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影
生活着，思索着，幻想着。 看得见的是自己，看不见的也是自己。
tanqiu520
游
入入出出，悲悲喜喜。 想在人海中找到自己； 想在黑暗中抓住方向； 却在遇到时错过，在错过时遇到。
tanqiu520
立
面对内心，眼前丰富起来， 它层层叠叠的构成一个镜像， 它深深的吸你进入， 它就这样悄然的产生了。。。
tanqiu520
Samsara
《轮回》讲述了美院的一天，由美院大部分师生共同完成。师生在再熟悉不过的学院门口来来回回，一张白纸匆忙的记录下他们的故事。从一张平整的白纸到印上一些清晰的脚印再到看不清他们留下的痕迹，慢慢遗忘他们的故事。这一天，这一生，这一轮回。 Samsara tells the story about one day of the school of fine arts in Southwest University.This piece of work was created by the faculty members and student in this school.They came back and forth and left their footprints on the white paper which was put on the ground in front of the entrance to our school.From a flat sheet of white paper to some clear footprints on it,then there's few sign left.This story is forgotten slowly.But white paper not forgrt this day,this story and samsara.
Zhai Yuhui
Meet Again
一个从桌子上滚落的玻璃瓶，四分五裂，我用了两天的时间把它“还原” A glass bottle falling from the table broke apart.It took me two days to get it back.
Zhai Yuhui
Perception
用我的手和我的力气握住这块泥巴。 With my hands and my strength to hold the mud.
Zhai Yuhui
Chinese Intangible Cultural Heritage Family-1
中国非遗人家Chinese Intangible Cultural Heritage Family 本组摄影作品关注中国非物质文化遗产传承人的日常生活现状，力求通过拍摄“文明的活化石”—非遗传承人，来反映当代中国非遗保护的现状，为非遗传承人留下时代的肖像。照片拍摄的是非遗传承人鞠进东（1964-）， 山东省海阳市人，第一批国家级非遗民间舞蹈—海阳大秧歌的世家传人，师从其父，已故的大秧歌国家级非遗传承人鞠洪钧（1926-2008）。其家族历代以大秧歌中，古代行走乡间、呼风唤雨的巫医“乐大夫”而闻名四方。作为“文明的活化石”—非遗传承人，他不仅参与诸多全国性大秧歌表演和竞赛，出演海阳祭海典礼和庙会，更要将这门祖传的非物质文化遗产通过卫视直播等形式传播开来，传授给更多专业舞蹈演员和感兴趣的年轻人，使古老的民间艺术能够源源不断地流淌向未来。 The series photography focuses on the daily life of the Chinese intangible cultural heritage inheritors. I try to reflect the situation of contemporary China intangible cultural heritage protection through taking portrait pictures for the intangible Cultural Heritage inheritors which be considered as the living fossil of civilization. The intangible Cultural Heritage inheritor I shot is Ju Jindong born in 1964, the Chinese folk dance Yangko dance player, who studied from his father Ju Hongjun (1926-2008). The Ju family has at least 300 years history according to the genealogy, and some family members were famous for the leading actor Le Daifu in the Yangko dance. As an intangible Cultural Heritage inheritor, Ju Jindong are trying to bring the influence of Yangko Dance the ancient folk art recent years, by not only continue performing on some traditional Festival ceremonies, but also letting increasing people know Yangko Dance by video on line. He also tries to pass on the dance to professional dance players and youngsters who have interest in Yangko Dance, to make the ancient folk art, the Chinese intangible cultural heritage flowing to the future.
