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四季-农民的日常生活｜吕楠

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献给所有在摄影道路求索之人

本文图片编辑：收录完整109张作品，按《四季》画册顺序并标注英文名称

本文文字编辑：摘自陈丹青老师《荒废集》、栗宪庭老师《庄严的日常'经典'》

本文音乐编辑：巴赫。陈丹青、栗宪庭老师分别在文中提到，吕楠老师在《四季》的七年创作过程中伴着老师的就是巴赫的音乐。

打开巴赫，跟随吕楠老师再次走进的农村，那个真实平凡的世界。

中国当代摄影家，吕楠是一位自始即抱持“大师意识”的实践者。这不是说，他刻意想要成为、或自视为“大师”，而是指目击“猎物”的一瞬，他从不稍或忘却影史经典的伟大训诫，这样猜测，我的意思是，吕楠对于“学习”怀抱敬意。当他决意走上这条自我折磨的道路时，恕我妄断：布列松、柯特兹的幽灵可能悄悄跟着他，时时被他不自觉地植入自己的目光，作为中介，挑选作品。
—— 陈丹青《荒废集》

TIBET. Village life. 2001

TIBET. Mother and son picking edible plants. 2004.

TIBET. Three women spreading manure in the fields. 2003.

TIBET. Old woman preparing to plow the field. 2004.

TIBET. Husband and wife plowing the field. 2004.

TIBET. Xigaze, about 300 Km west of Lhasa, in the range of Himalaya Mountains. A husband and his wife scattering seed. 2001

TIBET. Xigaze, about 300 Km west of Lhasa, in the range of Himalaya Mountains. Family working in wind and sand dust. Tibet, 2001

TIBET. Xigaze, about 300 Km west of Lhasa, in the range of Himalaya Mountains. Having rest at the time seeding in spring. 2001

TIBET. The plow broken at the time of seeding. 2001

摄影必须无情。布列松惯常顾左右而言他，但仍然声称：我不关心其他，除了形式。在上世纪他那一代人，“形式”仍是神圣不可亵渎之词。布列松的天纵其才，则无不透射法兰西人的雅腓而机警;柯特兹的妙不可言则有斯拉夫人的诙谐达观，而后闪露他胜于布列松的朴素与自然——吕楠的品性显然内敛而执拗，默默之状，几乎触及他周旋其间的精神病人，这位中国人与欧洲同行相较，另是一种秉赋。
—— 陈丹青《荒废集》

TIBET. Sisters seeding the fields in the spring. 2004

TIBET. Mother and daughter planting potatoes. 2004

TIBET. On the way home. 2000

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. 1997

TIBET. Xigaze. Shaman going through a ritual to get rid of the evil. 1997

TIBET. Xigaze, about 300 Km west of Lhasa, in the range of Himalaya Mountains. 1997

TIBET. Xigaze. Two girls carrying water. 1997

TIBET. Women at work. 2000

TIBET. Mother is making a tea in the morning. 2002

TIBET. 2001. A girl pouring water.

所有苛求于构图的摄影家均难摆脱布列松式的影响，吕楠的功力却并非超人的机敏，反倒出于三分笨拙，以及，超常的忍耐——同样是抢救瞬间，他不属于卡帕一路，卡帕以“事件”为性命，无暇分神于校正景物边框线——吕楠则将视象通常置于均衡端正的水准，尽可能以日常而平等的视线观看对象(一如小津安二郎架设机位的谦逊意识)。极微妙地，我从中窥见柯特兹般的体贴，这体贴的可读性来自人性还是艺术性?
—— 陈丹青《荒废集》

TIBET. Mother feeding her son and a lamb. 2001.

TIBET. A girl running errands. 2004.

TIBET. A girl holding a tea cup. 2002.

TIBET. A woman churning butter while eating zanba. 2003.

TIBET. Mother and daughter shoveling goat manure for cooking. 2004.

TIBET. Xigaze. Mother-in-law and daughter-in-law spin and weave. 2000.

TIBET. Grandma and grandson. 2000.

TIBET. Xigaze. A mother and her two daughters separating the milk. 2000.

TIBET. A husband and wife sharing a meal together. 2002.

