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元素——郎静山摄影选辑将于9月7日开幕

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M艺术空间十分荣幸地将于2019年9月7日举办筹备多年的郎静山摄影展：《元素》。本次展览包括数十件由郎静山之女郎毓文女士提供的作品，时间跨度自1919至1980年，涵盖银盐原作、铂金作品和限量复制作品。这也是除少量美术馆展览之外，大陆的艺术空间首度展出来自郎静山家人提供的珍藏作品。

策展人刘畑取中国传统经典《易经》之“元亨利贞”与《论语》中“绘事后素”之意，将展览命名为《元素》（Elements）。借由展览现场解析和演绎郎静山的创作与视觉形象，展开对郎静山经典的“集锦摄影”创作中的元素构成的重新理解。并隐含对照于西方自欧几里得《几何原本》（英文名：Elements）直至近代化学中所包含的“元素”世界观，以此回应郎静山创作背后，至今方兴未艾的“中学为体，西学为用”的思想框架。

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元素

郎静山摄影选辑

Elements

Selected Photographs of Long Chin-San

策展人：刘畑

Curator: Liu Tian

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展期

Duration

2019 年 9 月 7 日

2019 年 11 月 2 日

开幕

Opening

2019 年 9 月 7 日

15:30-18:30

上海莫干山路50号2号楼1楼

1F, Building 2, 50 Moganshan Road, Shanghai

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关于艺术家

郎静山 Long Chin-San

郎静山（1892年—1995年），祖籍浙江兰溪。

早在20世纪30年代, 郎静山即以“中国最早职业摄影记者”成名。他融合中国传统绘画技巧，借着摄影多重曝光与暗房合成技术，创立“集锦摄影”艺术，成为历史上以中国绘画原理应用到摄影第一人，在世界影坛上独树一帜。郎静山一生酷爱摄影，共有1000多幅次作品在世界各地的沙龙摄影界展出，被公推为“亚洲摄影之父”；并获得美国纽约摄影学会颁赠的1980年世界十大摄影家称号，成就斐然。

郎静山论到自己的摄影创作：“我做集锦摄影照片，是希望以最写实，最传真的摄影工具，融合我国固有画理，以一种善意的理念，实用的价值，创造出具有美的作品。” 观郎静山之作，于外在构图浑然天成，虚实相间，画面或壮丽雄伟，或恬静怡人；于内在则自然传神，韵味深远；勃勃生机，跃然纸上。技法上，他将中国传统绘画六法中的“经营位置”与“传移模写”运用在摄影构图中，相片画面便如同中国古画般满有意趣。其背后是郎静山高超娴熟的暗房技巧，这一点令发明摄影的法国人亦叹为观止。而技法之上，则是郎静山对“气韵生动”的不懈追求。绘画六法中所说的“气韵生动”，指的是活泼的绘画精神与生气。而这生动的“气韵”，贯穿郎静山作品始终。

郎静山的“集锦摄影”，真正将“中学为体，西学为用”的理念实践在艺术创作中，并做到了中西融合，兼容并包。易君左曾?:“西?摄影之超妙者?于表意未能表神; 中国绘画之超妙者止于显美, 而未能传真。唯静?兼能之。” 诚然如是。

Long Chin-san (1892-1995), from Lanxi, Zhejiang Province.

During 1930s, Long Chin-San came into the public sight as “China’s Earliest Photojournalist”. In the world circles of photography, he was known for the unique “composite photography” technique he created by overlapping the painting techniques and photography darkroom exposure, and is considered the first one to apply traditional Chinese painting principles to photography in history. He loves photography for life and up till now, more than 1,000 works have been exhibited in the world of salon photography, illustrating his remarkable achievement. He is also widely acknowledged as “Father of Asian Photographic Art”, and named one of the World’s Top Ten Master Photographers by Photographic Society of New York, America (PSA).

Long summarized his creative approach towards photography: “the reason why I create composite photos is that I hope to create intrinsic beauty with photographic skills that could best capture and deliver the reality when infused with the traditional painting theories, benevolence and practical values.” Resting your eyes upon Long’s photograph, you may discover outwardly the composition itself is beautifully arranged with natural dynamics, through which Long sometimes depicts the magnificence and majesty of Chinese landscape, sometimes the serenity and pleasantness in the air; Inwardly you feel this vivid spirit running through the paper and lingers, and the vibrance that fills the whole picture—it reaches you. Technical wise, Long applied “Well-planned Location” and “Venerated Imitation” from Six Principles of Chinese painting to photography, creating ancient painting-like photographs which are full of interest and charm. It demonstrates his exquisite darkroom production skills and even amazed the French who invented photography. What goes far beyond technique, is Long’s everlasting pursuit for “Rhythmic Vitality”. In Six Principles of Chinese Painting, “Rhythmic Vitality” refers to the spirit and vitality in the painting. And this vivid “vitality”, can be discovered in Long’s work through beginning to end.

Long’s “Composite Photography”, succeeded in applying the concept of “Chinese in essence, Western in practice” into the creation process of art and managed to keep the balance. Just as Yi Jun-zuo writes: “ Western Photography at its best can capture the surface image but not the inner spirit; traditional Chinese’s painting at its best can reveal the inner beauty, but not the outer reality. Only Lang Jingxian-Shan with his art can combine both aspects into one.” And indeed it is.

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