张辉艺术作品-数字唐陵

张辉简介

An introduction of Zhang Hui

1970年11月生于西安，教授、硕士生导师；西安理工大学艺术与设计学院副院长。中国摄影家协会会员；中国高等教育学会摄影教育专业委员会理事；中国电影家协会新媒体委员会理事；陕西高校摄影学会副主席；陕西高校摄影学会教育委员会常务副主任；陕西省人文地理摄影协会副会长；西安市青年摄影家协会副主席；西安市美术家协会理事；雅昌艺术梦想大使。

He was born in Xi’an in November, 1970. He is a professor and master student supervisor. And he is the vice dean of Art and Design Institute of Xi’an University of Technology. He is a member of China Photographers Association, director of Professional Committee of Photography Education of China Association of Higher Education, director of New Media Committee of China Filmmaker Association, vice president of Shanxi University and College Photography Association, standing vice director of Education Committee of Shanxi College and University Photography Society, vice president of Human Geography Photograph Association, vice president of Xi’an Youth Photographers Association, director of Xi’an Artists Association and dream ambassador of Yachang Art.

2016年8月获得中国高等教育学会摄影教育专业委员会颁发的“中国摄影教育特殊贡献奖”；2016年4月获得索尼世界摄影二等奖；2015及2013年分别获得25届、24届全国摄影艺术优秀奖；2012年2月获得国家教育部颁发的指导教师一等奖2项；2009年10月获得由全国高校摄影联合会、中国高教学会摄影教育专委会颁发的“中国摄影教育优秀教学奖”；2011年1月获得陕西省文学艺术联合会、陕西省摄影家协会颁发的两年一届唯一的“陕西摄影奖--教育奖”；2009获得陕西省第十四届摄影艺术展一等奖，同年被中国电子视像行业协会聘为特邀专家。

In August 2016 he was awarded “China Photography Education Special Contribution Award” by Professional Photography Education Committee of China Association of Higher Education; in April 2016 he won the second prize of Sony World Photography; in 2015 and 2013 he was awarded the 25th and 24th excellent photographer of the national photography art; in February 2012 he was awarded 2 guiding teacher first prizes by the Ministry of Education; in October 2009 he was awarded “China Photography Education Excellent Teaching Award” by National College and University Photography Federation and Professional Photography Education Committee of China Association of Higher Education; in January, 2011 he was awarded the only biennial “Shanxi Photography Award—Education Award by Shanxi Federation of Literature And Art and Shanxi Photographers’ Association; in 2009 he won the first prize of the 14th Photography Art Exhibition of Shanxi Province, in the same year he was employed as invited specialist by China Video Industry Association.

30余篇学术论文及数幅艺术作品专版发表于《文艺研究》、《美术》、《中国摄影》、《美术文献》、《中国摄影报》、《人民摄影》等国内各专业期刊杂志报纸。

More than 30 academic theses and art works were published in professional periodicals, magazines and newspapers such as Literature and Art Studies, The Fine Arts, China Photography, Fine Arts Literature, China Photo Press, People’s Photography, etc.

专著及教材有：《保持纪录》、《创想青春•面向未来》、《近景•十年》、《大学摄影教程》、《数码单反摄影实用指南》、《存在-张辉影像作品集》、《石膏头像》。出版于：中国水利水电出版社、中国铁道出版社、陕西人民美术出版社等。

His treatises include: Record Keeping, Imagination of Youth and Future Oriented, Close Shot• Ten Years, College Photography Course, A Practical Guide on Digital and Single Lens Reflex Camera Photography, Existence-Zhang Hui Photographic Work Collection and Gesso Head Portrait. They were published by: China Water Power Press, China Railway Press, Shanxi People Fine Arts Press, etc.

多次在连州国际摄影年展、平遥国际摄影大展、大理国际影会中举办个展，参加国内外艺术展览30余次；前往美国、日本、韩国以及平遥、大理、西安等地策划组织大型艺术展览《再出发》、《近景•十年》、《挚守传统的涅磐》、《近景》、《存在与现实》、《首届陕西省大学生摄影大展》、《中国记忆》、《映像苍凉》、《保持纪录-2017西安国际摄影邀请展》、《首届digiartist国际数字艺术展》等。

He held personal exhibitions in yearly Lianzhou International Photography Exhibition, Pingyao International Photography Exhibition and Dali International Photography Exhibition for many times. He participated in domestic and foreign art exhibitions for over 30 times. He went to U.S., Japan, South Korea and Pingyao, Dali, Xi’an, etc. to plan and organize large scale art exhibitions such as Re-start, Close Shot• Ten Years, The Nirvana That Sticks to Tradition, Close Shot, Existence and Reality, The First Shanxi College Students Photography Exhibition, China Memory, Image• Desolate, Keep the Record-Xi’an International Photography Invitation Exhibition in 2017, The First Digi Artist International Digit Art Exhibition, etc.