Zhang Yinghan
Chinese Intangible Cultural Heritage Family-2
中国非遗人家Chinese Intangible Cultural Heritage Family 本组摄影作品关注中国非物质文化遗产传承人的日常生活现状，力求通过拍摄“文明的活化石”—非遗传承人，来反映当代中国非遗保护的现状，为非遗传承人留下时代的肖像。照片拍摄的是非遗传承人鞠进东（1964-）， 山东省海阳市人，第一批国家级非遗民间舞蹈—海阳大秧歌的世家传人，师从其父，已故的大秧歌国家级非遗传承人鞠洪钧（1926-2008）。其家族历代以大秧歌中，古代行走乡间、呼风唤雨的巫医“乐大夫”而闻名四方。作为“文明的活化石”—非遗传承人，他不仅参与诸多全国性大秧歌表演和竞赛，出演海阳祭海典礼和庙会，更要将这门祖传的非物质文化遗产通过卫视直播等形式传播开来，传授给更多专业舞蹈演员和感兴趣的年轻人，使古老的民间艺术能够源源不断地流淌向未来。 The series photography focuses on the daily life of the Chinese intangible cultural heritage inheritors. I try to reflect the situation of contemporary China intangible cultural heritage protection through taking portrait pictures for the intangible Cultural Heritage inheritors which be considered as the living fossil of civilization. The intangible Cultural Heritage inheritor I shot is Ju Jindong born in 1964, the Chinese folk dance Yangko dance player, who studied from his father Ju Hongjun (1926-2008). The Ju family has at least 300 years history according to the genealogy, and some family members were famous for the leading actor Le Daifu in the Yangko dance. As an intangible Cultural Heritage inheritor, Ju Jindong are trying to bring the influence of Yangko Dance the ancient folk art recent years, by not only continue performing on some traditional Festival ceremonies, but also letting increasing people know Yangko Dance by video on line. He also tries to pass on the dance to professional dance players and youngsters who have interest in Yangko Dance, to make the ancient folk art, the Chinese intangible cultural heritage flowing to the future.
Zhang Yinghan
Chinese Intangible Cultural Heritage Family-3
中国非遗人家Chinese Intangible Cultural Heritage Family 本组摄影作品关注中国非物质文化遗产传承人的日常生活现状，力求通过拍摄“文明的活化石”—非遗传承人，来反映当代中国非遗保护的现状，为非遗传承人留下时代的肖像。照片拍摄的是非遗传承人鞠进东（1964-）， 山东省海阳市人，第一批国家级非遗民间舞蹈—海阳大秧歌的世家传人，师从其父，已故的大秧歌国家级非遗传承人鞠洪钧（1926-2008）。其家族历代以大秧歌中，古代行走乡间、呼风唤雨的巫医“乐大夫”而闻名四方。作为“文明的活化石”—非遗传承人，他不仅参与诸多全国性大秧歌表演和竞赛，出演海阳祭海典礼和庙会，更要将这门祖传的非物质文化遗产通过卫视直播等形式传播开来，传授给更多专业舞蹈演员和感兴趣的年轻人，使古老的民间艺术能够源源不断地流淌向未来。 The series photography focuses on the daily life of the Chinese intangible cultural heritage inheritors. I try to reflect the situation of contemporary China intangible cultural heritage protection through taking portrait pictures for the intangible Cultural Heritage inheritors which be considered as the living fossil of civilization. The intangible Cultural Heritage inheritor I shot is Ju Jindong born in 1964, the Chinese folk dance Yangko dance player, who studied from his father Ju Hongjun (1926-2008). The Ju family has at least 300 years history according to the genealogy, and some family members were famous for the leading actor Le Daifu in the Yangko dance. As an intangible Cultural Heritage inheritor, Ju Jindong are trying to bring the influence of Yangko Dance the ancient folk art recent years, by not only continue performing on some traditional Festival ceremonies, but also letting increasing people know Yangko Dance by video on line. He also tries to pass on the dance to professional dance players and youngsters who have interest in Yangko Dance, to make the ancient folk art, the Chinese intangible cultural heritage flowing to the future.