我无意时时将吕楠与大师相并列，虽然他可能是最为自觉秉承欧洲美学大传统的中国摄影家，但他从来与浅薄的“洋味”与“现代性”划清界限：他懂得“形式”不是表象，而是对创作的忠诚，尤其是对主题的全部了解，惟其如此，本土题旨才能见骨肉、有血性。柯特兹没来过中国，布列松早年的中国系列毕竟出于“他者”的锐眼。中国不缺乏摄影家，然而摄影的严肃美学直到八十年代这才苏醒。有鉴于摄影无可疆界的题材，观看与选择于是非关艺术，而诉诸于人性与人文——这时，我们或许可以偏离形式，略微谈论吕楠的慈悲心。
—— 陈丹青《荒废集》

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. A woman put sake lees into a container. 2001

TIBETA.woman washing dishes. 2001.

TIBET. Grandmother got headache suddenly and her grandchild were astonished. 2001.

TIBET. A grandma and a grand-daughter in tears. 2000.

TIBET. Xigaze, about 300 Km west of Lhasa. A mother who learns that her daughter's right eye has lost sight. 2000.

TIBET. A daughter pouring wine for ther father. 2001.

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. Grandfather and his granddaughter. 2001

TIBET. An old couple. 2000.

TIBET. Grandfather and his granddaughter. 2002.

TIBET. Two boys crossing the ditch. 2003.

瞩目于卑微的人群，探寻社会真相，吕楠是这类摄影众多介入者之一。但我们都会同意，仅只可数几位摄影家具有经典性的概念，吕楠无疑是其中翘楚。他从精神病院系列到系列，呈现漫长而清晰的自我陈述，丰实厚重，气质深沉，早已被公认。最高意义上的现实主义创作通常具有如下品格：沉潜、耐苦、同情心、感、自我放逐……那是可能拭练的，但并不必定换取作品的经典性。
—— 陈丹青《荒废集》

TIBET. An old woman making tea for the harvest. 2000.

TIBET. A family at lunch. 2003.

TIBET. A girl gathering crops. 2000.

TIBET. Xigaze. Autumn harvest. 1999.

TIBET. Two men gathering crops. 2002.

TIBET. Girls hold up a bundle of wheat. 2002.

TIBET. A girl sharpen a sickle. 2002.

TIBET. Xigase. Waking up the husband to work. 1999.

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. A man and a girl during the Autumn harvest. 2002

TIBET. Villagers thank the gods for the harvest. 2002.

据说吕楠常年在藏区游荡，伴随哥德的读本与巴赫的音乐，我看他系列，他于绘画图式的认知涵括过去数百年的欧洲经典，并深知绘画画面的完满性与摄影瞬间的凝固意味着什么。总之，他并非在摄影时才是一位摄影家。精神病人与藏民在他镜头前不止是人性的对象，而是中介，与他自己一起迎向他追念的境界。那境界与他所见无关，除非进入影像，成为切片、构图，也即所谓“形式”，否则难以安顿所谓悲悯与良知——我指的是：摄影的良知。
—— 陈丹青《荒废集》

TIBET. Women gathering ears of wheat. 2003.

TIBET. Three old women under rest. 2002.

TIBET. An old man digging potatoes. 2003.

TIBET. A family digging radishes. 2003.

TIBET. Xigase. A break from the day's work. 1999.

TIBET. Mother and daughter in autumn harvest. 2003.

TIBET. Two men turning up wheat heads. 2002.

TIBET. Family under thresh. A daughter drives off a horse, and steps on and crushes a bundle of wheat. 2002.

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. Mother and her daughter separate peas. 2002.

TIBET. Women chaff the wheat. 2000.

吕楠用了整整七年时间，拍摄了这组反映农民生活的《四季》，从春播到秋收的场景，从吃饭到家庭亲情，囊括了农民生活的很多细节和方方面面。在7年时间里，完整的秋收他拍摄了四年次，春播他拍摄了两年次。最后一次，他在连续工作达9个月之久。他靠地图选择拍摄地，用比例尺来计算和选择能够靠步行走到的村子，他一个村挨一个村地走，最远的村子他竟步行了7个小时。而且几乎每天下午他都冒着沙尘暴，往返不同的拍摄地点和驻地。在拍摄的剩余时间里，他天还要花4到6个小时学习柏拉图、歌德的著作，听巴赫的音乐。正是这种般的虔诚，才让他把如此枯燥和寂寞的工作过程，变成与古典主义伟大精神的一种对话方式，把拍摄变成对庄严肃穆的精神体验。
—— 栗宪庭《庄严的日常“经典”》

TIBET. Brother and sister separating the wheat from the chaff. 2000.

TIBET. Xigaze, in the Himalaya Mountains. Grandfather, his daughter and his granddaughter in the harvest of Autumn. 2002

TIBET. Xigase. Coming home from work. 1999.

