牡丹花开更别致——访花卉摄影家王昆峰

文张世瑾 图王昆峰

王昆峰摄影作品Photography of WANG Kunfeng

《氤氲魏紫》主要体现在红与紫之间过渡色中弥漫着的难以描摹的氛围；《清凉姚黄》在炎热夏季，黄与绿给我们不可多得的、沁人心脾的清凉；《摇曳诗瓣》重点体现为花瓣之间的层次关系，在重叠与繁复中体现层次与空灵；《白色夜光》，一种淡远，一种诗情，浸润我们心田；《犹抱芳蕊》，呈现微观视界里的质感与脉动。这是中国艺术研究院摄影所所长李树峰给花卉摄影家王昆峰牡丹系列微距摄影作品作出的分类。那一抹抹青翠，一片片殷红，或嫩蕊初成，或花瓣重迭，王昆峰镜头下的牡丹花带给人别样的视觉体验。

身处洛阳，王昆峰钟情于牡丹。天下牡丹出洛阳，洛阳是牡丹的故乡，牡丹是洛阳的市花，是洛阳人心中难以割舍的情结。牡丹自古以来便成为人们寄寓情感的载体，在当下更是凝聚着时代的价值取向和人民的审美情爱。王昆峰说：“我生活工作在洛阳，没有理由不喜爱牡丹。作为一个摄影人，牡丹是身边的题材，没有理由不去表现她，赞美她。”40年的光阴，王昆峰与牡丹为伴，他记录着、探寻着它生命的魅力，它见证着他在艺术道路上的探索创新。

王昆峰将自己拍摄牡丹专题的历程分为三个阶段：第一阶段是以纪实的拍摄手法，以客观的视角展示牡丹的品种、形状和色彩，向观者介绍洛阳牡丹。第二阶段则是王昆峰走出纪实报道性的思维和表现方式，追寻牡丹的生命历程，把对生命的感悟融入创作。他用具象和意象手法表现牡丹雍容华贵的天姿、超然飘逸的神韵。走进牡丹的生命过程就是走进了人生，当牡丹成为一种生命意象，影像也带有更多的诗情画意。2008年洛阳市政府出版了王昆峰的《国色天香》牡丹摄影专辑，并作为礼品赠送国内外来宾。同年他还举办了“国色天香”牡丹摄影展。但王昆峰并没有沉浸于成功带来的喜悦中。接受了许多国外的摄影资讯，阅读了大量国内外的摄影作品后，王昆峰发现了自己的问题：“我在第二阶段的创作，并没有真正从个性上与别人拉开距离。我相信艺术只有成熟的个性，才有真正的价值。我感到在原来的观念和方法上已经走到了尽头，必须另辟蹊径，全新突破。”王昆峰在一次又一次“否定”自我的基础上寻求着新的突破。

借助新的拍摄器材，是王昆峰在第三阶段的摸索中收获成果。受卡尔·布劳斯菲尔德的“新客观主义”的启发，在长期的思考、实验后，王昆峰形成了新的创作思路——牡丹花瓣花蕊的微距拍摄。为此，他专门添置了一亿像素的飞思XF100MP相机、微距镜头、灯具和用于后期的图形工作站。在一次次的摸索实践中，他发现了牡丹花别样的美。王昆峰不是看到了什么才拍，而是在拍的过程中才看到是什么，甚至在拍摄放大后才完全看到拍了什么。王昆峰表示，每一次拍摄都有面对新的未知的画面紧张与期待，充满了随机与偶然也充满了乐趣，常常收获意外的惊喜。生命是独特的，种类多样的牡丹展现出的美更是丰富多样。王昆峰坚持在一次次“咔嚓”中完成牡丹别样风姿的展现。

是更为真切的具象？还是高度陌生化的抽象？王昆峰用微距表现出的牡丹具有多样阐释的可能。王昆峰通过摄影的方式，为我们展示了感觉已经十分熟悉的牡丹花，以艺术化的手法展示了牡丹细部的质感和肌理，将花瓣、花蕊内部世界的结构和关系加以表现。李树峰指出，王昆峰的牡丹作品“大写”了牡丹花的骨骼与结构，解析出花蕊内在的质感和旋律，让我们在一种难以言传的芬芳气息和美好里，徜徉、沉醉、回味，“这是一个摄影家对花儿内心的最隆重的打开，是影像世界对花卉自然最虔诚的礼赞”。透过王昆峰的摄影作品，不难感受到摄影家融注于作品中的艺术发现、生命体悟。高度抽象使影像摆脱了物象的束缚，纯粹的光影、线条和色彩就是影像的生命和意义。摄影评论家林路将王昆峰的作品作出这样的解读：“牡丹在画面中已经抽身而去，幻化成纯粹的形式空间。”倘若抽离相关语境，观者面对王昆峰的微距摄影作品可能很少能有人可以辨认出作品表现的对象是牡丹花。那如随风扬动的绸缎般娇嫩的花瓣，那似万仞山川般挺立的花瓣，还有那仿佛下一秒就要开苞的花蕊。王昆峰的镜头下，一切显得熟悉又陌生。

创作不曾止息，王昆峰仍在艺术的道路上不断求索。光华散尽的牡丹也有其独特的魅力，王昆峰将目光转移到了办公室中枯萎的牡丹花上。这位再一次“忘记自己”的摄影家，又将举起他那“化腐朽为神奇”的镜头，探寻他个性化的艺术道路。

王昆峰摄影作品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.

王昆峰摄影作品

Photography of WANG Kunfeng

王昆峰摄影作品Photography of WANG Kunfeng