大眾攝影

三影堂:《無藏》——曾敏雄藏傳文物攝影展 |

2019-10-25 GF

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《無藏》——藏傳文物攝影展

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主辦:三影堂廈門攝影藝術中心藝術家:曾敏雄

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展覽時間2019年10月26日-11月10日9:30-17:30(周一閉館)
展覽地點三影堂廈門攝影藝術中心(廈門市集美區杏林灣營運中心,2號樓301)

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活動信息
藝術家簽售活動
時間:11月1日? 9:30—11.30地點:廈門會展中心《海峽兩岸文博會》三影堂展位

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藝術家講座《從肖像到佛像》與新書發布會?

時間:11月2日 15:00—17:30

地點:三影堂廈門攝影藝術中心

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臺灣攝影藝術家,曾敏雄,早在2017年就到訪三影堂廈門攝影藝術中心,并于2018年集美·阿爾勒國際攝影季期間帶臺灣學生來觀展,同期參與三影堂教育計劃,開設《攝影家作場》攝影藝術工作坊。獲得學員高度評價。
2019年,曾敏雄因緣際會結識了臺灣大收藏家,大伏藏師江敏吉先生,并受其委托拍攝藏傳文物,從數萬件的文物中,選取一部分藏品開始了拍攝計劃,歷時一年,現已集結出版,取名《無藏》。這些攝影作品不是單純的文物圖片,藝術家以他者的目光,重新建構了歷史的影像觀念,物的觀念。賦予作品獨特的肖像性格和藝術情感。如能讓這些珍貴的藏品跟觀眾見面,讓這種紐系民族的文化情感得以交流,無論站在兩岸關系,還是站在藝術交流角度,從任何意義上都是值得去做,去努力的。適逢2019年第十二屆海峽兩岸(廈門)文化產業博覽交易會將于11月1-4日在廈門會展中心舉行。三影堂廈門攝影藝術中心作為文博會集美區的分會場,舉辦《無藏---藏傳文物攝影展》、藝術家講座和珍藏版圖書《無藏》發布會。

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“無藏”一段無法言說的因緣?文 /?曾敏雄?

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時序是2019年3月13日,大伏藏師江敏吉先生慎重地穿起西裝,打起了領帶。步出家門的江大師坐上門口擺上的一張椅子,面對的是他極為不習慣的鏡頭。

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在鏡頭后面的是正處于焦慮狀態的我。對于《臺灣頭》這類嚴肅的肖像拍攝,在按下第一次的快門前,我永遠處在極度焦慮的狀態。

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在這次拍攝之前,江大師只與我見過兩次面。第三次見面時,我們就像老朋友般丟掉了繁文縟節,直接面對鏡頭。

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準提佛母?Cundhi Bodhisattva

?晶 Crystal

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緣起

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在一位企業家的引介下,我第一次來到了位于苗栗頭份的家,目的是一睹大伏藏師江敏吉先生珍藏的藏傳文物。在江大師助理的解說下,面對如此珍貴數量又如此驚人的圣物,我非常好奇!我深深知道,這絕對不是僅靠財力就可以達成的事。?隨著下樓梯的聲音,迎面走來的是一位穿著一般家居服的長者,開口招呼,聲音低沈有力,語調緩慢。雙方坐定,簡單自我介紹后,送上我拍攝的作品集《臺灣頭》。江大師翻閱后笑了笑說從里面看到好多老朋友,但一張照片引起了他的好奇,那是宗教界的精神領袖”印順導師”。大師問起了我如何能拍攝到印順導師的過程,我回憶起當年:”連絡上老和尚的助理,詳細說明來意后,可是連助理也不敢答應拍攝之事,但告訴我可以到現場。如果有緣,導師就會答應拍照......我二話不說立即整理裝備前往,但一時之間也不敢提拍照攝影之事,還好后來助理問我有沒有什么問題要請教導師的?我看到書柜中有一本導師的著作,書名是有關于”無”的論說,于是我拿出了這本書,請教了導師什么是”無”? 導師當時的回答我早就忘記了,但是很神奇的是印順導師就點頭答應拍照之事。”聽到此,江大師說了一句:”真是緣份!”?

