光影中的深沉追问

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田捷民

Tian Jiemin

中国摄影家协会会员，世界华人摄影学会会员，中国摄影家协会首届德艺双馨会员，曾任中国摄影家协会理事、四川省摄影家协会副主席、重庆市摄影家协会副主席、秘书长，作品《主人》曾获第十三届全国摄影艺术展金牌奖等。

Tian Jiemin is a member of China Photographers Association, and a member of The Society of Worldwide Ethnic Chinese Photographers.He was the former council member of China Photographers Association,the former vice-chairman of Sichuan Photographers Association and the former vice-chairman of Chongqing Photographers Association.His photograph Host was awarded in the 13th National Photographic Art Exhibition.

1983年3月的一天，大凉山春寒料峭。35年后，田捷民依然对那天在昭觉县的拍摄记忆深刻。

沿途拍摄用完了随身携带的胶卷，田捷民在昭觉县买了两盒两块钱的“上海牌”胶卷，便出发前往约好的一户彝族牧民家中。他没想到，正是那盒临时买来的两块钱的胶卷，拍摄出了一幅全国摄影展金奖，首开西南地区摄影家斩获全国大奖先河，并由此奠定了他在重庆摄影界无可争议的地位和难以超越的影响。

On March 1983, Tian Jieminwent to the Daliang Mountains in Sichuan province when the place was still caught in the coldness of early spring. It was there at Zhaojue county where Tian took a photo that he still well remembers today.

Having consumed all his films for photographing,Tian spent only two yuan for 2 rolls of film at a shop he came across at Zhaojue county. Then he set out to the family of a herdsman with whom he had made an appointment. Never would he have realize that the film he bought casually would bring him a Golden Award in National Photographic Art Exhibition, which marked the first national award won by photographers in Southwest China. With such an achievement, he was known as the best photographer ever in Chongqing.

披着察尔瓦的金奖The Story behind the Golden Award

4月的一天午后，我们在淳辉阁书画院见到了田捷民，年过六旬，温文尔雅，并无老态。借着书画院内昏黄的灯光，他不紧不慢地向我们述说起35年前那幅金奖作品的来历。

1983年，田捷民在四川省新闻图片社做摄影记者，去大凉山拍摄，是为了一次“翻身农奴做主人”的主题采访。当天下午两点多，走了两个多小时的山路，田捷民和同事来到了牧民家中。男主人当时不在家，热情好客的女主人端出了煮好的洋芋和鸡蛋。

田捷民和同事吃得很少，想着给女主人节省食物。谁料女主人却以为东西不合胃口，于是杀了一头猪和一只鸡，想好好款待远方的客人。

淳朴，善良，田捷民第一次真切地感受到彝族同胞的真挚与朴素。

快到下午四点的时候，男主人围着黑色包头、披着一身察尔瓦披衫放牧归来。采访快结束时，男主人回眸的那一瞬间，蹲在地上的田捷民按下了手中相机的快门，他给这幅作品取名《主人》。

田捷民拿出随身携带的电脑，打开了这幅黑白摄影作品。照片上，彝族汉子棱角分明的脸庞，纵横的皱纹、深陷的眼睛、焦灼的嘴唇，让人觉得他的肌肤在抖动，血液在奔流，心潮在澎湃，像是在缅怀过去，又像是在憧憬未来。

One afternoon in April, we met Tian Jiemin at Chunhuige, an artistic institute in Chongqing municipality. Gentle and elegant as he was, he didn’t look likean old man in his sixties. With a dim light, he told us the story behind that awardwinning photo.

Back in 1983, Tian worked as a photographer in a press in Sichuan. And that trip to the Daliang Mountains was intended to prepare for an exclusive interview. After two hours walking in the mountains, Tian and his colleagues finally arrived at the destination. Since the host happened to have left when they arrived, the hostess served them with cooked potatoes and eggs.

Tian and his colleagues did not eat much as they wanted to save food for the family. Yet the hostess mistakenly believed that they did not like what she had served. Her hospitality made herto serve them with fresh-killed pork and chicken.

This was for the first time that Tian Jiemin was deeply impressed by the cordialities and simplicity of the Yi people.

By 4 pm, the herdsman returned home from grazing, wearing a black hood and a Cha’erWa, the traditional dress of the Yi. By the end of the interview,Tian Jiemin, squatted beside the herdsman, managed to capture the moment of the host looking back, for which he named Host.

Tian took out his laptop to show us the blackand-white photograph shot that day, on which showed the angular face of the Yi man, with deep lines, sunken eyes and scorched lips. At the sight of this photograph,one would feel the blood rushing and the heart pumping under his skin. It seemed like the man was reminiscing about the past, or looking into the future.

