文張世瑾 圖王昆峰

王昆峰攝影作品Photography of WANG Kunfeng

《氤氳魏紫》主要體現(xiàn)在紅與紫之間過(guò)渡色中彌漫著的難以描摹的氛圍；《清涼姚黃》在炎熱夏季，黃與綠給我們不可多得的、沁人心脾的清涼；《搖曳詩(shī)瓣》重點(diǎn)體現(xiàn)為花瓣之間的層次關(guān)系，在重疊與繁復(fù)中體現(xiàn)層次與空靈；《白色夜光》，一種淡遠(yuǎn)，一種詩(shī)情，浸潤(rùn)我們心田；《猶抱芳蕊》，呈現(xiàn)微觀視界里的質(zhì)感與脈動(dòng)。這是中國(guó)藝術(shù)研究院攝影所所長(zhǎng)李樹(shù)峰給花卉攝影家王昆峰牡丹系列微距攝影作品作出的分類(lèi)。那一抹抹青翠，一片片殷紅，或嫩蕊初成，或花瓣重迭，王昆峰鏡頭下的牡丹花帶給人別樣的視覺(jué)體驗(yàn)。

身處洛陽(yáng)，王昆峰鐘情于牡丹。天下牡丹出洛陽(yáng)，洛陽(yáng)是牡丹的故鄉(xiāng)，牡丹是洛陽(yáng)的市花，是洛陽(yáng)人心中難以割舍的情結(jié)。牡丹自古以來(lái)便成為人們寄寓情感的載體，在當(dāng)下更是凝聚著時(shí)代的價(jià)值取向和人民的審美情愛(ài)。王昆峰說(shuō)：“我生活工作在洛陽(yáng)，沒(méi)有理由不喜愛(ài)牡丹。作為一個(gè)攝影人，牡丹是身邊的題材，沒(méi)有理由不去表現(xiàn)她，贊美她?！?0年的光陰，王昆峰與牡丹為伴，他記錄著、探尋著它生命的魅力，它見(jiàn)證著他在藝術(shù)道路上的探索創(chuàng)新。

王昆峰將自己拍攝牡丹專(zhuān)題的歷程分為三個(gè)階段：第一階段是以紀(jì)實(shí)的拍攝手法，以客觀的視角展示牡丹的品種、形狀和色彩，向觀者介紹洛陽(yáng)牡丹。第二階段則是王昆峰走出紀(jì)實(shí)報(bào)道性的思維和表現(xiàn)方式，追尋牡丹的生命歷程，把對(duì)生命的感悟融入創(chuàng)作。他用具象和意象手法表現(xiàn)牡丹雍容華貴的天姿、超然飄逸的神韻。走進(jìn)牡丹的生命過(guò)程就是走進(jìn)了人生，當(dāng)牡丹成為一種生命意象，影像也帶有更多的詩(shī)情畫(huà)意。2008年洛陽(yáng)市政府出版了王昆峰的《國(guó)色天香》牡丹攝影專(zhuān)輯，并作為禮品贈(zèng)送國(guó)內(nèi)外來(lái)賓。同年他還舉辦了“國(guó)色天香”牡丹攝影展。但王昆峰并沒(méi)有沉浸于成功帶來(lái)的喜悅中。接受了許多國(guó)外的攝影資訊，閱讀了大量國(guó)內(nèi)外的攝影作品后，王昆峰發(fā)現(xiàn)了自己的問(wèn)題：“我在第二階段的創(chuàng)作，并沒(méi)有真正從個(gè)性上與別人拉開(kāi)距離。我相信藝術(shù)只有成熟的個(gè)性，才有真正的價(jià)值。我感到在原來(lái)的觀念和方法上已經(jīng)走到了盡頭，必須另辟蹊徑，全新突破?！蓖趵シ逶谝淮斡忠淮巍胺穸ā弊晕业幕A(chǔ)上尋求著新的突破。