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當江大師翻閱整本《臺灣頭》之后,他告訴我:”照片拍的極好,但這些照片透露出了攝影家當時的‘困’......”?

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初出社會的我經營了一家音響工作室。1999 年921 大地震,將我的經濟歸零,但卻意外與美術評論家謝里法教授合作,拍攝中部30?位藝術家肖像。完成之后又開始了《臺灣頭》的拍攝計劃,自此開始南北奔波,為一位又一位曾在臺灣近代史上各領域杰出的人物拍攝肖像。其實當時我的內心挫折感很重,希望能從這些人物的臉上尋找出他們當年面對挫折時的勇氣......換句話說,當大伏藏師江敏吉先生說到從《臺灣頭》的作品里,看到了攝影家的”困”時,我的內心彷佛被電了一下,眼淚差點奪眶而出。同時也好奇,不懂攝影的大伏藏師到底是從何處看出來”困”的呢?

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為他拍一張肖像吧!這是我決定為大伏藏師江敏吉拍攝肖像的第一個念頭!?

綠度母(局部) ?Green?Tara(Local)

水晶掐絲鑲寶石?Crystal with Wire Inlay Gemstone

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處處驚奇

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第一次的拜訪,就想拍攝一些大師的收藏品,面對這么多貴重的圣物,沒想到江大師會爽快的答應。

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江敏吉大師小時候的家境異常辛苦。因緣際會的江老師跟了一位密教師父經泰國尼泊爾輾轉來到了西藏的阿里,在藏區12 年的苦心修練讓他深刻了解藏傳佛教的精妙,并習得藏醫的精髓......年輕時的江大師曾想剃度為喇嘛,他的師父說喇嘛不是他的志業,他的志業是要聚雄財;日后有其他重要任務,或許這任務就是為了保存藏傳文物而盡心盡力。?

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所謂的大伏藏師,他們有項驚人的本領就是靠著感應冥想能將地下的,水中的甚至是山里的寶物給找出來。這樣的本領當然需要有天賦資質以及異于常人的修行運道,最令我感到好奇的是......是什么”緣份”,讓這么多的寶物進到江大師的收藏中。?這樣的緣份也在我為這些佛像拍攝時出現。當我在 屏幕上試著微調一下影像明暗的階調時,”就在一瞬間,一尊菩薩對我微笑?了......”看到菩薩微笑,我當時驚訝地立即放下手上的工具,拿起了手機拍下屏幕內的菩薩傳給了伏藏師的助理。連他們也感到非常奇妙。

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在接連的拍攝過程中,出現過多次無法以科學邏輯的方法解釋的神奇現象,讓原本鐵齒的我也不得不相信自然界隱藏著某種神秘未知的力量。

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文成公主官帽?Official Hat of Princess Wen-Cheng

鎏金銅掐絲鑲夜明珠?Gilt Copper with Wire Inlay Night Pearl

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未知的緣份
為了拍攝這些寶物,我不斷的調整拍攝方法,并添購了些專業的設備。嘗試著 從“人性”去解構“神性”──換句話說就是把”神像”當做”肖像”來拍, 讓這些寶物脫離“目錄”的刻板印象,賦予每件寶物獨特的個性。?
為著能尋找出最后的答案,我只有傾盡力氣為這些寶物留下它們動人的身影,并希望藉由這樣的拍攝,也能串起有緣人與這些藏傳文物的緣份。
感謝在這緣份中犧牲奉獻的所有人!

