即便融合了数绘技术与装置，傅文俊的“数绘摄影”作品，依然是对人世间的肉眼视看，因其在技术背后，直指普世的人与人的生存，带有浓烈的人文主义精神与存在主义观照。从早年的纪实摄影发展而来，数绘摄影艺术巧妙地游走于“无为有处有还无”的图像边界，在媒介跨越与拓展的同时，完成了从“实象”走向“幻象”进而复归“实象”的往返，并由此实现了对传统摄影作品观看方式的变革。
（一）有意味的东方形式
傅文俊的作品体现出抽象表现主义的形式突破，从世界各地取材而来的图像，更贴近生活本身，书写着整个人间大地上的诗意，相较于其他观念艺术，显得亲切与质朴。傅文俊善于从历史的宏观视角来处理东方传统文化元素，雅致且有余韵，这一点尤其体现在作品名称上。如作品《小楼昨夜又东风》，具象的“小楼”、“东风”意象将抽象的线条与色块渐变拉回人世之间，在“图像”与“文字”之间架构起艺术通感的桥梁，提供可能的作品主题解释。尽意莫若象，尽象莫若言，图文之间彼此贴合、相辅相成。
“有意味的形式”理论由英国文艺批评家克莱夫·贝尔（Clive Bell）提出，并称其为“一切视觉艺术的共同形式”，即视觉艺术作品通过线条、色彩或某种特殊的形式与形式之间的关系，来激发观看者的审美感情。傅文俊的作品是对“有意味的形式”的有效实践，却并不仅限于此。在对图像的复制、拼贴、挪用、重新赋义之余，“食色”、“问茶”、“F1”、“唯马首是瞻”等系列主题作品，将抽象图像的离心力拉回并作用于现实，呈现出跨文化语境之下的“有意味的东方形式”。
Even when integrating digital pictorial techniques and installations, Fu Wenjun’s “Digital Pictorial Photography” remains grounded in a humanist and existential gaze on worldly life. Behind the technology lies a deep concern for universal human conditions—his works embody a strong spirit of humanism and existential reflection. Originating from documentary photography, this art form fluidly moves along the boundaries between presence and absence, between the real and the illusory. Through cross-media expansion, it journeys from “representation” to “illusion” and back to “representation” again—redefining how photographic works are perceived.
(I) Meaningful Forms from the East
Fu Wenjun’s works reflect formal breakthroughs akin to abstract expressionism. Drawing on imagery from around the world, his art remains closely connected to everyday life, composing poetic expressions of human existence. Compared to other forms of conceptual art, his works feel more intimate and sincere. Fu skillfully incorporates elements of Eastern traditional culture through a macro-historical lens—graceful and lingering in aftertaste. This quality is particularly evident in his titles. For example, in East Wind Blew Again Last Night the concrete imagery of “small pavilion” and “east wind” anchors abstract lines and gradients in human experience. The interplay of image and text establishes an artistic synesthesia and suggests interpretive possibilities. As the classical Chinese aesthetic suggests: “To fully express meaning, use imagery; to fully express imagery, use words.” In Fu’s works, image and text resonate and complement each other.
British art critic Clive Bell’s theory of “significant form”—defined as the shared visual structure of all fine art—holds that a work’s aesthetic emotion is stirred through relationships among lines, colors, and forms. Fu Wenjun’s art is an effective practice of this theory, but it also transcends it. Through replication, collage, appropriation, and reinterpretation, his series such as Human Nature for Food, Ask Tea, F1, and Take the Horse Head as Guide bring the centrifugal forces of abstraction back into contact with reality. They present “meaningful Eastern forms” within a cross-cultural context.
