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如同诗画界那样,摄影界经常有人讲“意境”。摄影中的“意境”究竟是什么?摄影中是否有那么多意境?讲摄影、写文章的人每必说意境,但拍照片的人却很少讲。在与杨海森的接触中,从未听他说过“意境”二字,但当看到他的作品时,反而使人对“意境”有了一些模糊的理解。意境究竟是什么呢?有关论著常用“情景交融”这句话来解释意境,在对自然、山水、景致的描绘中,有的给人以空旷、寥廓的联想,有的给人以宁静、深远的感受,这些都给欣赏者留有巨大的想象空间,引发其无限遐思。但这种境界很难用语言来表述,它是一种模糊的表述方式,是一种暗示,使人能领悟到一种无限的景外的远致。
As poetry and painting circles, photography people often say “mood ”. What is the “artistic conception” in photography? Is there any such artistic conception in photography? Everyone who speaks photography and writing articles must say the artistic conception, but few people take pictures. In his contacts with Yang Hesseng, he never heard of the words “artistic conception”, but when he saw his works, he actually made some vague understandings about “artistic conception”. What is the artistic conception? What is the commonly used theory of “blend of scenes” in the works? In the depiction of nature, landscape and scenery, some give people an empty and boundless association, while others give a quiet , Far-reaching feelings, which give the viewer a huge imagination, triggering endless reverie. But this realm is difficult to express in words, it is a vague way of expression, is a hint, so that people can understand an infinite landscape beyond the reach.