借助新的拍攝器材，是王昆峰在第三階段的摸索中收獲成果。受卡爾·布勞斯菲爾德的“新客觀主義”的啟發(fā)，在長(zhǎng)期的思考、實(shí)驗(yàn)后，王昆峰形成了新的創(chuàng)作思路——牡丹花瓣花蕊的微距拍攝。為此，他專(zhuān)門(mén)添置了一億像素的飛思XF100MP相機(jī)、微距鏡頭、燈具和用于后期的圖形工作站。在一次次的摸索實(shí)踐中，他發(fā)現(xiàn)了牡丹花別樣的美。王昆峰不是看到了什么才拍，而是在拍的過(guò)程中才看到是什么，甚至在拍攝放大后才完全看到拍了什么。王昆峰表示，每一次拍攝都有面對(duì)新的未知的畫(huà)面緊張與期待，充滿(mǎn)了隨機(jī)與偶然也充滿(mǎn)了樂(lè)趣，常常收獲意外的驚喜。生命是獨(dú)特的，種類(lèi)多樣的牡丹展現(xiàn)出的美更是豐富多樣。王昆峰堅(jiān)持在一次次“咔嚓”中完成牡丹別樣風(fēng)姿的展現(xiàn)。

是更為真切的具象？還是高度陌生化的抽象？王昆峰用微距表現(xiàn)出的牡丹具有多樣闡釋的可能。王昆峰通過(guò)攝影的方式，為我們展示了感覺(jué)已經(jīng)十分熟悉的牡丹花，以藝術(shù)化的手法展示了牡丹細(xì)部的質(zhì)感和肌理，將花瓣、花蕊內(nèi)部世界的結(jié)構(gòu)和關(guān)系加以表現(xiàn)。李樹(shù)峰指出，王昆峰的牡丹作品“大寫(xiě)”了牡丹花的骨骼與結(jié)構(gòu)，解析出花蕊內(nèi)在的質(zhì)感和旋律，讓我們?cè)谝环N難以言傳的芬芳?xì)庀⒑兔篮美?，徜徉、沉醉、回味，“這是一個(gè)攝影家對(duì)花兒內(nèi)心的最隆重的打開(kāi)，是影像世界對(duì)花卉自然最虔誠(chéng)的禮贊”。透過(guò)王昆峰的攝影作品，不難感受到攝影家融注于作品中的藝術(shù)發(fā)現(xiàn)、生命體悟。高度抽象使影像擺脫了物象的束縛，純粹的光影、線(xiàn)條和色彩就是影像的生命和意義。攝影評(píng)論家林路將王昆峰的作品作出這樣的解讀：“牡丹在畫(huà)面中已經(jīng)抽身而去，幻化成純粹的形式空間?！碧热舫殡x相關(guān)語(yǔ)境，觀者面對(duì)王昆峰的微距攝影作品可能很少能有人可以辨認(rèn)出作品表現(xiàn)的對(duì)象是牡丹花。那如隨風(fēng)揚(yáng)動(dòng)的綢緞般嬌嫩的花瓣，那似萬(wàn)仞山川般挺立的花瓣，還有那仿佛下一秒就要開(kāi)苞的花蕊。王昆峰的鏡頭下，一切顯得熟悉又陌生。

創(chuàng)作不曾止息，王昆峰仍在藝術(shù)的道路上不斷求索。光華散盡的牡丹也有其獨(dú)特的魅力，王昆峰將目光轉(zhuǎn)移到了辦公室中枯萎的牡丹花上。這位再一次“忘記自己”的攝影家，又將舉起他那“化腐朽為神奇”的鏡頭，探尋他個(gè)性化的藝術(shù)道路。

王昆峰攝影作品Photography of WANG Kunfeng

TheYinyun Weizimainly reflects the indescribable atmosphere filled in the transition color between red and purple;Qingliang Yaohuang,in the hot summer,yellow and green give us a rare and refreshing cool;Yaoye Shibanfocuses is on the hierarchical relationship between the petals,reflecting the levels and ethereal in the overlap and complexity;In theWhite Night Light,a kind of poetry and poetic sentiment infiltrate our hearts;Youbao Fangruipresents the texture and pulsation in the microscopic horizon.This is the classification to the WANG Kunfeng peony series of macro photography by LI Shufeng,director of the Institute of Photography of the China National Academy of Art.That piece of green,deep red,tender core,or the overlapping petals,the peony under the lens of WANG Kunfeng brings a different visual experience.