2016年主持陕西省社科艺术学重点项目《多维度影像及新媒介在文化遗产保护中的应用研究-以唐十八陵为例》；2016年完成国家文化部科技创新项目《陕西唐十八陵雕塑数字化研究》；2013年完成陕西省社科艺术学重点项目《中国当代传统摄影印相工艺的传承与发展研究》。

In 2016 he hosted the key project of Shanxi Province social science art study The Research of the Application of Multi-Dimension Image and New Medium in Cultural Heritage-Use Tangshiba Mausoleum as An Example. In 2016 he finished the science and technology innovation project of PRC Ministry of Culture -Digitalized Research of Shanxi Tangshiba Mausoleum Sculptures. In 2013 he finished the key project of Shanxi social science art study The Inheritance and Development Research of China’s Contemporary Traditional Photography Print Technology.

作品被广东美术馆、西安美术学院、美术文献艺术中心、丽水影像博物馆、崔振宽美术馆、陕西汉唐石刻博物馆及个人收藏。

His works are collected by Guangdong Museum of Art, Xi’an Academy of Fine Arts, Fine Arts Literature Art Center, Lishui Image Museum, Cuizhenkuan Museum of Art, Shanxi Hang Dynasty and Tang Dynasty Stone Carving Museum and individuals.

唐陵系列——蛋白印相法

张辉作品说明

Works Description of Zhang Hui

我拍的是在中国陕西关中平原上，由东向西依次散落的十八座唐代皇家陵墓。这些被史学家成为“关中十八陵”的文化遗迹，经过1300余年岁月的洗礼，尚余400多座精美绝伦的大型石雕。我的作品期望凸显中国唐代那种宏大不失精微、厚重不失浪漫的美学思想。

This Photography work demonstrates 18 royal mausoleums that were built in Tang dynasty and scattered from west to east at the Guanzhong Plain of Shaanxi in China. These relics were once regarded as “Eighteen Mausoleums of Guanzhong” by historians.There remain over 400 magnificent statues after more than 1300 years of baptism.This work is intended to highlight Tang dynasty’s aesthetic ideology ,which combines grandeur and delicacy and integrates solemnity and romance.

唐陵系列——湿版法

唐陵系列——120中画幅拍摄

唐陵系列——守护人

唐陵系列——实景

唐陵系列——丝路长安

社火系列

——张辉

每年正月十五，骑在家人肩头或钻于成人腿裆处，观看令人兴奋的社火，是一年中所企盼最快乐的时光。这时候、除了可以享受无所羁绊的自由以外，更重要的是，自己的现实主义英雄情结可以借助社火中多样角色得以虚幻的延展。

On the fifteenth day of the first month of lunar year,it is the happiest time of a year when people are riding on the shoulder of the family or drill under their legs to see the exciting agency fire.At that time,people can enjoy freedom at will, and more importantly, one’s realism hero complex can extend visionally through diverse roles in the agency fire.

我渴望这样身处某种特定环境下心绪的放飞，这样，身着便装的鼓手、村中的电线杆、城市的发射塔、带着白手套的银行职员，以及曾经肩扛手抬，而如今却被拖拉机所替代的表演形式，还有摄影灯光下人们坦然入戏的神态和真诚灵动的目光，都似乎成为一场预先演绎的舞台戏剧。

I am eager to release myself in a particular environment. Performance forms such as drummers that dressed in casual,poles in the village,launching towers of the city,bank clerk with white gloves,and which are presented by shoulders and hands are now replaced by tractors,the calm and absorbing expression and sincere look in the photography light seems to be a deductive stage drama in advance.

戏剧中，无所谓表演者，也无所谓观者，他们都成为生活不经意的载体。也许这样的欢快对于我们来说是一个现实梦幻的集中体现，这其中包含角色的互换、文化的反思和消逝许久曾是儿童般快乐的传统。

There would be no performers in the plays,neither viewers,for they are all the carrier of lives.Perhaps this joy is a reflection of a real dream for us, which includes role reversal, the reflection of culture and the traditions of child-like happiness that has died for a long time.

