Name: 你從未聽說過的最佳攝影師 (The Best Photographer You've Never Heard Of)
Uploaded: 2025-05-23T05:34:56.000Z
Duration: 9 min 33 s

When we take photos, we have the sense that we're capturing reality as it is.

當我們拍照時，我們會有一種捕捉現實的感覺。

But of course, reality is three-dimensional, and a photo is not.

當然，現實是三維的，而照片不是。

To get that third dimension back, or at least to simulate it, photographers use the technique of layering.

為了找回三度空間，或者至少是模擬三度空間，攝影師們使用了分層技術。

And I don't mean Photoshop layers, I mean composing an image in-camera with elements in the foreground, middle ground, and background to create a sense of depth and visual interest.

我指的不是 Photoshop 圖層，而是在相機中用前景、中景和背景元素合成影像，以營造深度感和視覺趣味。

I've been thinking a lot about layering and layers, looking at the work of Tseng Kwang-Chi, how there are layers everywhere in his extraordinary photographs, both visible and invisible.

我一直在思考分層和層次的問題，看曾廣智的作品，在他非凡的攝影作品中，有形和無形的層次無處不在。

Tseng was a photographer active in the 1980s, based in New York City, and friends with artists like Keith Haring, Jean-Michel Basquiat, and Andy Warhol, all of whom he photographed for various projects.

曾是一位活躍於 20 世紀 80 年代的攝影師，常駐紐約，與凱斯-哈林、讓-米歇爾-巴斯奎特和安迪-沃霍爾等藝術家交好，併為他們的各種項目拍攝照片。

He's not as much of a household name as these contemporaries, but he should be.

他不像同時代的這些人那樣家喻戶曉，但他應該家喻戶曉。

His work is just as fresh, incisive, and playful.

他的作品同樣新鮮、精闢、俏皮。

Tseng's masterpiece is a series of self-portraits called East Meets West, taken from 1979 to 1989, in which he poses in a Mao suit in front of American and international landmarks and landscapes, landmarks like the Hollywood sign, the Golden Gate Bridge, the Eiffel Tower, and the Statue of Liberty.

曾梵志的代表作是一組名為《東方遇見西方》的自畫像，拍攝於 1979 年至 1989 年期間，在這組自畫像中，他身著毛澤東中山裝，在美國和國際地標及景觀前擺出各種姿勢，這些地標包括好萊塢標誌、金門大橋、埃菲爾鐵塔和自由女神像。

Tseng layers these photos to put himself, or the character he's playing, who he called the ambiguous ambassador, into a dramatic relationship with these national icons, and he's asking us to consider and interrogate this relationship.

曾梵志將這些照片層層疊加，將他自己或他所扮演的角色（他稱之為 "曖昧大使"）與這些國家偶像置於一種戲劇性的關係中，並要求我們思考和審問這種關係。

I mean, if you knew absolutely nothing about this series, how would you make sense of these photographs?

我的意思是，如果你對這個系列完全一無所知，你將如何理解這些照片？

Maybe you'd think this was a real Chinese diplomat getting snaps of himself at famous U.S. tourist sites.

也許你會認為這是一位真正的中國外交官在美國著名的旅遊景點偷拍自己。

In 1979, that wouldn't have been a totally unreasonable assumption.

在 1979 年，這並不是一個完全不合理的假設。

The eyes of Texas were on Deng Xiaoping today, as the Chinese vice premier continued his tour of this country.

今天，德克薩斯州的目光聚焦在鄧小平身上，中國副總理繼續他在這個國家的訪問。

That year, the new Chinese leader Deng Xiaoping made a historic visit to the United States, the first official visit of a Chinese leader since the founding of the People's Republic of China in 1949.

這一年，新中國領導人鄧小平對美國進行了歷史性訪問，這是 1949 年中華人民共和國成立以來中國領導人首次正式訪問美國。

The trip symbolized a turning point in relations between the two countries after decades of hostility, indicating Deng's desire to open up China for a new era of economic and cultural exchange.