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?財神?Black Jambhala

?雕?Carved Stone

關于藝術家

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曾敏雄

嘉義人,亞洲大學視覺傳達系研究所,1990年成立音響工作室,并曾擔任電臺古典音樂節目主持人; 1996年年底開始自學攝影;1999年921地震成為受災戶,因緣際會與美術評論家謝里法教授合作,開啟肖像攝影生涯,先后獨力完成”中部30位藝術家肖像””嘉義 20位美術家肖像””臺灣頭” “60位音樂家肖像””臺東藝術家肖像”等等,其中”臺灣頭”系列作品除了是肖像攝影外,因其涵蓋臺灣近代各個領域發展中最為重要的一些人士 ,是臺灣近代史中不可或缺的人物資料。?“風景 安靜””那里 這里”則是獨立于肖像攝影之外的作品,并從2010年開始至今,以”微光漸漸”為名,鏡頭長期紀錄一群盲童其生活樣貌與家庭關系,除此之外,持續的關注庶民生活中有關臺灣文化的影像紀錄....這幾個系列作品的拍攝時間少則數年,多則超過十年以上。?2001年獲雕刻大師朱銘邀請,與其拍攝“太極拱門”等多本作品集; 2007年至美國新墨西哥州流浪,追尋女畫家歐姬芙的足跡,回臺后,由前輩攝影家張照堂為其策劃展覽; 2015年,在一個字都不認識的情況下,獨自在歐洲浪跡超過6000公里;2017年,為提升中部藝文欣賞,策劃“臺中說說”的藝文講座, 持續至今。?2016年獲得財團法人林宗毅博士文教基金會臺灣年度文化獎。2018年受三影堂廈門攝影藝術中心的邀請,在集美一阿爾勒國際攝影季期間,主持個人工作坊。2019年因為殊勝的因緣,結識大伏藏師江敏吉,開展出與藏傳文物的緣份。曾三次獲得國家文藝基金會的審查補助創作與出版,并曾擔任行政院全國公教美展與全國大專攝影比賽以及多個攝影比賽的評審。作品展出于國立歷史博物館,臺北市立美術館,靜宜大學藝術中心,西伯利亞州立美術館,日本Place M攝影藝廊,中國大理,平遙國際攝影節,以及國內的TIVAC,爵士等藝廊。作品受國立歷史博物館,臺北市立美術館,文化部藝術銀行,臺灣攝影文化中心,靜宜大學藝術中心及國內外私人典藏。?曾于國立臺灣師范大學與亞洲大學任教,目前專心于攝影教學與創作。

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無藏——曾敏雄藏傳文物攝影集

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出版時間:2019年6月15日初版一刷

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頁數:228頁

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類型:精裝

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大小:28x28cm

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語言:中文、英文、日文

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Selfless Terma Treasures


Tibetan Cultural Relics Photography Exhibition

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Artist:Miin-Shyong TsengOrganiser:Three Shadows Xiamen Photography Art CentreDuration:Oct. 26?–Nov. 10, 2019??9:30-17:30 (Close on Mondays)Venue:Three Shadows Xiamen Photography Art Centre (No. 301, Building 2, Xinglinwan Business Center, Jimei District, Xiamen)

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“Selfless Terma Treasures”- The Unspeakable Links of Dependent Origination?

