China Photographic Publishing House

中國攝影出版社

MOUNT HUANGSHAN INK INTEREST

主編? 劉徽

劉傳炎黃山攝影作品集 MOUNT HUANGSHAN INK INTEREST

劉傳炎黃山攝影作品集

中國攝影出版社

China Photographic Publishing House

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中國攝影出版社

China Photographic Publishing House

MOUNT HUANGSHAN INK INTEREST

主編? 劉徽

劉傳炎黃山攝影作品集

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黃山形勝，馳名中外。峰巒疊峙、奇峰峭拔，溪壑縱橫、巍峨奇特，云蒸霞蔚、氣勢恢宏。七十二峰各顯異

彩，大小主次相得益彰。主峰雄踞、群峰環(huán)顧，布局嚴謹、錯落有致，勁松插云、蒼勁多姿，云?；米?、神秘莫

測，妙趣天成、氣象萬千，構(gòu)成了絕世無雙的黃山勝境。無數(shù)文人、墨客和游人為之贊美，為之謳歌。徐霞客曾

寫下：“登黃山天下無山，觀止矣 !”又流傳著“五岳歸來不看山，黃山歸來不看岳”的千古名句。眾多藝林高手，

情系黃山，譜寫了膾炙人口的傳世名篇。這里，哺育了“新安畫派”、“黃山畫派”這樣一批藝壇群體，蘊育著

像漸江、石濤、黃賓虹等一批藝術(shù)大師。當代藝術(shù)巨匠劉海粟、傅抱石、張大千、潘天壽、李可染、賴少其等，

均多次親歷其境、目染其景、心領(lǐng)其神，寫下了不朽名篇。張大千旅居巴西時，懷念祖國，于 1954 年寫下：“三

作黃山徑頂行，年來煙雨諳晴明，平生幾度秋風履，塵滿苔痕夢中情。”以抒懷念故地之情?？梢婞S山感人至深。

我的同窗好友劉傳炎先生，情系黃山，畢生與之為伴，心誠志摯，不懈地觀察、體驗、探索、認識，以其廣

闊的視野，獨特的視角和藝術(shù)語言，如癡如醉地愛慕并追尋著黃山美的真諦。以其特有的審美情趣，用相機去攝

取黃山靈秀的風光秀色?？胺Q碩果累累，今輯冊《黃山神韻》問世，可喜可賀 !?

劉勰在《文心雕龍》中講：“登山則情滿于山，觀海則意溢于海?！闭f明藝術(shù)創(chuàng)作首要的條件是“情”和“意”。

我的老同學劉傳炎從 20 世紀 50 年代就決心以黃山為題材，從事藝術(shù)創(chuàng)作半個多世紀，數(shù)十年如一日，以山為伴，

情同親人，對黃山的魂魄有著深入的了解，故能對它的豐富多彩，大膽吸收和運用繪畫的理論、技法、立意和情

趣，在攝影作品中顯現(xiàn)出詩情畫意，這是他的作品與眾不同之處。如《偉峰曉生煙》、《萬壑云煙》，都含有濃

郁的中國水墨畫的氣韻和意境，從章法墨色到線條等皆運用得淋漓盡致，將黃山凝重、渾厚、虛實相生的境界通

過單純黑白效果，躍然紙上，宛似一幅潑墨寫意山水。又如《北海蒼勁》一作，取山之一角，讓觀者能聯(lián)想到山

勢之險峻、峰巒之奇特，予人以無限遐想?！对坪焉胶印芬詮V闊的視野，滾滾的云浪，表現(xiàn)出山河廣袤浩瀚，

磅礴之勢。《春泛仙女峰》、《一峰獨秀》，則又是另一種風格，在云淡風清的煙靄中，“寥寥幾筆”勾畫出山

峰之清秀素雅：以少勝多而引人入勝。

宋代米芾畫山，人稱“米氏云山”，意思是說米氏之所以捕捉到了靈山之神韻在乎其繪畫之“山”者“云山”

也。攝影、繪畫雖門類不同，但傳達給觀者的美感是相同的。他緊緊地抓住云的變化，烘托出黃山之偉、之奇、

之美。其作品中所表現(xiàn)云霧之山，大多顯露峰尖朦朧、奇石隱現(xiàn)，或是崖的局部，皆讓人感受到的仍是雄偉矗立、

氣勢宏大的偉峻之峰，波瀾壯闊的恢宏場面。作品中的云霧松石和霞光，無不顯露出美的異彩。王國維說：“言

氣質(zhì)，言神韻，不如言境界。有境界，本也?！蔽矣^劉傳炎攝影作品，能感受到他攝影藝術(shù)所體現(xiàn)的境界。其攝

影之所以有境界，在于畫面?zhèn)鬟_給觀者的寧靜，“寧靜致遠”；也在于其悠遠的空間，“空靈”。宋代蘇東坡曾

有“靜故了群動，空故納萬景”之句。

如果說自然中黃山之美在于它秀峰疊峙，危崖突石，幽壑縱橫之間層霧積云穿行其中，使得它氣韻生動。劉

云中美人霧里山 (注)

—— 序為《黃山神韻》攝影集

( 注 ) 葉挺軍長詩句

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傳炎攝影之美就在于他除了將此美景攝住外，更將云之色——白，留住了，計白當黑，既是黃山之云又是構(gòu)成畫

面的要素，包含黃山而勝之，意境全出。畫家潘天壽云：“畫事以得墨韻神情為難。”而傳炎的攝影作品中能看

出畫面的韻味，這是對美的感悟。?