此行象徵著兩國關係在經歷數十年敵對後的一個轉捩點，表明鄧小平希望開放中國，開創經濟和文化交流的新時代。

Much like the ambiguous ambassador, Deng toured the U.S., visiting D.C., Atlanta, Seattle.

與這位曖昧大使一樣，鄧小平也在美國進行了巡迴演講，訪問了華盛頓特區、亞特蘭大、西雅圖。

He even went to a rodeo in Texas, where he was presented with a cowboy hat, another icon of American culture, which he proudly wore.

他甚至還參加了德克薩斯州的牛仔競技大會，會上有人向他贈送了一頂美國文化的另一個標誌--牛仔帽，他自豪地戴在頭上。

It's important to understand that in 1979, Americans simply hadn't seen any Chinese tourists, because there were none.

要知道，在 1979 年，美國人根本就沒見過中國遊客，因為根本就沒有。

If anything, they saw government officials like Deng, most likely on TV and not in person.

如果有的話，他們看到的是像鄧小平這樣的政府官員，很可能是在電視上，而不是本人。

After decades of Cold War antagonism, and then a gradual warming of relations, Americans' sense of Chinese identity was complex and layered.

經過幾十年冷戰時期的對立，再到後來關係的逐漸升溫，美國人對中國的認同感是複雜而多層次的。

Shortly before starting East Meets West, Deng's parents visited him and his sister Muna in New York and wanted to take them to the fancy restaurant atop the World Trade Center called Windows on the World.

就在創辦《東西方文化》不久前，鄧小平的父母到紐約看望他和妹妹穆娜，並想帶他們去世貿中心頂層一家名為 "世界之窗 "的高級餐廳用餐。

The restaurant had a dress code, but Deng didn't have formal wear.

餐廳有著裝要求，但 Deng 沒有穿正裝。

All he had was a Mao suit that he had thrifted in Montreal, so he wore that.

他只有一套在蒙特利爾淘來的毛式西裝，於是就穿上了。

Incredibly, the restaurant staff seeing this treated him like a visiting dignitary, giving him and his family the best table in the place.

令人難以置信的是，餐廳員工看到這一幕後，把他當成了來訪的貴賓，給他和他的家人安排了最好的餐桌。

In this experience, seeing how differently he was treated based on his attire, East Meets West was born.

在這段經歷中，他看到了自己因衣著而受到的不同待遇，於是就有了 East Meets West。

By putting on the Mao suit, Tseng activates in the viewer this deeply layered perception of Chinese identity, just as he sparked a reaction in the restaurant staff.

曾梵志穿上毛澤東的中山裝，激活了觀眾對中國人身份的深層認知，正如他引發了餐廳員工的反應一樣。

I've been calling it the Mao suit because in the West, it's most associated with Mao Zedong, founder and first leader of the People's Republic of China.

我一直稱它為 "毛澤東裝"，因為在西方，它與中華人民共和國的締造者和首任領導人毛澤東聯繫最為密切。

But a more correct name is the Jiangshan suit, named after Sun Yat-sen, leader of the 1911 revolution that overthrew the Qing dynasty and ended 2,000 years of imperial rule in China.

但更正確的名稱是江山裝，它是以辛亥革命領袖孫中山的名字命名的，孫中山推翻了清王朝，結束了中國兩千年的帝王統治。

Sun was looking for a modern form of dress that separated itself from the Manchu robes of the Qing dynasty, settling on a design partly inspired by Japanese cadet uniforms.

孫中山一直在尋找一種能與清朝滿族長袍區分開來的現代服飾形式，他的設計靈感部分來源於日本士官生制服。

The suit went through a number of variations, but the final design features a stand and fall collar, five buttons down the front said to represent the five branches of government, and four flap pockets symbolizing the four virtues of Confucianism.