TIBET. Xigaze, about 300 Km west of Lhasa, in the range of Himalaya Mountains. Young women dancing. 2000.

TIBET. Xigase. Serving liquor to her father. 2000.

TIBET. Xigaze, in the Himalaya Mountains. A wife is braiding the husband's hair. A Tibetan man cannot do his hair alone. 1999.

TIBET. Mother and daughter washing Qingke barley. 2000.

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. Woman is stir-frying wheat. 2002.

TIBET. Xigaze, in the Himalaya Mountains. A boy uses wheat as powder with a mortar by hydraulic power influence. 2002.

由一百零九幅作品组成的《四季》。以一年时间为顺序，把农民的日常生活，变成一部劳动和日常生活的“经典”：既结构完整，又幅幅像西方伟大古典绘画和雕塑那样，经得住观看和仔细推敲。结构完整，是指一百零九幅作品，组合得像一部伟大的日常生活史诗和交响乐，既主题贯穿，又把宏大与细节安排得节奏分明，如第一幅，用一座普通民居做开端，把人们带进质朴而安宁的环境中。接着是春播的各种劳作场景，然后镜头由远及近，把我们的视线，带到日常生活的各种细节中。
—— 栗宪庭《庄严的日常“经典”》

TIBET. A young girl pouring out the fertilizer. 2003.

TIBET. A girl carrying water. 2003.

TIBET. A family gathering around a stove. 2003.

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. Grandmother and her granddaughter. 2002.

TIBET. Mother and daughter pour the tea. 2004.

TIBET. Grandma and granddaughters applying facial cream. 2004.

TIBET. Sisters putting on make up. 2003.

TIBET. Chongye, Lhoka. Children jumping rope. 1996.

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. Mother and her daughter. 2001

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. 2001

远山与天空浑然一体，衬托出画面中的主旋律重色块的劳作姿态，而木杆的参差不齐，给画面增添了活泼因素。一朵白云从山间浮出，像突然出现在乐曲中的小号声，整个画面诗意盎然，像作者恋恋不舍地离开时的回眸--即将消失的远处，一个新的希望又在开始。我理解的经典，就是吕楠能把劳动和日常生活、日常情感变成一种具“永恒意义”的美感。因为，《四季》超越了我们通常看到的一个局外人对于的猎奇角度诸如突出的活动、原始感觉、粗壮的体魄之类，以及超越了通常摄影师对一个事件的关注。
—— 栗宪庭《庄严的日常“经典”》

TIBET. Father and daughter ready to pay New Year's visits. 2004.

TIBET. Two youn girls during festival time. 2003.

TIBET. The old man is reading the sutras in the house. 2002.

TIBET. Xigase.An old lady walks round the holy circular tower. 2000.

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. Mother and children spooling yarn. 2002.

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. 2002.

TIBET. Husband and wife repairing cooking utensils. 2003.

TIBET. Parents with their daughter. 2003.

TIBET. Father and his daughter. 2002.

TIBET. Xigaze, about 300 Km west of Lhasa. Husband and wife do other work while cooking boiled rice. 2002

而以一种敬畏的心理，突出了农民劳动和日常生活的诗意和神性。照片的诗意和神性，是靠作者在捕捉对象时，去除画面所有类似突发事件般的动感和偶然因素，强调劳动、日常生活和日常情感与人类普遍情感的关联，并以类似古希腊、文艺复兴绘画和雕塑那种稳定、完美的构图，凝重的影调表现出来。如我问他拍的难度在哪儿？他回答说：难度“就是它没有任何事件、普遍得不能再普遍了，所有家庭环境都是一样的，而且同一时期所有家庭干的活都是一样的，就这一点特别难。”但是，《四季》能把这种普通变成不普通，把日常生活变成“经典”，在于吕楠体会到“他们的劳动是百分之百地为自己。
—— 栗宪庭《庄严的日常“经典”》

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. Grandmother and granddaughter. 2001

TIBET. Grandpa and granddaughter. 2003.

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains.Grandfather and his granddaughter. 2002

TIBET. Father is sewing a daughter's sleeve. 2002.

TIBET. Xigaze. A daughter broke the bowl. The bowl of the product made from porcelain is only two..2002

TIBET. A father helping his daughter try on a new pair of shoes. 2004.

TIBET. A mother listening to her elder daughter's complaints. 2003.

TIBET. An elder sister and her brother who wants to have some cheese. 2003.