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Text / Miin - Shyong Tseng?
On the date of March 13, 2019, the Great Terton (terma treasure revealer), Ming- Chi Chiang, wore his suit with tie discreetly. As the Great Terton stepped out and sat on a chair right in front of the door, he looked into the lens with an expression that suggested he was extremely uncomfortable.?
I was also right behind the lens in an extremely anxious state. For the type of solemn portrait photography involved in Face’s Talk, I would be in an extremely anxious state until after I pressed the shutter for the first shot.?
Before the photoshoot, the Great Terton Ming-Chi Chiang and I had only met twiceWhen we met for a third time, we cut through all the red tape, and directly, as if like old friends, started the portrait photo-shooting.?
The Origin?
Through the introduction of an entrepreneur, I went to the residence of the Great Terton Chiang Ming-Chi in Toufen, Miaoli, to see his terma treasure collection. The Great Terton’s assistant narrated me through the astonishing number of precious, sacred objects, and I was so curious as to who could own such a collection. I understood deep down in my heart that this is not something a person could achieve with only financial resources.?With the sound of footsteps coming down the stairs, an elderly gentleman appeared with a casual outfit, and walked towards me. Greeting me in his deep, and orotund voice in slow delivery. All parties sat down for a brief introduction, then I gave the Great Terton my photographic book, Face’s Talk. He went through the pages, smiling, and said that he saw many of his good friends in my book. A certain portrait inside the book caused him curiosity. It was a photo of the religious spiritual leader “Master Yin-Shun”. He asked me how I successfully took the photo of Master Yin-Shun. I recalled, “After I got in contact with the assistant of Master Yin-Shun, I explained to him my intentions. The assistant could not promise me about getting a photo-shoot on behalf of Master. He told me that I could go there and seek him out... If it was a fate, Master Yin-Shun would say, ‘yes’ to me for a portrait photo-shooting. After the phone call, I immediately packed up and got ready to go to the site. When I finally got to meet him and greeted him, I didn’t dare to mention the potential of getting a photo- shoot. His assistant asked me if there were any questions that I had for Master Yin- Shun. At that moment, I saw a book of the Master’s, and it was about the theory of “the void”. I took out the book and asked the Master, ‘What is the void?”. What the Master replied to me, I have no recollection, but it was magical enough that Master Yin-Shun nodded his head in approval for my photo-shoot. The Great Terton then said, “It was fate and destiny.”?
The Great Terton told me after he had went through the whole book of Face’s Talk. “ He said, The photos are extremely good, but these photos show how the photographer was “poisoned” during the time of shooting.”?
I had just graduated from college, and had an audio studio of my own. The 921 Earthquake in year 1999 shook my finances down to zero. But then, I accidentally had the opportunity to cooperate with the well-known art critic, Dr. Li Fa Hsieh, to take portraits of thirty artists residing in the middle of Taiwan. Since then, I started to travel from south to north, to take portraits of one outstanding figure after another in various fields of??Taiwan’s modern history. I was actually frustrated during that time, and I was hoping to seek and find the courage these figures had when they faced their frustration. In other words, when the Great Terton mentioned that he saw the photographer was “poisoned” in the works of Face’s Talk, my heart seemed to be electrocuted, and tears almost rushed out of my eyes. I was curious at the same time, why the Great Terton who didn’t know much of photography, could he see that I was “poisoned” at that time??
Take a portrait for him! This was the first thought that I had at the moment when I thought about the Great Terton Ming-Chi Chiang.?
Surprises Everywhere?
My intention was to take photos of previous sacred collections that were owned by the Great Terton on my first visit, and I didn’t know that he would say, ‘yes’ to me so readily.?Due to the extreme poverty in his childhood, the Great Terton was serendipity that he followed a master of Esoteric Buddhism travelling from Thailand, through Nepal, and finally arriving at Nagari in Tibet. He spent twelve painstaking years in Tibet making an effort to learn and practice Tibetan Buddhism, until he finally understood deeply about its subtleties, as well as the essence of Tibetan medicine. When he was younger, the Great Terton tried to shave his head and become a Lama. However; his master said becoming a Lama was not his destiny. His destiny, instead, is to make and collect a great fortune for another important purpose and a task for the future. Perhaps, the purpose is to try his best with all his heart and effort to keep and preserve Tibetan Terma Treasures.?
