人民公社好

Image result for 芮光庭

Rui Guangting (芮光庭), 1958
The people’s communes are good
Renmin gongshe hao (人民公社好)


卤煮店老板30年镜头记录老北京变迁

With a camera around his neck, this wandering old gentleman is, however, no tourist at all, but a Beijing native. His photographic journey through the city’s famous hutongs started in the 1980s, when he hung around, trying to capture any interesting views. His neighbors used to think of he had a screw loose.

挂着相机穿梭在北京胡同里的这位大爷,并不是外地游客,而是一位土生土长的北京人。早在80年代,他就扛起了相机,开始在胡同里晃荡、逮景,还因此被邻居当成“神经病”。

30 years later, you can find the same kind of wanderers with their cameras on almost every corner.

他这一晃,就是30多年。如今,满大街都是挂着相机四处逮景的“神经病”了。

This 55-year-old man is Jia Yong, who’s been living in south Beijing with five generations of his family. Now he runs a luzhu – stewed pork offal – restaurant in the Dashilar shopping street which is south of Tian’anmen Square. This restaurant is renowned for the black-and-white photos upon its walls, and in those photos, Jia has preserved what the hutongs used looked like decades ago.

他叫贾勇,今年55岁,从小住在北京南城;算上父辈与儿孙,五代都生活在此,是标准的老北京。目前,他在大栅栏经营一家卤煮店。这家店的特别之处在于,它的墙上挂满了黑白照片。这些照片都是贾勇用胶卷记录的北京胡同的变迁。

Continue reading – 继续阅读:

https://mp.weixin.qq.com/s/b98lX8UTzAz0x5TauuBGNA


 

Candida Höfer

Höfer began taking color photographs of interiors of public buildings, such as offices, banks, and waiting rooms, in 1979 while studying in Düsseldorf. Her breakthrough to candida-hofer-01fame came with a series of photographs showing guest workers in Germany, after which she concentrated on the subjects “Interiors”, “Rooms” and “Zoological Gardens”. Höfer specialises in large-format photographs of empty interiors and social spaces that capture the “psychology of social architecture”. Her photographs are taken from a classic straight-on frontal angle or seek a diagonal in the composition. She tends to shoot each actionless room from an elevated vantage point near one wall so that the far wall is centered within the resulting image. From her earliest creations, she has been interested in representing public spaces such as museums, libraries, national archives, or opera houses devoid of all human presence. Höfer’s imagery has consistently focused on these depopulated interiors since the 1980s. Höfer groups her photographs into series that have institutional themes as well as geographical ones, but the formal similarity among her images is their dominant organizing principle.


 

唐寅

唐寅(1470年-1524年),明代著名画家、文学家。字伯虎,又字子畏,以字行,号六如居士桃花庵主逃禅仙吏等,南直隶苏州吴县人,吳中四才子之一。在畫史上又與沈周、文徵明、仇英合稱「明四家」或「吳門四家」。民间有很多关于唐伯虎的传说,最為人熟悉的《唐伯虎点秋香》曾多次被改編成戲劇,以及拍成電視劇及電Watching_the_Spring_and_Listening_to_the_Wind_by_Tang_Yin影,也宣传、加深了唐伯虎在民间的形象。唐寅出生于世商家庭,有一妹一弟,父亲唐广德,经营一家唐记酒店。唐寅作品以山水畫、人物画闻名于世,其创作的多幅春宫图也为他个人添加了“风流才子”的名声。

據稱唐寅作畫時間甚早,而且無師自通。吳一鵬在《貞壽圖卷》上提款:「歲丙午,子畏年止十七,而山石樹枝如篆籀,人物衣褶如鐵絲。少詣如是,豈非天授!」早年唐寅可能也跟文徵明一樣,向沈周學畫。如王穉登在《吳郡丹青志》中的《沈周先生傳》裡寫:「一時名士,如唐寅文壁(徵明)之流,咸出龍門,往往致於風雲之表。」但如今所看到唐寅的畫作中,有沈周影響的風格很少,可能早年作品亦多不存,所以難以知道。

唐寅較為人所理解的,是拜畫家周臣為師。研究認為他也許是在洩題案之後,才開始向周臣請益。由於周臣的畫風遠摹南宋畫家李唐、劉松年,所以唐寅的作品也多被人認為有李劉風格。美術史對唐寅山水畫的討論中有周臣代筆的問題,目前仍沒有比較清晰的理解。唐寅的作品以山水畫、人物畫出名,亦有花鳥竹石的作品存世。一般而言,都將唐寅的繪畫風格分做三期,但由於許多有紀年的作品多集中在唐寅的晚年,早年的風格分期便有許多爭議。唐寅書法亦好,早年的書風比較靠近顏真卿,後來比較接近李邕、趙孟頫。

自明末以來,在討論唐寅作品,均把他分到吳派,並與沈周、文徵明、仇英等畫家並稱「吳門四家」,或稱「明四大家」。但唐寅的畫風與沈周、文徵明並不相同,而嚴格來說,也不能將唐寅的風格逕歸為吳派。因為相較於一般吳派多追隨元四大家的畫風,唐寅作品裡元四家的影響相當的少,反而有比較多南宋院畫家的影子。但多數的人,都稱唐寅是揉合「南」、「北」的重要畫家。