In Luoyang city,WANG Kunfeng loves peony.The whole world's peony is from Luoyang,which is the hometown of peony,and peony is the city flower of Luoyang,a special complex in Luoyang people's heart.Since the ancient times,peony has become the carrier of people's empathy.In the present,it is the value orientation of the times and the people's aesthetic love.WANG Kunfeng said: "I live and work in Luoyang,there is no reason not to love peony.As a photographer,peony is the subject by my side,and there is no reason not to present and praise her."In 40 years of time,WANG Kunfeng and Peony as companion,he records and explores the charm of her life,and the flower witnesses his exploration and innovation on the road of art.

He divided his journey of shooting peony into three stages.The first stage is a documentary approach to presenting the variety,shape and color of the peony from an objective perspective and introducing the Luoyang peony to the viewers.In the second stage,WANG Kunfeng stepped out of the documentary thinking and expression,pursuing the life course of the peony,and integrating the sentiment of life into his creation.His figurative and intentional imagery show the peony's graceful character,and the translucent charm.Walking into the life process of peony is to enter people's life.When Peony becomes a life image,it also has more poetic and artistic meaning.In 2008,the Luoyang Municipal Government published WANG Kunfeng'sNational Colors and Fragrancepeony photography album,and presented the album to domestic and foreign guests as gifts.In the same year,he also held theNational Colors and FragrancePeony Photography Exhibition.But he was not immersed in the joy of success.After receiving much foreign photography information and reading a lot of domestic and foreign photography works,he discovered his own problems."My second stage of creation did not really distance myself from others.I believe that only the mature personality in art possesses the real value.I feel that I have come to the end in the original concept and method,forcing me to make a new breakthrough." he sought a new breakthrough on the basis of another "negative" self.

With the new shooting equipment,WANG Kunfeng harvested achievement in the third stage of exploration.Inspired by Karl Blossfeldt's "new objectivism",he formed a new creative idea,the macro shooting of the peony petal after a long-term thinking and experimentation.To this end,he has added a 100 millionpixel PHASE ONE XF100MP camera,macro lens,luminaires and graphics workstations for later use.In the practice of groping again and again,he discovered the beauty of peony flowers.WANG Kunfeng didn't just shoot what he saw,but he saw what it was in the process of shooting.He even saw what he had taken after the filming was enlarged.He said that every shot,with a new unknown tension and expectation,is full of random,occasionality and fun,together with harvesting of unexpected surprises.Life is unique,and the beauty presented by variety of peony is more abundant.WANG Kunfeng insisted on completing the peony's different charms in every "button-pressing".

Is it a more real figuration? Or still highly de-familiar abstraction?WANG Kunfeng uses the macro to show that the peony has a variety of interpretation possibilities.Through the way of photography,he showed us the peony flower that people feel very familiar with,the quality and texture of the peony detail in an artistic way,and the structure and relationship of the internal world of the petal and the flower.LI Shufeng pointed out that WANG Kunfeng's peony works have "capitalized" the skeletal structure of the peony flower,and analyzed the inner texture and melody of the flower so that we can linger,indulge and relish in an unspeakable fragrance and beauty."This is the grandest opening of flower heart by the photographer and the most sincere tribute to the natural beauty of the flower world."Through WANG Kunfeng's photographic works,it is not difficult to feel the artist's artistic discovery and life experience in the works.High abstraction frees the image from the shackles of objects,the pure light,lines and colors are the life and meaning of the image.The photo critic LIN Lu made such an interpretation about WANG Kunfeng's works: "the peony has already left in the picture and turned into a pure form space." If the relevant context is removed,only few people can recognize that the object of the work is peony if they face WANG Kunfeng's macro photography.It is like the delicate petals of the silk that is moving with the wind,the petals that stand like mountains and rivers,and the flowers that seem to be blooming in the next second.Under the lens of WANG Kunfeng,everything seems familiar and strange.

The creation never stops,and WANG Kunfeng is still searching on the road of art.The declining peony has its own unique charm as well.He turned his attention to the withered peony in the office.The photographer who once again "forgot himself" will raise his " miraculous and magical" lens to explore his personalized artistic path.

王昆峰攝影作品

Photography of WANG Kunfeng

王昆峰攝影作品Photography of WANG Kunfeng