Zhang Yinghan
Chinese Intangible Cultural Heritage Family-4
中国非遗人家Chinese Intangible Cultural Heritage Family 本组摄影作品关注中国非物质文化遗产传承人的日常生活现状，力求通过拍摄“文明的活化石”—非遗传承人，来反映当代中国非遗保护的现状，为非遗传承人留下时代的肖像。照片拍摄的是非遗传承人鞠进东（1964-）， 山东省海阳市人，第一批国家级非遗民间舞蹈—海阳大秧歌的世家传人，师从其父，已故的大秧歌国家级非遗传承人鞠洪钧（1926-2008）。其家族历代以大秧歌中，古代行走乡间、呼风唤雨的巫医“乐大夫”而闻名四方。作为“文明的活化石”—非遗传承人，他不仅参与诸多全国性大秧歌表演和竞赛，出演海阳祭海典礼和庙会，更要将这门祖传的非物质文化遗产通过卫视直播等形式传播开来，传授给更多专业舞蹈演员和感兴趣的年轻人，使古老的民间艺术能够源源不断地流淌向未来。 The series photography focuses on the daily life of the Chinese intangible cultural heritage inheritors. I try to reflect the situation of contemporary China intangible cultural heritage protection through taking portrait pictures for the intangible Cultural Heritage inheritors which be considered as the living fossil of civilization. The intangible Cultural Heritage inheritor I shot is Ju Jindong born in 1964, the Chinese folk dance Yangko dance player, who studied from his father Ju Hongjun (1926-2008). The Ju family has at least 300 years history according to the genealogy, and some family members were famous for the leading actor Le Daifu in the Yangko dance. As an intangible Cultural Heritage inheritor, Ju Jindong are trying to bring the influence of Yangko Dance the ancient folk art recent years, by not only continue performing on some traditional Festival ceremonies, but also letting increasing people know Yangko Dance by video on line. He also tries to pass on the dance to professional dance players and youngsters who have interest in Yangko Dance, to make the ancient folk art, the Chinese intangible cultural heritage flowing to the future.
Zhang Yinghan
Chinese Intangible Cultural Heritage Family-5
中国非遗人家Chinese Intangible Cultural Heritage Family 本组摄影作品关注中国非物质文化遗产传承人的日常生活现状，力求通过拍摄“文明的活化石”—非遗传承人，来反映当代中国非遗保护的现状，为非遗传承人留下时代的肖像。照片拍摄的是非遗传承人鞠进东（1964-）， 山东省海阳市人，第一批国家级非遗民间舞蹈—海阳大秧歌的世家传人，师从其父，已故的大秧歌国家级非遗传承人鞠洪钧（1926-2008）。其家族历代以大秧歌中，古代行走乡间、呼风唤雨的巫医“乐大夫”而闻名四方。作为“文明的活化石”—非遗传承人，他不仅参与诸多全国性大秧歌表演和竞赛，出演海阳祭海典礼和庙会，更要将这门祖传的非物质文化遗产通过卫视直播等形式传播开来，传授给更多专业舞蹈演员和感兴趣的年轻人，使古老的民间艺术能够源源不断地流淌向未来。 The series photography focuses on the daily life of the Chinese intangible cultural heritage inheritors. I try to reflect the situation of contemporary China intangible cultural heritage protection through taking portrait pictures for the intangible Cultural Heritage inheritors which be considered as the living fossil of civilization. The intangible Cultural Heritage inheritor I shot is Ju Jindong born in 1964, the Chinese folk dance Yangko dance player, who studied from his father Ju Hongjun (1926-2008). The Ju family has at least 300 years history according to the genealogy, and some family members were famous for the leading actor Le Daifu in the Yangko dance. As an intangible Cultural Heritage inheritor, Ju Jindong are trying to bring the influence of Yangko Dance the ancient folk art recent years, by not only continue performing on some traditional Festival ceremonies, but also letting increasing people know Yangko Dance by video on line. He also tries to pass on the dance to professional dance players and youngsters who have interest in Yangko Dance, to make the ancient folk art, the Chinese intangible cultural heritage flowing to the future.
