傅文俊 Fu Wenjun

历史呈现的样式是“你方唱罢我登场”，没有一个绝对场域中心。即便在宣扬“场域学说”的法国哲学家布厄迪尔那里，它也是随着资本与权力变动的社会空间。万园之园“圆明园”的命运必然是“废墟”，世博园英国馆的命运一定是“拆啦”，这中间玄机重重。
从1860年园明圆遭列强洗劫，到2010年世博园列国出席，经历了150年。150年间，仍是王霸争雄，大道潜行。世界发生的变化并未出其右。无论是宣称“历史的终结”、“文明的冲突”还是“后现代的崛起”，所究其实，仍是四大思潮在主导人间——达尔文的进化论(1859)、马克思的资本论(1867)、弗洛伊德的性动力学说(1905)、凯恩斯的消费刺激生产理论(1936)。

History unfolds in a mode akin to “one takes the stage as another exits”; there is no absolute or permanent center of the field. Even for the French philosopher who advanced the theory of fields, the field itself is a social space that shifts with changes in capital and power. The fate of the “Garden of Gardens,” the Old Summer Palace (Yuanmingyuan), was inevitably that of ruin; the fate of the British Pavilion at the World Expo was inevitably dismantling. Between these outcomes lies a dense web of underlying logic and implication.
From the looting of the Old Summer Palace by the imperial powers in 1860 to the collective presence of nations at the World Expo in 2010, a span of 150 years has elapsed. Yet across these 150 years, the dynamics remain those of hegemonic rivalry and contending powers, while the larger order moves quietly beneath the surface. The changes that have taken place in the world have not, in essence, exceeded this framework. Whether proclaimed as the “end of history,” the “clash of civilizations,” or the “rise of postmodernism,” upon closer examination these narratives are still governed by four major intellectual paradigms that continue to shape human society: Darwin’s theory of evolution (1859), Marx’s Capital (1867), Freud’s theory of psychosexual drives (1905), and Keynes’s theory of stimulating production through consumption (1936).

正是有感于历史在虚无与真实之间“拉风箱”(天地之间，其犹橐龠乎!《道德经》)，傅文俊先生用摄影之术表达他对历史之道的思考：一切历史都在走过场。当年的主角如今在跑龙套，当年的反面角色如今成为正面形象，当年的成败利害如今已无法得失计算。也许。
用中国一句戏文喟叹就是：“眼看他起朱楼，眼看他宴宾客，眼看他楼塌了”。我能想像傅文俊先生在夕阳中面对圆明园、在放睛时眺目世博园的那份家国感慨与历史情怀。因此，当他找我操办展览时，我无法不领命。

It is precisely in response to history’s oscillation between emptiness and reality—its bellows-like motion of expansion and contraction (“Between Heaven and Earth, is it not like a bellows?” Dao De Jing)—that Mr. Fu Wenjun employs the medium of photography to articulate his reflections on the way of history: all history is but a performative passage. Yesterday’s protagonists now play supporting roles; yesterday’s antagonists are recast as positive figures; yesterday’s gains and losses, successes and failures, can no longer be meaningfully calculated. Perhaps.
To borrow a line of lament from traditional Chinese opera: “We watch him raise vermilion towers; we watch him host grand banquets; we watch as his towers collapse.” I can imagine Mr. Fu Wenjun standing before the ruins of the Old Summer Palace at sunset, or gazing out over the Expo grounds, filled with a profound sense of historical consciousness and concern for the fate of the nation. For this reason, when he asked me to undertake the organization of the exhibition, I could not but accept the commission.

而在美学的技术上，其重要性已经等而次之了。他的拼贴与挪用，属于当代艺术的修辞格。在摄影后期的加工，则是他对“造影术”这一理念的实践，显然，造影更接近于造物，这是艺术家的野心。我喜欢北大考古系徐天近教授一语：“古今一体，恒久当代。”以此赠给有志于当代艺术的同道。要想当代艺术其当代性恒常久远，历史学与未来学，都是上佳的艺术资源。运用之妙，存乎一心。作为一名德高望重的前辈艺术家，傅文俊先生其游有艺，其心可鉴。
面对这场横跨一个多世纪的游园盛会，从北京到上海，从野蛮到和平，他时时生起“游园惊梦”之感，不知置身何处。
最后，凝结成12幅圆明园、8幅世博园的摄影作品。这一出游园惊梦，无声处有惊雷。
多言数穷，不如守中。看戏。

From the perspective of aesthetic technique, its importance already recedes to a secondary position. His use of collage and appropriation belongs to the rhetorical devices of contemporary art. The post-production manipulation of photography, meanwhile, constitutes his practical engagement with the concept of “image-making” (zaoying). Evidently, image-making here approaches world-making (zaowu), revealing the artist’s ambition. I am particularly fond of a remark by Professor Xu Tianjin of the Department of Archaeology at Peking University: “Antiquity and the present form a single continuum; the contemporary is enduring.” I offer this thought to all fellow practitioners devoted to contemporary art. If contemporary art is to sustain its contemporaneity over time, both historiography and futurology are invaluable artistic resources. The subtlety of their application ultimately lies in the mind of the artist. As a venerable senior figure in the field, Mr. Fu Wenjun moves freely within art; the sincerity and integrity of his artistic intent are plain to see.
In the end, the project crystallized into twelve photographic works on the Old Summer Palace and eight on the Expo Park. This Garden Dream unfolds like a silent thunderclap—resounding where no sound is heard.
Excessive words exhaust their meaning; better to abide at the center. Watch the play.

关于作者：胡赳赳，作家、文化学者、资深媒体人。

About the Author: Hu Jiujiu is a writer, cultural scholar, and senior media professional.