East Wind Blew Again Last Night, Fu Wenjun, Digital Pictorial Photography
Ask Tea No.1, Fu Wenjun, Digital Pictorial Photography
（二）剧场假象与艺术通感
对二维平面的突破是以装置的形式实现的。装置（突出于画面的小方块）将平面摄影裂变为三维空间，形成视觉前景与背景，形成图像符号的同构性与异质性。美国艺术史家迈耶·夏皮罗（Meyer Schapiro）将抽象艺术中的非拟态因素（non-mimetic elements）视为形式分析的要素，认为由背景、边框、位置/比例与视觉透视形成的形式调整能够形成不同的视觉密度或视觉张力，这直接决定了对视觉图像作品的解读。在傅文俊的作品中，当前景图像与背景图像彼此脱离（同时彼此粘连）后，很难说清是背景衍生出前景，还是前景连带出背景。在突破二维图像的形式框线后，装置作品呈现出剧场性（theatricality）特征，装置的剧场性特征使观看者凝视图像的过程中，进入图像叙事的场域，拓展了作品解读的可能性与开放性，更能引发观看者的审美共情。
由此，我们便不难分析这些数绘作品中的主观性艺术通感，傅文俊在不同艺术门类触类旁通之余，通过具体图像的表象联想、转化和移用，有感于物、有悟于心，使作品呈现出动态的平衡与和谐。以作品《坐看云起时》为例，这种协和统一体现在多方面：1.数绘图像如同水墨画般的层次感与线条的动态视效；2.作品的装置性呈现出剧场化的空间感；3.诗句“坐看云起时”一句中“起”字的妙用带给人动态联想。如此多方合力，引发了观看者在欣赏作品时的“联觉”与共情，艺术家自身的艺术通感得以完美地作用于艺术欣赏者。
(II) Theatrical Illusion and Artistic Synesthesia
The breakthrough of the two-dimensional surface is realized through installation. Small raised blocks (installations) break the flat image into a three-dimensional space, creating foreground and background, as well as relationships of visual homogeneity and heterogeneity. American art historian Meyer Schapiro emphasized non-mimetic elements in abstract art, arguing that background, framing, positioning/proportion, and visual perspective create varied visual densities or tensions—directly influencing how visual images are interpreted. In Fu Wenjun’s work, foreground and background imagery separate while remaining connected. It becomes ambiguous whether the foreground derives from the background or vice versa. By breaking through the boundaries of flat imagery, these works gain a theatrical quality. The theatricality of the installation draws the viewer into the narrative field of the image, expanding its interpretive openness and deepening emotional resonance.
From this, we can see how subjective artistic synesthesia plays out in Fu’s Digital Pictorial works. He draws from across artistic disciplines, using symbolic association, transformation, and transposition of imagery to create a dynamic sense of balance and harmony. In Sit and Watch the Clouds Rise, this harmony manifests in several ways: 1. The layered, ink-like visual texture and flowing lines of the digital imagery; 2. The spatial depth created by the installation elements; 3. The poetic title—especially the word “rise”—evokes a sense of motion. These elements combine to elicit a multisensory and emotional response in the viewer, allowing the artist’s synesthetic vision to fully resonate with the audience.
Sit and Watch the Clouds Rise, Fu Wenjun, Digital Pictorial Photography
（三）作为图像行为的摄影
摄影是一项具有被动性和介入性的艺术，通过镜头介入外界与他者。数绘摄影将传统纪实性摄影的相对被动，转化为绝对的主观能动，从艺术创作角度来看，这是傅文俊数绘摄影对传统摄影的根本革新所在。装置和形式在艺术创作和欣赏过程中，其实极易流于表面而无从深究，观看傅文俊的作品时，却依然能够强烈感受到镜头背后，艺术家意欲言说的开放性话语。
我更愿意将跨媒介的模糊性作品视为图像行为，作品本身试图言说的，正是观看者在读图过程中能够切实感受到的“述行性”（performative，或曰施为力），图像不再是被动的被观看，而是成为行为力量的施加者，主动与观看者对话。傅文俊的作品亦是如此，它们向观看者发出进入场域的邀请，与观看者共同在一个图像符号建构的剧场中共舞。这大概就是跨媒介视觉艺术的魅力所在吧。
(III) Photography as Image-Based Action
Photography is inherently both passive and interventionist—it enters the world and others through the lens. Fu Wenjun’s Digital Pictorial Photography transforms the passive nature of traditional documentary into one of active subjectivity. This marks a fundamental innovation in the photographic medium. While installation and form can easily become superficial in art practice, Fu Wenjun’s work communicates a strong, open-ended discourse behind the lens—an artist’s intentional voice.
I am more inclined to view such cross-media, ambiguous works as acts of image-based behavior. The artworks themselves engage viewers in a performative experience—images are no longer just passively viewed but become active agents of interaction. Fu Wenjun’s works extend an invitation to the viewer, drawing them into a symbolic, theatrical space where both image and audience participate together. This is perhaps the core appeal of cross-media visual art.
关于作者： 陆颖，文艺学博士、青年批评家、浙江师范大学文化创意与传播学院教师
About the author: Lu Ying, Ph.D. in Literature and Art, emerging critic, and lecturer at the College of Cultural Creativity and Communication, Zhejiang Normal University.