Zhang Yinghan
Chinese Intangible Cultural Heritage Family-6
中国非遗人家Chinese Intangible Cultural Heritage Family 本组摄影作品关注中国非物质文化遗产传承人的日常生活现状，力求通过拍摄“文明的活化石”—非遗传承人，来反映当代中国非遗保护的现状，为非遗传承人留下时代的肖像。照片拍摄的是非遗传承人鞠进东（1964-）， 山东省海阳市人，第一批国家级非遗民间舞蹈—海阳大秧歌的世家传人，师从其父，已故的大秧歌国家级非遗传承人鞠洪钧（1926-2008）。其家族历代以大秧歌中，古代行走乡间、呼风唤雨的巫医“乐大夫”而闻名四方。作为“文明的活化石”—非遗传承人，他不仅参与诸多全国性大秧歌表演和竞赛，出演海阳祭海典礼和庙会，更要将这门祖传的非物质文化遗产通过卫视直播等形式传播开来，传授给更多专业舞蹈演员和感兴趣的年轻人，使古老的民间艺术能够源源不断地流淌向未来。 The series photography focuses on the daily life of the Chinese intangible cultural heritage inheritors. I try to reflect the situation of contemporary China intangible cultural heritage protection through taking portrait pictures for the intangible Cultural Heritage inheritors which be considered as the living fossil of civilization. The intangible Cultural Heritage inheritor I shot is Ju Jindong born in 1964, the Chinese folk dance Yangko dance player, who studied from his father Ju Hongjun (1926-2008). The Ju family has at least 300 years history according to the genealogy, and some family members were famous for the leading actor Le Daifu in the Yangko dance. As an intangible Cultural Heritage inheritor, Ju Jindong are trying to bring the influence of Yangko Dance the ancient folk art recent years, by not only continue performing on some traditional Festival ceremonies, but also letting increasing people know Yangko Dance by video on line. He also tries to pass on the dance to professional dance players and youngsters who have interest in Yangko Dance, to make the ancient folk art, the Chinese intangible cultural heritage flowing to the future.
Zhang Yinghan
Chinese Intangible Cultural Heritage Family-7
中国非遗人家Chinese Intangible Cultural Heritage Family 本组摄影作品关注中国非物质文化遗产传承人的日常生活现状，力求通过拍摄“文明的活化石”—非遗传承人，来反映当代中国非遗保护的现状，为非遗传承人留下时代的肖像。照片拍摄的是非遗传承人鞠进东（1964-）， 山东省海阳市人，第一批国家级非遗民间舞蹈—海阳大秧歌的世家传人，师从其父，已故的大秧歌国家级非遗传承人鞠洪钧（1926-2008）。其家族历代以大秧歌中，古代行走乡间、呼风唤雨的巫医“乐大夫”而闻名四方。作为“文明的活化石”—非遗传承人，他不仅参与诸多全国性大秧歌表演和竞赛，出演海阳祭海典礼和庙会，更要将这门祖传的非物质文化遗产通过卫视直播等形式传播开来，传授给更多专业舞蹈演员和感兴趣的年轻人，使古老的民间艺术能够源源不断地流淌向未来。 The series photography focuses on the daily life of the Chinese intangible cultural heritage inheritors. I try to reflect the situation of contemporary China intangible cultural heritage protection through taking portrait pictures for the intangible Cultural Heritage inheritors which be considered as the living fossil of civilization. The intangible Cultural Heritage inheritor I shot is Ju Jindong born in 1964, the Chinese folk dance Yangko dance player, who studied from his father Ju Hongjun (1926-2008). The Ju family has at least 300 years history according to the genealogy, and some family members were famous for the leading actor Le Daifu in the Yangko dance. As an intangible Cultural Heritage inheritor, Ju Jindong are trying to bring the influence of Yangko Dance the ancient folk art recent years, by not only continue performing on some traditional Festival ceremonies, but also letting increasing people know Yangko Dance by video on line. He also tries to pass on the dance to professional dance players and youngsters who have interest in Yangko Dance, to make the ancient folk art, the Chinese intangible cultural heritage flowing to the future.
Zhang Yinghan
Addiction
作品《瘾》描写当下社会人被社会种种恶意侵蚀失去自我的状态 Work "Addiction" describes the current social people have been eroded by the state of various social malice then lose themselfs
Zhang Xin
The Remedy
作品《The remedy》画中主人公张嘴像是在恳求着观者给予解药，这个解药可以当做是对主人公的解脱，也可以是对主人公的毒害，也可能就是觉得主人公太吵给的镇定剂。 Work "The remedy" shows that the protagonist in this painting is shouting loudly beging for antidote from the viewers, the antidote can be considered as relief for the protagonist, also can be poisoned for her, even can be a calm agent for the protagonist for that she is making so much noise.
Zhang Xin
Be Famous For Upside Down
出人头地?头地出人？ Rise your head to make you higher or low your head to make it easier?