The so called Great Tertons, have an amazing talent to trace the terma treasure through their telepathic abilities and meditation, regardless if the items are underground, in the water, or hidden somewhere in the mountains. Such abilities nevertheless require talent and practice that are different from most ordinary people. What makes me the most curious is what kind of “fate” is it that brings great numbers of treasures into his collection. It’s already a big number if one collects hundreds or thousands of these treasures.?
This fate became apparent during the shooting of the Buddha statues. When?I was trying to adjust the tones of the pictures, and saw a Buddha smiling at me in one moment. When I saw the Buddha smiling, I was so surprised that I immediately put off all the things that I needed to do, and grabbed my phone to take a photo of it. I sent the picture of the smiling Buddha to the Great Terton’s assistant, who understands these treasures, feels amazed.?
There were a few magical phenomenon that occurred during the photo shooting, which could not be explained by any scientific logic. I was originally a nonbeliever, but now I have to believe there is some mysterious force hidden in the nature of these treasures.Unknown Fate?
I have to constantly adjust my own ways of photo shooting in order to shoot these treasures well, as well as purchasing more professional photography equipment. I tried to deconstruct“divinity” from “humanity”. In other words, taking the profile picture of these Buddha statues so the treasures can be detached from the stereotype of “catalogue”, and show each piece of treasure with its own unique “personality” that it contains.?
To seek the final answer, I can only give all my efforts to keep a photographic record, and keep these treasures seen in their most beautiful way. I look forward to linking more people in destiny to these Tibetan terma treasures through my photography.?
I appreciate all those who sacrifice and devote themselves in this special, destined fate.??Artist Introduction:Miin-Shyong Tseng
Tseng was born in Chiayi City, Taiwan.He graduated from the graduate school of Visual Communication & Design at Asia University.He founded an audio studio in 1990, and was formerly a classical music programme radio presenter.He started to learn photography at the end of 1996 by himself.In 1999, Tseng was a victim of the 921 Earthquake Disaster that struck Taiwan which influenced his journey into photography.Serendipity then brought him and art critic Dr.Li-Fa Hsieh together, which then began his career in portrait photography.He went on to complete several portrait series such as "30 Artist Portraits in the Central Taiwan", “20 Artist Portraits in Chiayi”,“Face’s Talk”, “60 Musician Portraits”,and “Artist Portrait in Taitung’, solely by himself.In addition, his series of works in “Face’s Talk” are not only of portrait photography, but also involve some of the most important people in different fields and industries, which has become indispensable data in the record of Taiwan's modern history.
Voice Inside and Here There are his works that are independent from portrait photography.Tseng has been photo-shooting a group of blind children, their families, and the relationships between them since 2010, in a collection known as “Tittle Light, Little More”.Aside from all the above mentioned topics, he continues to focus on the lives of common people with his lens to capture the culture of Taiwan.Some of these projects took several years to compile, whereas others have taken up to ten years or more.
Tseng was invited by Ju Ming, a master of wood-carving, in 2001 to shoot Ju's artworks such as Taichi Arch.In 2007, Teseng traveled by himself to New Mexico, in the U.S, to seek out the footprints of Georgia Totto O'Keeffe.After he returned to Taiwan, the well-known photographer Chao-Tang Chang planned a photo exhibition for Tseng.Tseng also traveled to Europe by himself in 2015 and wandered over 6,000 km on a photo-journey.Tseng has also been promoting the appreciation of art in the middle of Taiwan by planning and holding art seminars called “Talks in Taichung” since 2017.
In 2016, Tseng was awarded the "Taiwan Cultural Award" by the Dr.Lin Tsung-I Foundation.In 2018, Tseng was invited by “Three Shadows” in China to host a workshop during the Jimei X Arles International Photo Festival.In 2019, Tseng met the Great Terton, Ming-Chi Chiang, and due to this wondrous occasion he started his destined relationship with Tibetan cultural relics and hidden treasure.?He has been subsided three times for his works and publishing by the "National Culture and Arts Foundation".Tseng has also been a judge for the "National Civil Officers Art Exhibition", the "National College Photography Competition" as well as many other photography competitions.
Tseng's works have been exhibited in the National History Museum, Taipei Fine Arts Museum, Art Center in Jingyi University, Siberian State Museum of Art, Gallery Place M in Japan, Dali International Photography Exhibition in China, Pingyao International Photography Exhibition in China, and other galleries in Taiwan such as TIVAC and Jazz.
Tseng's works have been collected by the National History Museum, Taipei Fine Arts Museum, Ministry of Culture Art Bank, Art Center in Jingyi University, as well as other international, national and private collections.Tseng has taught at National Taiwan Normal University, and at Asia University.He is currently devoting his time and focus to teaching photography and creation.

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