从画形画像到画心画魂From Portraying the Looks to the Heart

35年过去了，当我们欣赏到这件摄影作品时，依然能感受到强烈的视觉冲击和心灵震撼。

看完《主人》，田捷民特意叫人关了灯光，说要给我们看一组他近年来拍摄的作品。伴着PPT里哀而不伤的乐曲，一幅幅《民居——农村留守的老人们》的照片出现在我们眼前。

“照片拍摄于涪陵大顺，我每年都会去那里看看他们。”田捷民的话不多，他想要表达的都在作品里。顺着强烈的黑白对比、巨大的光影反差，我们走进了老人们的生活，也走进了他们孤独的内心世界和情感空间。

这是21世纪生活在中国农村那些破败老屋中一群风烛残年老人的浮世绘，也是田捷民用镜头语言讲述的真实故事。平铺直叙的光影诉说中，没有点缀，没有修饰，不做作，不矫情，好似乡间老农席地而坐的对话，侃侃而谈，娓娓道来。

田捷民以近似于画家的审美眼光和造型能力，用人物、房屋、环境等精彩场景，组合出了一幅幅鲜活的人像作品，再造了那些转瞬即逝但又过目难忘的感人画面。正如重庆市文联副主席、市摄影家协会主席杨矿对田捷民的赞誉，“一位善于通过画形画像进而画心画魂的艺术家”。

35 years later, we were still shocked by the

After that, Tian turned off the lights and showed us a series of works he made in recent years. Along with the pathetic music, a set of photographs depicting the left-behind elderly in the countryside were shown in front of us.

“These pictures were all took in a town in Fuling District where I would visit every year.”he said. He did not talk too much about these photographs, for what he meant to express were all contained within. Through his black-and-white style photographs, we all had a chance to glance at the life of these elders and felt the lonely feelings deep in their heart.

It was a miniature of those elders who lived in China’s countryside in the 21st century. These were the factual stories presented by Tian Jiemin through his camera lens. These photographs were as plain as the conversation between peasants, without further modifications. Yet simple as they were, these photographs were full of artistic appeal.

With a taste for beauty and a creativity comparable to the painter, Tian Jiemin ingeniously integrated elements of men, houses, and surrounding into his works to create numerous vivid images of men. Yang Kuang, the chairman of Chongqing Photographers Association, praised that Tian was an artist adept at portrayingnot only the looks, but also the inside heart.

光与影中的追寻与追问Quest in the Light and Shadow

谈及这组作品的创作，田捷民深有感触，“作为一个特别需要社会关照关爱的群体，留守老人一直是人们津津乐道的话题，但又亟待实质性行动。”田捷民随即又给我们看了一组拍摄于铜梁安居的《川剧票友》。画面上是一群退休老人，几乎每天都到戏台去，自己化妆，然后给一帮老戏迷表演川剧。

看过田捷民的《民居——农村留守的老人们》《川剧票友》等作品后，杨矿曾说，“与其说田捷民在进行艺术的追寻，还不如说他是在进行良心的追问。和所有的艺术创作一样，摄影作品在体现艺术价值的同时，也应该体现应有的社会意义。作为距人们生活最近的艺术，摄影和摄影家除了拍出好的照片外，还应该交出社会责任和历史使命的答卷。田捷民的作品无疑是成功的，更是充满了艺术追寻和社会追问意味的。”

事实上，田捷民对艺术的追寻和对社会的追问，早在《主人》便已开始，贯穿了他整个光影人生。正如中国摄影家协会著名理论批评家张绍先对《主人》的评价：《主人》的成功正是表现了农村老一代“主人”的悲剧。它的积极社会意义正如罗中立的《父亲》一样，作为艺术美，是悲剧的美，是具有艺术的真实性和摄影艺术的时代历史价值。

As for the reason of shooting this set of works,Tian has his own thoughts, “Left-behind elderly is especially in need of the social care. This issue has long been the hot topic. But it needs to be taken seriously.” Later Tian showed us a set of photos shot at Town Anju at Tongliang District, Amateur Performers of Sichuan Opera. The retired old men in the photographs went to the stage every day. They did the make-up themselves and performed the Sichuan opera for a number of theatre goers.

Yang Kuang once remarked:“What Tian has done was more like a query to his heart than a quest for the art. As with all other art works, photographs need to embody not only their artistic values but also their social significance. Photographers should fulfill their social responsibilities as photography is the closest art form to people’s life. From this perspective, Tian’s works are successful, being not only a quest for art but also a query to the society.”

In fact, Tian’s unique style of works could be traced back to Host. Zhang Shao, the theoretical critic of China Photographers Association, lauded his photograph, saying: The reason for the success of Host was that it depicted the tragedy of 'hosts' of elder generation in the countryside. It was as great in social significance as Father by Luo Zhongli,endowed with factuality and time significance, though not without a beauty of tragedy.