Zhang Xin
Far Away The Las Meninas
法国哲学家米歇尔·福柯在《词与物》书中第一章以《宫娥》为讨论的文本，通过探讨凝视与再现的问题，来解构再现的视觉秩序。其次,毕加索也画过很多《宫娥》的变体画。所以我选择了《宫娥》作为哲学理论和绘画实践的双重研究作品。 在我的作品中，首先通过分析原作中的点线面和黑白灰构成因素，借鉴设计构成来重新解构作品。用疏密虚实不同的直线和圆将具象的人物解构为抽象的平面的几何形，同时把古典的写实的色彩转化为黑白灰，用蓝灰色既打破单调的黑白构成，冷蓝色的灰又与理性的几何形相呼应。圆形像是舞台上的聚光灯直射到人物上，强化了原作中的舞台感和戏剧性。同时圆形和组成人物的直线形成曲直对比，又起到分割画面的作用。 Philosopher Foucault in the first chapter in the book " The Order of Things " ，regard”Las Meninas”as to discussion text, by discussing gaze and reproduce relationship, to deconstruct the visual reappearance of the order. Second, Picasso painted many Las Menians variants of the painting. So I chose "Las Menians“ as a philosophical theory and dual research works of painting practice. In my work, first of all, through the analysis of the original and black and white ash composition factors of point, line and plane, in reference to the design form to deconstruction. With density of the actual situation of different linear and circular representation of deconstruction for the abstract plane geometric characters, at the same time, the classical realistic color into black and white ash, break the monotony of both black and white with blue gray, cold blue grey and that coincide with rational geometry. Roundness like the stage of the spotlights ，illuminate on the people in the painting, to strengthen the original stage of sense and dramatic. At the same time of circular and linear matters and contrast of the characters, and play the role of split work.
Wang Jinshuai
The Mirror-Dwelling In The Fuchun Mountains
作品试图运用平面化的造型语言，转变材料，结合东西方的绘画元素。因为江浙一带素有“江南水乡”之称，水平如镜的富春江面上倒映着两岸的峰峦坡石，似秋初景色，树木苍苍，疏密有致地生于山间江畔，村落、平坡、亭台、渔舟、小桥等散落其间。 因为曲线如水，所以作品借鉴中国传统的水纹和马远的《水图》，并结合抽象绘画的元素，运用几何的曲线来解构中国画中的笔墨。同时又拼贴了像水滴的椭圆形，通过水纹和物像的延续从而打破椭圆的边缘，达到虚实相生，水乳交融的境界。透过现代感椭圆的镜子，仿佛穿越历史的长河，使平面抽象的画面可以追本溯源。画面中原作的特写镜头，映射出古朴真实的原始镜像。 I try to use the plane of modeling , changing material, combination of eastern and western painting elements. Because of Jiangsu and Zhejiang area, known as “jiangnan water country ”, calm water surface of the Fuchun river as a mirror, and the landscape reflected in the river. Such as both sides of the rock slope, overlapping or early autumn scenery, trees, looked like was born in the mountain river, village, flat slope, strew pavilions, fishing boat, Bridges, etc. Because curve like water, so I draw lessons from the traditional Chinese lines and Ma Yuan "water figure”, and combine with abstract painting elements, use geometrical curve to deconstruct ink in Chinese painting. At the same time collage the oval like drops of water , through the continuation of water lines and the eyeball to break the edge of the ellipse, begets to the actual situation, the state of complete harmony. Through modern elliptical mirror, as if through river of the long history, make flat abstract images of their origins. Images of the close-up of the original mapping out of primitive simplicity is true of the original image.
