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田捷民

Tian Jiemin

中國(guó)攝影家協(xié)會(huì)會(huì)員，世界華人攝影學(xué)會(huì)會(huì)員，中國(guó)攝影家協(xié)會(huì)首屆德藝雙馨會(huì)員，曾任中國(guó)攝影家協(xié)會(huì)理事、四川省攝影家協(xié)會(huì)副主席、重慶市攝影家協(xié)會(huì)副主席、秘書長(zhǎng)，作品《主人》曾獲第十三屆全國(guó)攝影藝術(shù)展金牌獎(jiǎng)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，大涼山春寒料峭。35年后，田捷民依然對(duì)那天在昭覺(jué)縣的拍攝記憶深刻。

沿途拍攝用完了隨身攜帶的膠卷，田捷民在昭覺(jué)縣買了兩盒兩塊錢的“上海牌”膠卷，便出發(fā)前往約好的一戶彝族牧民家中。他沒(méi)想到，正是那盒臨時(shí)買來(lái)的兩塊錢的膠卷，拍攝出了一幅全國(guó)攝影展金獎(jiǎng)，首開西南地區(qū)攝影家斬獲全國(guó)大獎(jiǎng)先河，并由此奠定了他在重慶攝影界無(wú)可爭(zhēng)議的地位和難以超越的影響。

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.

披著察爾瓦的金獎(jiǎng)The Story behind the Golden Award

4月的一天午后，我們?cè)诖据x閣書畫院見(jiàn)到了田捷民，年過(guò)六旬，溫文爾雅，并無(wú)老態(tài)。借著書畫院內(nèi)昏黃的燈光，他不緊不慢地向我們述說(shuō)起35年前那幅金獎(jiǎng)作品的來(lái)歷。

1983年，田捷民在四川省新聞圖片社做攝影記者，去大涼山拍攝，是為了一次“翻身農(nóng)奴做主人”的主題采訪。當(dāng)天下午兩點(diǎn)多，走了兩個(gè)多小時(shí)的山路，田捷民和同事來(lái)到了牧民家中。男主人當(dāng)時(shí)不在家，熱情好客的女主人端出了煮好的洋芋和雞蛋。

田捷民和同事吃得很少，想著給女主人節(jié)省食物。誰(shuí)料女主人卻以為東西不合胃口，于是殺了一頭豬和一只雞，想好好款待遠(yuǎn)方的客人。

淳樸，善良，田捷民第一次真切地感受到彝族同胞的真摯與樸素。

快到下午四點(diǎn)的時(shí)候，男主人圍著黑色包頭、披著一身察爾瓦披衫放牧歸來(lái)。采訪快結(jié)束時(shí)，男主人回眸的那一瞬間，蹲在地上的田捷民按下了手中相機(jī)的快門，他給這幅作品取名《主人》。

田捷民拿出隨身攜帶的電腦，打開了這幅黑白攝影作品。照片上，彝族漢子棱角分明的臉龐，縱橫的皺紋、深陷的眼睛、焦灼的嘴唇，讓人覺(jué)得他的肌膚在抖動(dòng)，血液在奔流，心潮在澎湃，像是在緬懷過(guò)去，又像是在憧憬未來(lái)。

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.

從畫形畫像到畫心畫魂From Portraying the Looks to the Heart

35年過(guò)去了，當(dāng)我們欣賞到這件攝影作品時(shí)，依然能感受到強(qiáng)烈的視覺(jué)沖擊和心靈震撼。

看完《主人》，田捷民特意叫人關(guān)了燈光，說(shuō)要給我們看一組他近年來(lái)拍攝的作品。伴著PPT里哀而不傷的樂(lè)曲，一幅幅《民居——農(nóng)村留守的老人們》的照片出現(xiàn)在我們眼前。

“照片拍攝于涪陵大順，我每年都會(huì)去那里看看他們?！碧锝菝竦脑挷欢啵胍磉_(dá)的都在作品里。順著強(qiáng)烈的黑白對(duì)比、巨大的光影反差，我們走進(jìn)了老人們的生活，也走進(jìn)了他們孤獨(dú)的內(nèi)心世界和情感空間。

這是21世紀(jì)生活在中國(guó)農(nóng)村那些破敗老屋中一群風(fēng)燭殘年老人的浮世繪，也是田捷民用鏡頭語(yǔ)言講述的真實(shí)故事。平鋪直敘的光影訴說(shuō)中，沒(méi)有點(diǎn)綴，沒(méi)有修飾，不做作，不矯情，好似鄉(xiāng)間老農(nóng)席地而坐的對(duì)話，侃侃而談，娓娓道來(lái)。

田捷民以近似于畫家的審美眼光和造型能力，用人物、房屋、環(huán)境等精彩場(chǎng)景，組合出了一幅幅鮮活的人像作品，再造了那些轉(zhuǎn)瞬即逝但又過(guò)目難忘的感人畫面。正如重慶市文聯(lián)副主席、市攝影家協(xié)會(huì)主席楊礦對(duì)田捷民的贊譽(yù)，“一位善于通過(guò)畫形畫像進(jìn)而畫心畫魂的藝術(shù)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.

光與影中的追尋與追問(wèn)Quest in the Light and Shadow

談及這組作品的創(chuàng)作，田捷民深有感觸，“作為一個(gè)特別需要社會(huì)關(guān)照關(guān)愛(ài)的群體，留守老人一直是人們津津樂(lè)道的話題，但又亟待實(shí)質(zhì)性行動(dòng)?！碧锝菝耠S即又給我們看了一組拍攝于銅梁安居的《川劇票友》。畫面上是一群退休老人，幾乎每天都到戲臺(tái)去，自己化妝，然后給一幫老戲迷表演川劇。

看過(guò)田捷民的《民居——農(nóng)村留守的老人們》《川劇票友》等作品后，楊礦曾說(shuō)，“與其說(shuō)田捷民在進(jìn)行藝術(shù)的追尋，還不如說(shuō)他是在進(jìn)行良心的追問(wèn)。和所有的藝術(shù)創(chuàng)作一樣，攝影作品在體現(xiàn)藝術(shù)價(jià)值的同時(shí)，也應(yīng)該體現(xiàn)應(yīng)有的社會(huì)意義。作為距人們生活最近的藝術(shù)，攝影和攝影家除了拍出好的照片外，還應(yīng)該交出社會(huì)責(zé)任和歷史使命的答卷。田捷民的作品無(wú)疑是成功的，更是充滿了藝術(shù)追尋和社會(huì)追問(wèn)意味的?！?/p>

事實(shí)上，田捷民對(duì)藝術(shù)的追尋和對(duì)社會(huì)的追問(wèn)，早在《主人》便已開始，貫穿了他整個(gè)光影人生。正如中國(guó)攝影家協(xié)會(huì)著名理論批評(píng)家張紹先對(duì)《主人》的評(píng)價(jià)：《主人》的成功正是表現(xiàn)了農(nóng)村老一代“主人”的悲劇。它的積極社會(huì)意義正如羅中立的《父親》一樣，作為藝術(shù)美，是悲劇的美，是具有藝術(shù)的真實(shí)性和攝影藝術(shù)的時(shí)代歷史價(jià)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.