作品力图呈现出一种异样的视觉状态----传统文明正以其艰难的步伐，努力试图与当代文明对接、交织、碰撞、融合。作品形式侧重挖掘参与社火群体较强的仪式感，内容侧重揭示人性本身存在的对仪式的依赖和崇拜。通过摄影的技术控制和视觉表达，实现穿越时空的文化荒诞的发现以及对现实无奈的离间感塑造。

The work tries to present a new visual state---- traditional civilization is trying hard to dock with the contemporary civilization,interweave with it,collide with it and integrate with it as well.Form of works puts particular emphasis on stronger sense of ceremony of agency fire groups and the content is to reveal dependence and worship on rituals that exist on human nature itself.The discovery of cultural myth and the shape of sense of alienation of helpless reality are realized through photography technology control and the visual expression.

ZhangHui

澳大利亚网站报道

The Australian website reports

Zhang Hui was born in 1970 in Xi’an and graduated from Xi’an University. He currently lives and teaches in Xi’an.

Zhang Hui photographs the ancient statues that originally lined the roads to the imperial tombs. Remnants of the statues from as early as the 5th century AD, still exist in central China around its ancient capital Chang’an (present day Xi’ian) which was at one time was the most populated city in the world.

On the vast Shaanxi and Shaoling Plains near Xi’an, there are eighteen Tang Dynasty and thirteen Ming Dynasty imperial tombs. Leading to the tombs there is usually a ‘sacred way’ or ‘divine road’ for the spirits of the royal dead to walk to the tomb. The road is often lined with stone statues, which are important symbolic guardians of the mausoleum. These statues usually consist of twelve human figures (including the general and court officials) and animals, which include: lions, camels, elephants, tortoises, horses and xiezhi, qilin, dragon and phoenix. The last four are all mythological animals.

The Tang and Ming Dynasties are generally regarded as a time of greatness in Chinese history. It was a time of conquests and lucrative trade along the silk routes. It was also a time of great artistic endeavour. The statues are valuable historic relics of this time. Unfortunately many of the statues have been damaged. The original buildings have been lost some centuries ago but the large stone statues have remained intact until fairly recent times. Some were damaged during the Cultural Revolution and recent land...

The Australian website reports

Zhang Hui was born in 1970 in Xi’an and graduated from Xi’an University. He currently lives and teaches in Xi’an.

Zhang Hui’s intention is to reveal something of the nature of these ancient dynasties by creating photographs of the statues. The statues are found in the countryside, sometimes in the fields, partially buried and damaged. He wishes to draw attention to the neglect of these objects of cultural heritage.

Zhang Hui uses two different techniques. In the first series, “Guanzhong Tang Dynasty Mausoleum”, 2009-2010, artificial lighting is used to highlight the sculptural qualities of the forms. Light is ‘painted’ on with the lights and the camera, set up on a tripod, records this during a long exposure. He is able to control the lighting so that the form of the statue is revealed against the darkness of the background. The photo shoot needs to take place in low light to be effective. Zhang Hui further manipulates the colour and lighting digitally to produce the final work. The image is then printed as a normal digital print.

Cyanotype is the second technique used in the series “The Image of the Emperor’s Tomb in Shaaxi”, 2009-2010. The photographs are taken using the same method as the first series. Zhang Hui then uses a process known as ‘cyanotype’. This is a process where two chemicals are mixed to produce a light sensitive emulsion that is brushed onto paper. The image from the camera is produced as a photographic negative on a transparent material. This could be clear acetate sheeting that is printed with a digital printer. The photographic negative is placed on top of the prepared emulsion and exposed with ultra-violet lights or sunlight. The final print is washed in water and the unexposed sections remain white and the exposed sections become a deep blue.

In both series Zhang Hui creates photographs that have darkened sculptural forms against the backdrop of the landscape. The forms are lit to reveal the weathered textural surfaces of the sculptures and to create a theatrical setting. Time and the elements have shaped the statues and simplified the features on some to the most basic shapes. Some have missing pieces, a head or weaponry, however they stand as silent sentinels from another era.

There is a nostalgia and longing for the past in the photographs. Zhang Hui’s intention is to draw attention to the forgotten statues so that they may be preserved. He also draws attention to the clash of contemporary culture with the ancient heritage of China.

原帖地址/The original post：http://www.chinaphotoeducation.com/Carol_China/Zhang_Hui.html