這套西裝經歷了多次修改，但最終的設計還是採用了立領，前面有五顆鈕釦，據說代表了政府的五個部門，四個翻蓋口袋象徵著儒家的四德。

Shortly after Sun died in 1925, his Nationalist Party entered into a civil war with the Communist Party, which ended with the victory of the Communists and the elevation of Mao.

1925 年孫中山逝世後不久，他上司的國民黨與共產黨發生內戰，最終以共產黨的勝利和毛澤東的升遷而告終。

But when Mao proclaimed the foundation of the People's Republic of China, he wore a Jiangshan suit, indicating that he still wanted to borrow some of Sun Yat-sen's authority, even while breaking from his party.

但當毛澤東宣佈中華人民共和國成立時，他卻穿上了江山裝，這表明他仍想借用孫中山的一些權威，即使與孫中山的政黨決裂。

Soon, the suit became the de facto attire for all officials, party members, and workers in China, a vital part of the country's visual identity.

很快，中山裝成為中國所有官員、黨員和工人的實際著裝，成為國家視覺形象的重要組成部分。

When Sun wears the Jiangshan suit in East Meets West, he's wearing all of its many historical layers, and he's setting that potent symbol against the symbols in the background of his photos, symbols of America's engineering triumphs, its economic power, its cultural influence, symbols of opportunity, symbols of despair.

孫中山在《東邪西毒》中穿上江山服時，他穿上了江山服的所有歷史層面，他將這一有力的象徵與他照片背景中的象徵--美國工程勝利的象徵、經濟實力的象徵、文化影響力的象徵、機遇的象徵、絕望的象徵--相映襯。

What do these symbols of national identity mean to Americans?

這些國家身份的象徵對美國人意味著什麼？

What would they mean to an actual Chinese dignitary of Mao's era or Deng's era?

對於毛澤東時代或鄧小平時代的中國政要來說，它們意味著什麼？

What do they mean to the ambiguous ambassador, this mysterious tourist?

它們對這位曖昧的大使、這位神祕的遊客意味著什麼？

And what do they mean to Tseng Kuan-chi, the artist who's put himself in the foreground of all these photographs, but at the same time has hidden himself under all these interacting layers of meaning?

曾梵志將自己置於所有這些照片的前臺，但同時又將自己隱藏在所有這些相互影響的意義層之下，對於曾梵志來說，這些照片又意味著什麼呢？

Tseng was born in Hong Kong in 1950, when it was still controlled by the British.

曾梵志於 1950 年出生在香港，當時香港仍由英國人控制。

His father had been an officer in the Chinese Nationalist Party and fled the country when the communists took power.

他的父親曾是中國國民黨的一名軍官，在共產黨奪取政權後逃離了中國。

When he was 16, Kuan-chi's family moved to Canada.

16 歲時，寬志舉家遷往加拿大。

Later, he went to Paris to study painting, but soon gave it up for photography.

後來，他去巴黎學習繪畫，但很快就放棄了，轉而學習攝影。

In 79, when he was almost 30 years old, he landed in Manhattan's East Village with his sister, where he met other like-minded artists and began the East Meets West series.

79 年，年近 30 歲的他與妹妹來到曼哈頓東村，在那裡他結識了其他志同道合的藝術家，並開始了 "東西方 "系列創作。

Despite the stoic pose in many of his self-portraits, Tseng was playful and lighthearted in person.

儘管曾梵志在許多自畫像中都擺出了拘謹的姿勢，但他本人卻十分俏皮、輕鬆。

If you look, there's evidence of that scattered throughout the series, breaking free from the suit, the monuments, the layers of national histories.

如果你仔細觀察，就會發現這一點散佈在整個系列中，掙脫了西裝、古蹟和層層疊疊的國家歷史。

Tseng's personal history was as layered as any of these things, as you can see, but he didn't want to be defined by unchosen identities.

如你所見，曾梵志的個人經歷與這些事情一樣豐富，但他不想被未選擇的身份所定義。

He didn't want to be known as a Chinese artist or an Asian American artist or a gay artist.