Wang Jinshuai
Wild Lily Also Has Spring
与之相处久了，花室内的花也成为了生命之中的一部分。花儿发出呢喃的声音，似乎在和我分享着感动。聆听生命的低语，诉说人生的真谛。因为个人的经历和性格一直认为自己是野百合，自卑而孤独的我却有一种野百合的韧性和坚毅，同时也有与生俱来的百合所特有的浪漫的完美气质。相信野百合也有春天，期待着在田野里自由地怒放出野性并浪漫的身姿。所以作品采用书写的笔触来表现野百合无边生长的旺盛的生命力，同时运用灰黄和灰紫中和了野百合的野性，营造出一种典雅的氛围，衬托出百合纯洁而又低调的特质。 Along with it for a long time, the flower of indoor has become a part of life. Listen to flowers whispering sound, as if to share with the moved. Listen to life's whisper and tell the truth of life.Because of my personal experience and personality, I have been considered myself as wild lilies. I am inferiority and lonely but I have a kind of wild lily's tenacity and perseverance, as well as born lily perfect romantic temperament. I believe that the wild lilies also have spring and hope they freely blossom with wild and romantic figure in the fields .So I use writing brush to represent the growth of the wild lily endless vitality. At the same time ,I use yellow grey and purple to weaken wild nature of wild lily, to make a kind of elegant atmosphere and foil a lily purity and low quality.
Wang Jinshuai
Peeping
佩索阿教会我如何在一个人的时候发现另一种活着的东西，并且它们比人有意思一千倍、一万倍……/Pessoa taught me how to find another alive thing when I stay alone，which is tens of thousands of times more interesting than human being.
Mu Chunchun
10cm - 1m
佩索阿教会我如何在一个人的时候发现另一种活着的东西，并且它们比人有意思一千倍、一万倍……/Pessoa taught me how to find another alive thing when I stay alone，which is tens of thousands of times more interesting than human being.
Mu Chunchun
Now I Am A Piece Of Blue Color
佩索阿教会我如何在一个人的时候发现另一种活着的东西，并且它们比人有意思一千倍、一万倍……/Pessoa taught me how to find another alive thing when I stay alone，which is tens of thousands of times more interesting than human being.
Mu Chunchun
观自在
心经语。 The words in the Prajnaparamita.
Wu Chaoqun
陋室铭
陋室铭，篆书作品。 A humble abode though this is, my virtues make it smell sweet.
Wu Chaoqun
永生
死，作为生的一部分永生。 The power of dead.
Wu Chaoqun
GETTING CLOSE TO EACH OTHER
这个系列我称之为“时代的虚无之语“。柏拉图《智者》所说，世界是混沌的世界，是流动中正在生成的事物。人类对物质世界追求发展到了更“先进“的今天，来自对“有”的不断追问又或是权利意志的结果——如战争的爆发，环境的污染等等。我在作品里从我个人隐秘的存在经验与世界进行创作。画中的元素来自世界图像的收集，在图像与视觉里形而上的重构表现人的实际生存状况和精神追求。 This series is called "Language in Nothingness of The Times“Plato has once said," the world is a world of chaos,being itself in everchanging." Thanks to the constant questioning about exist or the pursuit of right and will,human beings' desire of a more developed material world now seems coming ture—— a world with wars and detiriating environment,etc. In my works ,I tried to combine my personal experience as a Being with the external world. The images in my works may come from any corner of the world,aiming to reflect the real living condition and the spiritual pursuit of mankind by reconstructing the relationship between image and vision metaphysically.
Chu Tianyi
WHERE I AM - WHERE YOU ARE
这个系列里《我在哪里——你又在何处？》作品中，诡异的绿色蘑菇云，扭动的黑山，在我们整个身外的广阔世界，正像杂沓纷纭的傀儡演出，不断的从舞台上通过，这个世界仍在不断扩张，我们拥有更丰富的社会产物，然而这个时代个体生存体验却自为的出现虚无的精神状况，它夹杂着哀叹，憧憬，无知，并渴望找到自己存在的意义。 In the series"Where I AM——Where You Are?",strang green mushroom cloud and twisted black mountains are like puppets,giving us endless performance in the vast space we live in The world is still expanding,and we never possess so much products than ever before.But,our living experience for itself has given birth to spiritual emptiness mixed with lament longing and ignorance,and everyone is dying to find the meaning of living.
Chu Tianyi
WHAT IS LIKE YOU THE MOST
空气停滞的夜晚 杂乱的藤蔓无序生长 我不知道你是什么 什么和你最相似 黑夜里见到你的行踪 让我满心欢喜 In a stagnant evening vines run wild. I know not who you are I konw not what you are like. I know I an filled with joy when I see you in the dark.
Chu Tianyi
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