传统意义上的摄影，复制风景、人物，记录某一时刻，让它们得以永恒存在。艺术家傅文俊对摄影艺术做出了变革，他没有放弃拍摄，但让摄影从拟像和二维中跳脱出来。我认为，可以把他的作品追溯到洛约拉圣伊格内修斯的精神运动（Esercizi Sprirituali di Sant’Ignazio di Loyola），类似于东方的瑜伽和禅宗思想。实际上，从作品中我们可以看到，傅文俊是先解构，再重构的：在艺术家的头脑中，最初的摄影“种子”经历了变形，被“破坏”，再得到重新阐释，赋予它新的生命。摄影一词来源于希腊语，意为“光的书写“；而傅文俊是一位“超越的书写者”（metascrittore）：不仅能用自然光线书写——没有光就没有摄影，他还用智性的光在书写。他驾驭自己的思想如同郭庵禅师（Kuo-an）的牧牛人掀起了“玛雅女神的面纱”，让来自不同文化的认知与美学理念交织，展现出瑰丽的艺术创作。
傅文俊的艺术理念将摄影升华为他独创的艺术风格：数绘摄影。
傅文俊还是一位构筑桥梁的人，通过艺术，他建立起现在与过去的时间之桥，不同文化和宗教之间的桥梁，还有东方与西方的桥梁。
The classical use of photography allows one to replicate a landscape, a person, or a moment, and render it eternal. Master Fu Wenjun revolutionizes this approach; he does not abandon photography, but rather liberates it from its mimetic constraints and the tyranny of two-dimensionality. The genesis of his works evokes the discernment and meditation found in The Spiritual Exercises of Saint Ignatius of Loyola, with resonances and parallels in Eastern disciplines such as yoga and Zen. In Fu Wenjun’s creative process, we can indeed observe a pars destruens preceding a pars construens: the photographic embryo is first subjected to metamorphosis—it is “destroyed” and reworked, thus giving life to a new artwork that existed only in the artist’s mind in its nascent form. The word “photography” derives from the Greek φωτογραφία (photographía), meaning “writing with light.” Fu Wenjun is therefore a “meta-writer,” capable of working not only with physical light—without which photography could not exist—but also with the light of intellect. Like the farmer riding the bull in Kuo-an’s Zen parable, he tears through the veil of Maya, offering us the cognitive-aesthetic mosaic of his creations.
The master’s poetics lead the art of conceptual photography toward his own signature style: Digital Pictorial Photography.
Fu Wenjun is also a pontifex—a “bridge builder”—who, through his art, constructs temporal bridges between past and present, between diverse cultures and religions, and between East and West.
Lose an Opportunity Close at Hand, Fu Wenjun, Digital Pictorial Photography
这一点在作品《失之交臂》中可以清晰地看到。西方艺术的典型标志——米洛的维纳斯，完美地“雕刻”在中国大足石刻上。女神维纳斯与千手观音亦真亦幻般并置于一处，好似一只被巨大金色尾巴包裹着的孔雀，散发着永恒的美丽。这一隐喻的“尾巴”由1004支手臂构成，代表了佛的慈悲，用于消除世间的痛苦。在此，中国与希腊、神话与佛教、英雄与慈悲之间“不平等”的拥抱不禁揭示了一段具有讽刺意味的历史：1820年，农夫Yorgos Kentrotas发现了维纳斯雕塑，但如今它却被收藏在法国卢浮宫博物馆，维纳斯的双臂也不复存在。
A particularly emblematic work in this regard is Lose an Opportunity Close at Hand, where we see one of the most iconic figures of Western art—the Venus de Milo—placed prominently within a cave from the Chinese Dazu rock carvings. The Venus Victrix is illusionistically superimposed onto the Bodhisattva Avalokiteshvara, resembling a peacock adorned by its immense golden tail—a never-ending echo of eternal beauty. In reality, this metaphorical tail is composed of 1,004 arms—attributes of the Buddha of Compassion—each working to alleviate suffering and pain in the world. It is hard to miss the subtle irony in this “unequal” embrace between China and Greece, mythology and Buddhism, eros and compassion. After all, when the peasant Yorgos Kentrotas discovered the Venus statue in 1820 (now in the Louvre), it was missing precisely its two upper limbs.
Combination of Chinese and Western, Fu Wenjun, Digital Pictorial Photography
Reach the Same End by Different Routes, Fu Wenjun, Digital Pictorial Photography
艺术家在作品《中西合璧》中复制了这一模式：维纳斯雕塑几乎消融在宋代宫廷画家梁楷的水墨画中，它的不朽在时间的流转中成为永恒。
作品《殊途同归》中依然出现了维纳斯的身影，与药师佛并置在一起，画面空灵，有一种透明感。现存于美国纽约大都会博物馆的药师佛壁画是一幅经典的药师图像：药师佛手持一碗，象征他的使命是为人治病，他安坐在天上，被菩萨、战士和神灵包围着。傅文俊在数绘摄影作品中，用维纳斯替换了药师佛，为古罗马诗人维吉尔的诗句“爱胜过一切”增添了生动的注脚。
The artist reuses this structure in Combination of Chinese and Western, where the Parian marble Venus appears to dissolve into the ink of Liang Kai, a Song dynasty court painter, merging with his immortal figure in a timeless walk.
In Reach the Same End by Different Routes, it is once again the Venus de Milo that overlays the Bhaishajyaguru—the Medicine Buddha—through a brilliant interplay of transparency. The original mural painting, now in the Metropolitan Museum of Art in New York, reflects traditional iconography: the Buddha holds a bowl symbolizing his healing mission and sits in paradise surrounded by bodhisattvas, warriors, and deities. But in Fu Wenjun’s Digital Pictorial Photography, it is Venus who replaces Bhaishajyaguru, paraphrasing Virgil: omnia vincit amor—love conquers all.
Wind from Tibet No.5, Fu Wenjun, Digital Pictorial Photography
Wind from Tibet No.6, Fu Wenjun, Digital Pictorial Photography
系列作品《西藏飘来的风》诗意盎然，从标题就可感受一二。傅文俊的创作带来了被过滤、侵蚀和抚平的关于世界屋脊的记忆。这类似于当地的一种传统，西藏的僧侣将他们的祈祷书写在经幡上，让经幡随着风飘散而去。傅文俊凭借出色的创造力，用艺术作品代替了神话般的风马，将“祈祷”从大地带向了天空。
“你所见的一切皆请记住，
因为你所忘记的
都将回去，随风飞扬”
（古代纳瓦霍语谚语）
Poetry runs through the works of the Wind from Tibet series, beginning with the title itself. Memories from the Roof of the World reach us filtered, corroded, and smoothed by Fu Wenjun’s creative wind. The series echoes the tradition of Tibetan monks writing prayers on flags to be carried by the wind. Through his creative force, the artist becomes a modern Lungta—the mythical Wind Horse—capable of carrying prayers from the earth to the heavens.
“Remember all that you have seen,
for all that you forget
will fly again in the wind.”
(Ancient Navajo proverb)
关于作者：马可·雷布兹，意大利艺术批评家、曼托瓦贡扎咖博物馆策展人。
About the author: Marco Rebuzzi, art critic and curator at the Gonzaga Museum in Mantua.