展（英国伦敦，2017）

“Thoughtful Images --- Fu Wenjun’s

中国北京，2010）

院，意大利威尼斯，2018）

the Digital Pictorial Photography of Wenjun

《摄影叙事——傅文俊观念摄影作品展》

《精神的图示》（北京圆明园遗址博物馆，

万国双年展（圣玛利亚米塞里克尔蒂亚学

“Introspection of Soul. Artistic Expression in

Barcelona, 2017)

Center, Shanghai, China, 2018)

Italy, 2016)

Arts Center, Boulder, 2018)

Fu” (Museu Europeu de Arte Moderno,

Photofairs | Shanghai (Shanghai Exhibition

2014）

艺术慕尼黑（德意志博物馆，德国慕尼黑，

Digital Pictorial Photography” (Sichuan Fine

《内心的自省：傅文俊数绘摄影的艺术表

Exhibition Center, Hong Kong, China, 2018)

首届地中海国际艺术双年展（意大利帕勒 莫，2017）

意大利三年展（意大利维罗纳，2016）

首届亚洲双年展暨第五届广州三年展（广东 美术馆，中国广州，2015）

主要群展

ANIMA MUNDI International Art Festival (Venice, Italy, 2019)

The Photography Show presented by AIPAD (New York, USA, 2019)

First Chongqing International Experimental

Visual Art Biennale (Chongqing, China, 2019) Palm Beach Modern + Contemporary (Palm Beach, USA, 2019)

Art Miami (Miami, USA, 2018)

XVIII Bienal de Cerveira (Vila Nova de Cerveira, Portugal, 2015) Nord Art 2015 (Büdelsdorf, Germany, 2015) Photo Shanghai (Shanghai Exhibition Center, Shanghai, 2014) Voice of the Unseen Chinese Independent Art 1979/Today (Biennale di Venezia, Venice 2013) Conceptual Renewal: A Short History of Chinese Contemporary Photography (Si Shang Art Museum, Beijing, 2012) 4th Guangzhou Triennial (Guangdong Museum of Art, Guangzhou, 2012) Salon des indépendants (Grand Palais des Champs-Elysées, Paris, 2010) Welding --- International Tour Exhibition of the Chinese Contemporary Art in the First Ten Years of the 21st Century (Gemeentemuseum Den Haag, the Hague, 2010) 35th Japan AJAC Yokohama International Overseas Artists Exhibition (Yokohama Art Museum, Yokohama, 2009)

傅 文俊 集 Website: www.fuwenjun.com Email: fu1955@qq.com / info@fuwenjun.com