他不想被稱為中國藝術家、亞裔美國藝術家或同志藝術家。

He just wanted to be an artist because that was the identity that he selected for himself.

他只想成為一名藝術家，因為這是他為自己選擇的身份。

In the later part of East Meets West, Tseng travels into the American and Canadian countryside.

在《東西方相遇》的後半部分，曾梵志走進了美國和加拿大的鄉村。

In many of these photos, the ambiguous ambassador is no longer in the foreground of the image, no longer taking up as much space as massive man-made monuments.

在許多這些照片中，模稜兩可的大使不再處於畫面的前景，不再像巨大的人造紀念碑那樣佔據大量空間。

Here, the layers are collapsed and he becomes a part of the landscape.

在這裡，層層坍塌，他成為了風景的一部分。

He still sticks out, but the ambiguous ambassador's relationship to what's around him is less confrontational now and more contemplative, more, well, ambiguous.

他仍然很突出，但這位模稜兩可的大使與周圍事物的關係現在少了些對抗，多了些沉思，多了些，嗯，模稜兩可。

That's really what identity is, national or personal.

這才是真正的身份認同，無論是國家身份還是個人身份。

That tension, that ambiguity, is what Tseng Kuang-chi captures so brilliantly in East Meets West, and it's a theme he would have continued to explore had he not died from complications related to AIDS in 1990 at age 39, just 22 days after his friend Keith died of the same thing.

如果不是 1990 年他因艾滋病併發症去世，享年 39 歲，而他的朋友基思也因同樣的原因去世僅 22 天，曾匡時會繼續探索這個主題。

Who knows what layers he was gonna show us next.

誰也不知道他接下來會給我們展示什麼樣的層次。

It's hard to say because I always wanted to be on the ambiguous.

這很難說，因為我一直想做一個模稜兩可的人。

You know, is this a critique or is this a glorification?

That way, I think, gives my photographs much broader meaning.

我認為，這種方式賦予了我的照片更廣泛的意義。

You can read it one way or another depending on what you want to see in it.

你可以根據自己的喜好來選擇閱讀方式。

But so far, it is not, it has not really been accepted in the mainstream, although I hope this year it will be.

但到目前為止，它還沒有真正被主流所接受，儘管我希望今年它能被主流所接受。

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本期節目由 Squarespace 為您帶來，Squarespace 是創業者在網絡上脫穎而出並取得成功的一體化網站平臺。

To get started, you can use Blueprint AI, Squarespace's AI-enhanced website builder, to get a fully customized site in just a few steps or choose from their library of professionally designed templates that are sleek and engaging.

要開始使用，您可以使用Squarespace的人工智能增強型網站構建工具Blueprint AI，只需幾步就能獲得完全定製的網站，或者從其專業設計的模板庫中選擇時尚、吸引人的模板。

Every website you make will be optimized for SEO, so you'll show up more often in search results.

您製作的每個網站都將針對搜索引擎優化進行優化，是以您將更頻繁地出現在搜索結果中。

And you can do so much within Squarespace, like creating members-only content, videos, blogs, or courses, creative work that you can monetize via one-time payments or subscriptions.

在 Squarespace 中，您可以做很多事情，比如創建會員專享內容、視頻、博客或課程，以及可以通過一次性付款或訂閱來盈利的創意作品。

The bottom line is that Squarespace is going to make a home for your products or your work that looks and feels professional, something that will impress your customers and fans.

最重要的是，Squarespace 將為您的產品或作品打造一個專業的家園，讓您的客戶和粉絲對您刮目相看。

Head over to squarespace.com for a free trial.

And when you're ready to launch, go to squarespace.com slash nerdwriter for 10% off your first purchase.

當你準備好啟動時，登錄 squarespace.com slash nerdwriter，首次購買可享受九折優惠。

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你從未聽說過的最佳攝影師 (The Best Photographer You've Never Heard Of)

engage

treat

sense

interact