傳炎作品的另一個突出之處，在于畫面中有一股“清氣”。“何必絲與竹，山水有清音。”“滄浪之水清兮，

可以濯吾纓?！狈鸺抑v清凈，道家講清澄，儒家講清明。一個“清”字，凝聚了中國文化的平淡天真的詩化性悟。

從傳炎的作品中看到的意境，有飄逸、有荒寒、有綺麗，但最根本的一個特征，是清瑩透明的美。是作者對大自

然中明凈、清澄之美有著一種生命般的默契。是從作品中透射出作者“光明洞徹”的性情，是屬于大自然生命中

的美質(zhì)。

晚明黃汝亨給姚之素的《黃山記》寫小引曾說：“我輩看名山，如看美人，顰笑不同情，修約不同體，坐臥

徒倚不同境，其狀千變?！闭f明同一景色，而意境迥異，何況融萬趣于神思的黃山更是豐富多彩。不同的作者，

可以驅(qū)山走海，取江山無盡，收千里風光于一卷，千巖萬壑，層巒疊嶂，令人俯仰其間，贊天地之宏偉，驚造化

之雄奇。有的取景一角，有顯有露，虛無之中，顯現(xiàn)其神，令人見之傾倒。

今見傳炎老同學的影集問世，為之振奮。蜚聲中外的黃山仙境，在他攝影之中更加妖嬈，其無與倫比的天姿

神態(tài)更為動人，令人陶醉。閱讀《黃山神韻》悅目賞心，令我大有重游黃山之興奮和愿望。

傳炎已是“紅樹間疏黃”的古稀之年，能留下我們這一代人的業(yè)績，值得稱頌?，F(xiàn)代攝影藝術(shù)已是大發(fā)展、

大普及的年代，科學之突飛猛進，極大地豐富了攝影器材和新技術(shù)的發(fā)展，尤其數(shù)碼技術(shù)的應(yīng)用，必然要促進攝

影事業(yè)新的興盛，后來者定會居上。祝愿老同學佳作層出不窮！是為序。

本文原是作者為劉傳炎《黃山神韻》影集所作序文。

肖峰，當代著名油畫家，中國美術(shù)家協(xié)會副主席，全國政協(xié)委員，原浙江美術(shù)學院院長（現(xiàn)中國美術(shù)學院）。

1995 年榮獲法國“對人類科學文化有突出貢獻勛章”，1999 年獲“俄羅斯普希金勛章”。

肖? 峰

2006 年 5 月于西湖桂雨山居?

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Huang Shan is a very remarkable place of interest which is world widely known for her all kinds of special peaks, clouds, valleys

and plants. She has her seventy-two peaks each makes its own picture. This natural art gallery has attracted many men of letters

and artists: Xu Xiake, the famous Chinese geographer of the Ming Dynasty, once said “Huang Shan makes the other mountains

look pale”, and “Having visited the Five Mounts, you lose your interest in other mountains and having visited Huang Shan. you

lose interest in the Five Mounts. ” This mountain has also nursed the Xin’an School and Huang Shan School of the traditional

Chinese painting, and masters like Jian Jiang, Huang Binhong and Shi Tao. At present artistic celebrities like Liu Haisu, Fu

Baoshi, Zhang Daqian, Pan Tianshou, Li Keran and Lai Shaoqi also like to visit Huang Shan and have left priceless works. When

Zhang Daqian moved to Brazil the leaving produces in him the home sick sensation. He wrote that “I topped Huang Shan for

three times, sometimes in sunshine or sometimes in rain, I ’ve been so many places, in my dream it’s only there. ’’

Liu Chuanyan and me were once schoolmates and have been friends all these years. I knew his deep love for Huang Shan and for

art. He has been always hold his warm heart for artistic creation and spent several decades of his lifetime with Huang Shan. I’d

like to congratulate him on the publication of his artistic photos collection THE VERVE OF HUANG SHAN.

Liu Xie once wrote in his great art theory book WEN XIN DIAO LONG: “Never climb a mountain without enthusiasm, never

enjoy an ocean without inspiration. ” That means when it comes to creation, you need excitement for it. My friend Liu Chuanyan

has decided to devote his lifetime to Huang Shan since the 50th and for almost these fifty years he never gave up study in Huang

Shan. So today we can see from his works he find the unique beauty of Huang Shan and add much conventional Chinese painting

element in his photographic creation. For example, in the photos of “Peaks in Morning Clouds” and “Valleys in the Clouds”,

the wash-like light in black and white mountain curves and the sense of the fullness has the feature of the Chinese traditional

painting. And in another work ‘‘The Northern Sea’’ he chose to shoot only a corner of the mountain, which gives the readers

room of imagination about the further beauty inside the valleys. “Ocean of the Clouds” records the greatness wide view of the

whole mountain in the white, while ‘‘Virgin Peak in Spring’’ and ‘‘Lonely Beauty” possess another style with the concision of

the 1ines which show the essence of the objects rather than dense colors or complex lines.

