文/傅文俊

《幻化No.1》傅文俊 夏布数绘摄影

夏布是以苎麻为原料编织而成的麻布，用于夏季衣着，凉爽适人，是华夏传统的服装面料，具有两千多年的历史。2008年荣昌夏布被列入中国“国家级非物质文化遗产名录”。近年来，我将夏布作为非物质文化遗产介入摄影媒介加以重新运用，通过摄影艺术表达个人观点与看法，并试图引发观者更多、更深层次的思考，由此创造了一种全新的摄影表达方式和视觉语言——夏布数绘摄影。

《幻化No.2》傅文俊 夏布数绘摄影

就物性本身来说，夏布的肌理极为美，即使不着一色，本身就是独立的艺术品。夏布的质感让人感受到历史的“厚重”。它区别于机器时代的产品，绝非一般的材质可以比拟，它是有温度的织物，经纬交织的每根丝线充满了自身个性。摄影与夏布相遇，夏布并不单单是摄影的附属媒介。夏布降低了影像色彩的亮度，使影像变得厚重起来。它粗糙的肌理给人一种独特而细腻的感受，这区别于光滑的相纸。如今，夏布仍旧保持着古老的制作方法，由织工精心编制而成，因此其纹理每一张绝不雷同，这也确保了每件夏布数绘摄影作品的唯一性，有效地解决了摄影艺术作品多个版数的疑惑之争。

《幻化No.4》傅文俊 夏布数绘摄影

非物质文化形成于特定的时间和空间，而今这恰是阻隔其当代性转换的关键。在今天，夏布旧有的器用价值已经不存在，它更应当建立新的器用性。从这个层面讲，摄影或许帮助夏布获得了新生。将夏布这种具有文化属性与东方审美肌理的材质作为摄影的呈现载体，这是我对于其当代性转换的一个尝试。从地域性文化出发，夏布要走向世界，能在其它地域获得生发也将是美好的事情。经过几年的反复研究、实验，终于解决了摄影与夏布相结合技术上的诸多问题。夏布数绘摄影成功推出后，曾先后参加了拉斯维加斯博物馆展览、第十九届法国巴黎世界非物质文化遗产展、迈阿密国际艺术博览会、第17届棕榈滩国际艺术博览会和迈阿密艺术与设计展。每次展览上，这些作品都引发了观众极大的兴趣与关注，其中部分作品被肯尼迪家族成员迈克尔·肯尼迪先生和联合国世界人民理事会收藏。

《幻化No.8》傅文俊 夏布数绘摄影，被肯尼迪家族成员迈克尔·肯尼迪先生收藏

我希望夏布作为非物质文化遗产能跨越地域，在传承基础之上，获得新的生发可能。同时，希望夏布这种具有东方文化属性的材质作为摄影的呈现载体，能导致新的摄影视觉语言出现，或许还能在图像与媒材之间建立新的关联，成为推动摄影艺术发展的发动机。

My Grass Cloth Digital Pictorial Photography

By Fu Wenjun

The Grass Cloth is a kind of linen made from ramie, used for summer clothes, pleasantly cool, which is used in China as a traditional garment fabric for more than two thousand years. In 2008 Rongchang Grass Cloth was included on the Chinese “National Intangible Cultural Heritage List”. In recent years, I have been exploring to apply the intangible cultural heritage Grass Cloth as a photographic medium, with the use of this photography art to express my personal views and ideas and to evoke viewers’ much more and deeper reflection. Therefore, I put forward an innovative photographic expression way and visual language---Grass Cloth Digital Pictorial Photography.

In terms of the nature of the object, the Grass Cloth is marvelous with outstanding texture. Even without being dyed, it has already been a piece of artwork. Grass Cloth is different from the products manufactured by machines and can not be compared by other material. It is a textile having its temperature, with every vertically and horizontally crossed thread showing its unique personality.

When photography and Grass Cloth encounter, the later one is not just an accessory. Grass Cloth declines the brightness, giving dignity to of the image. Its rough texture gives a unique and exquisite feeling, different from the smooth photo paper.

Currently, Grass Cloth is still produced by ancient process, carefully created by the weavers, so each piece can not own the same texture with another. This contributes to guarantee every work of Grass Cloth Digital Pictorial Photography is unique, solving the numerous edition problem disputed over the photography art.

The intangible culture comes into being in a specific time and space, which nowadays is the key obstacle for its “modern transformation”. In the present, the old usefulness of the grass cloth just doesn’t exist, so it should create its new value. From this perspective, photography possibly helps the revival of the Grass Cloth. Using the Grass Cloth, a material characterized by cultural qualities and Eastern aesthetic texture, as the physical support of photography, represents my attempt of modern transformation of this intangible cultural heritage.

Starting from the regional culture, the beginning point, the Grass Cloth can go into the world and develop at other regions, which will be also glorious. Having done research and experiment for several years, I finally solved many technical problems to combine photography and Grass Cloth. Then my Grass Cloth Digital Pictorial Photography were presented in many exhibitions and museums, including Las Vegas Art Museum, 19th International Heritage Show in Paris, Miami International Art Fair, Art Palm Beach International Art Fair, Miami Art and Design Show. When exhibited, the works attracted people’s attention and arouse many interest. Some works were collected by Kennedy family and World Council of Peoples for the United Nations.

I wish the intangible cultural heritage of Grass Cloth can go across the territorial boundary and gain its new possibility of growing based on its tradition. Meanwhile I also hope the union of Grass Cloth, a photography physical support medium presenting Eastern culture features, with the photography can create a new photography art language, or establish a new relation between the image and the media, serving as an engine power to drive the development of contemporary photography art.