TIBET. Mother and daughter lighting a lamp. 2000.

TIBET. The family is eating supper. 2002.

什么是农民生活中的“真实”？也许呆滞的目光，麻木的神情，劳动时的艰辛和痛苦的动作和表情，都是真实的，它存在任何地域，乃至在吕楠拍摄的对象中，一直存在。但摄影师要什么，选择甚至是挖掘什么样的瞬间至关重要。如吕楠所说：“我一直认为照相机只是一个工具。如果说利用这个工具做出的东西没有达到其他领域的水准，那么不是工具有问题，一定是使用工具的人出了问题。比如说摄影包括对真实的认识，往往照相机是最会骗人的，真实需要的是挖掘。摄影师的工作方式，决定了影像要在一瞬间形成，但不意味摄影师总要捕捉稍纵即逝的瞬间。心灵的思考是必然性，不是偶然性。我是要关心人们根本、持久和本质的东西。照片传达出来的都是一种不确定的东西，总是偶然的表象的，我希望能解决解决这些问题。”
—— 栗宪庭《庄严的日常“经典”》

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. Mother and sons spooling yarn. 2002.

TIBET. Father and daughter at night. 2004.

TIBET. Husband and wife trying out clothing. 2004.

TIBET. Parents and children at night. 2004.

TIBET. Xigaze. Injured husband and his wife. Carriage attacked him and he cannot walk. Wife composes the sutras. 2001

TIBET. Xigaze, about 300 Km west of Lhasa, in the Himalaya Mountains. Husband and blind wife. 2002.

TIBET. Wife and angry husband. 2004.

TIBET. A woman helped by her daughter preparing wine and food for her husband working in the fields. 2004.

TIBET. Father and daughter carrying bundles of grass. 2001.

TIBET. Chongye, Lhoka. Women building a summer sheepfold. 1997.

吕楠要解决的问题，也是摄影史要解决的问题。我同意吕楠的看法：“苏珊·桑塔格在摄影论里说在一个摄影展览上，题材与题材之间留下的是巨大的鸿沟。”，“艺术是以整体向世界说话的，它形成不了整体。”摄影在以前“存活只能为报纸和杂志工作。接受人家的委派你才能拍照片你才能存活，他面临这么一个困境。实际上当时的摄影没发现这个问题，但是摄影在20世纪60年代电视出现的时候，得到一次解放，但是也很难。到了80年代就已经有人积累出作品了，个人已经有连续性了，可以谈到摄影家啦，比如说辛迪·舍曼。”“一个重大事件可以谈照片，不能谈摄影师。”“摄影一直谈照片，不能谈摄影师。”在这里，吕楠涉及到两个问题很重要，一是摄影师的个人感觉，以及相关的语言、风格等因素；一个即所谓“真实”的问题。第一个问题，艺术个性的重要性，涉及到艺术的一般规律，此不赘述。摄影师证明自己是艺术家，而不仅仅是一个摄影师，你得靠个人感觉的独特性，以及语言的独特性，你才可能弥合像苏姗·桑塔格说的“题材与题材之间的巨大鸿沟”，而获得吕楠说的“整体性”--即整体的个人特征。当然，做摄影师--照相馆里的摄影师和相当数量的新闻摄影师，是另一个问题。第二个问题，“真实”对我来说，是一个概念，任何作品都没有空泛的“真实”，你必须在作品中给出“真实”的具体性，而这种具体性，虽然涉及对现实的社会学分析，但在我看来，摄影成为艺术，其“真实”性主要涉及到一个摄影师的个人立场。如果一个偶然场合，恰好发生了一个偶发事件，你偶然拿着相机，你拍下了一张或者若干张照片；或者，你拍摄了常人看不到的新奇的现实场景和人和的，因为它成为绝无仅有的事件见证，使照片显得弥足“珍贵”。也许从社会档案、新闻的意义上，这种真实性依然不容置疑，所有的区别在于谁更专业--焦距、光圈、影调、构图等等，但在我看来，摄影首先是超越社会档案意义上的“被雇佣”关系时，才能被称为艺术。就是说，真实，哪怕是涉及到对一个事件的见证，摄影师作为艺术家，他的个人立场，独到的视角，也是首要的尺度。因为人类生存的每个时间段，大多数个人，只是被特定意识形态言说的个体，所以，真正的个人感觉和自由心境，才牵涉到艺术的“真实”。
—— 栗宪庭《庄严的日常“经典”》

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