In Song Dynasty there was an artist called Mi Fu who was known for his “Mi’s Cloud Mountain”. He liked to paint Huang Shan

in the clouds under different kinds of weathers. Huang Shan in his paintings are usually dimly clouded with slightly the cliff or

rocks exposed in a magnificent panorama in light and shadow. Although the painting and the photography are not exactly the

same, as artistic creation they share some common rules that is to delivering the sense of peacefulness. Wang Guowei wrote:

“Nothing is more important than having a wide range of scope, as of understanding and perception for an artist, because that’s

where the creation comes from. ’’ This compass, as far as I ’m concerned, is the essence of all Liu Chuanyan’s creative works.

The tranquility inside comes from the sense of the etherealness given to the readers by the works. The traditional Chinese artists

have always appreciated the etherealness. In Song dynasty Su Dongpo wrote that “one in still can feel the moves, and the empty

picture can have all the views”.

Huang Shan has her unique beauty. The secret hidden in Liu’s works to reveal the beauty is the use of the color of white. White is

the color of the clouds. He uses the color as a supplement and the background to the whole picture. Famous painter Pan Tianshou

once pointed out that the most difficult thing in painting was the use of the color. In this aspect we can see Liu Chuanyan’s

extraordinary taste in art.

Another point we should value is the limpidity in his works. Like the old sayings that “With no need of having musicians nature

has its own clean music’’ and ‘‘How wonderfully fair the ocean water is and I'd like to be cleaned in it”. The Buddhism and the

Taoism, which are the main parts of the Chinese philosophy, both emphasize limpidity in their theories. We can see this kind of

Mountain in The Fogs, Beauty in the Clouds

Preface for THE VERVE OF HUANG SHAN photograph collection

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innocent modesty in the photos, the beauty of limpidity. Of course it comes from the photographer’s personal taste of beauty.

Like his personality, his works are simple, full and internally rich.

In the late Ming Dynasty, in the preface Huang Ruheng wrote for Yao Zhisu’s HUANG SHAN, he wrote: “We enjoy the charm

of the mountain is just like we see a beautiful lady, the smile and frowning, the dresses and the behaviors are always different. ’’

He pointed out that for the same mountain it appears various views. And according to different artists, the same Huang Shan can

be recorded in thousands kinds of beauties.

Today I feel so heart stirring seeing the publication of the works collection of my old schoolmate. It’s great fun to read his photos

and it reminds me how much Huang Shan attracted me.

Chuanyan is already in his seventies. I’m so glad to see the harvest of our generation. Nowadays the photography makes progress

rapidly, especially the digital technology is simulative to the development of the camera equipments. The following generations

must exceed us. I sincerely hope that my old schoolmate will provide us with more shots of the beautiful mountain Huang Shan.

Xiao Feng

In Xi Lake, Gui Yu Mount house

May, 2006

(From a poem of Army Commander Ye Tjng’s)

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驚濤裂岸

Crack Jingtao shore

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峰林冬韻

Peak forest Dongyun

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夢筆云相隨

With the cloud dream pen

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寒霽煙銷

Han Ji cigarette sales

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暖日春意和

Warm spring day

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云移峰廓

Cloud Yifeng profile

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濃墨淺吟

Nongmo sing painting volume

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峰偉泊云裊

Feng Wei, Bo Yunniao

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天斜云傾撼空鳴

The sky is slanting and the clouds are singing

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黛綠排空

Dailv emptying

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風興云涌

Wind and cloud

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仙人曬靴

Fairy boots left over

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云氤寄韻

Cloud Yin send rhyme

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涵蘊幽嵐

Hidden mist

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驚濤裂岸

The vast world unique

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奇峰巍巍與天齊

The Qi and Qi days

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蒼松碩果

The fruits of pines

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流云縹碧蒼山遠

Misty cloud Bi Cangshan far

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云波流韻

Yun Yun Yun Yun

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云海茫茫峰亦奇

The sea of clouds is boundless and the peaks are strange

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萬壑云煙

Myriad clouds

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疊疊峰巒漫漫天

Overlapping peaks diffuse sky

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天池沐青峰

Tian Mu Qingfeng

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天工落筆奇峰成

A day to Qi

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獨峰領(lǐng)秀

Single peak show

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氤氳潑意

Dense poured Italy

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風鳴云鼓

The wind is singing and the clouds are bulging

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春雨濯碧

Spring Zhuo Bi

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野霽嵐澄

Wild Ji Lan Cheng

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寒曲催云渡

Han Song Du Cuiyun

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青松托云崖

Pine cliff support

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青峰披寒

Qingfeng with cold

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斜峰橫煙

Oblique peak horizontal smoke

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