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如果说摄影是一个完全基于西方的科学、理性,崇尚物质的思维模式和文化经验,那么,在杜塞尔多夫学派建构的摄影体系中,除了美学和艺术的成就之外,很大一部分取决于一种科学的特质也恰好是这种科学的理性与日耳曼人固有的理性互质作用下,成就了其类型学式的,冷峻、无表情的独特摄影美学,并以此开创了一种摄影的“新语法”。进入2000年以来,中国当代摄影在杜塞尔多夫学派的“类型学摄影”影响下,也兴起了一场“景观摄影热”。有鉴于此,本文旨在通过近期北
If photography is a science-based, rational, advocating materialist mode of thinking and cultural experience that is entirely based on the West, then a great part of the photographic system that the Dusseldorf School has constructed, apart from its aesthetic and artistic achievements, Under the influence of this scientific rationality and the inherently rational interplay of Germanic people, the scientific qualities have also resulted in the creation of a type-based, cold-hearted and expressionless unique photographic aesthetics. “New syntax ”. Since 2000, China’s contemporary photography has also undergone a “hot landscape photography” under the influence of the “typology photography” of the Düsseldorf School. In view of this, this article aims to pass the recent North