空幻之心

——漢斯的攝影和奇石

Void Beyond Reality

Emptiness - Photography of Hans Fonkand Scholars’ Rocks

韋 羲

Wei Xi

石令人幽，亦令人靈、令人透、令人瘦——輕盈，漢斯攝影裏的奇石是輕盈的，不但地球引力消失，思想也失去了作用，如在幽邃之境，他顯然懂得東方奇石和煙雲的隱喻，也看到奇石與太空以及智慧之間的隱秘的關聯。

The scholars’ rocks, with its spiritof tranquility, inspiration, insight, and litheness, are celestial. Thescholars’ rocks in Fonk’s photography are also celestial. They are not limitedby gravity or stereotypes, as they only exist in a secluded and infinite realm.Apparently, Fonk understands the connection between the oriental scholars’rocks and the metaphor they carry to mimic the clouds. He is also keen inrevealing the sacred links among the scholars’ rocks, the universe and theultimate wisdom of human race.

《圖畫見聞錄》寫惠崇，說他有“瀟灑虛曠之象”。惠崇是僧人，他的“瀟灑”似非“灑脫”，應當是幽玄霏微之意，如此才對應“虛曠”。而古人之所謂“象”，似非抽象，亦非具象，太湖石雖然千變萬化，也不過是這壹個“象”字。

Hui Chong, as portrayed in TheRecord of Illustration and Traditional Chinese Painting, is said to have an“unrestrained and carefree spirit”. Being a monk, Hui Chong’s unrestrainedspirit here is not about letting his soul go wild; instead, it implies thatHuichong has the vision to always look beyond any factual restriction in theworld, which is the true meaning of the “carefree spirit” in ancient Chineseculture. In this context, “spirit”, refers to neither a pure abstract conceptnor a concrete entity. Similarly, though Taihu rocks may have various shapes,their spirit still lays along with an identical attitude of being carefree.

最近看到荷蘭人漢斯拍的奇石照片，也是這樣“瀟灑虛曠”，“恍兮惚兮，其中有象”。何以外國人領悟此幽邃之境，竟無異於東方人，個中緣由，不知是否與近代以來對太空以及微物質的認知有關。古人玩石，有壹種是把玲瓏剔透的奇石當做傅山爐，以煙霧繚繞其間，恍如神遊，其境如現代電子音樂。漢斯未必知曉古人此種雲間玩石，而意思如出壹轍，真可驚異，不知是否得益於電子音樂的啟示。

Rocks captured in therecent photography work by the Dutch photographer Hans Fonk also possess thespirit of being unrestrained, faint but perceptible. It is fascinating todiscovera foreign artist who couldcomprehend such a subtle spirit like the oriental artist. The reason behind, asI take a wild guess, might be due to the modern knowledge of the universe andthe micro substance that he has obtained. Interestingly, one way that anancient Chinese scholar would appreciate the rocks is to use the most exquisiteand porous rock as the incense burner called Fushan Censer. When the scholars immerse themselves in the cloud ofsmoke surrounding the rock, enjoying the spiritual journey, the atmospherewould go quite well with the beats of the modern electronic music from theWestern culture. Fonk might have no knowledge of such a way for rockappreciation, but it is possible that he has sensed the similar spirit whetherhe is a fan of electronic music or not.

所謂智者樂水，仁者樂山，而奇石在山水之外，在仁智之間，此即中國人觀石之要義，亦是不可知論者的美學。國人愛石，藏石，品石，壹石在案，觀之如遇造化，可以陶鑄性器，而得煙雲供養。外國人只要去過蘇州園林，或進入文人書房，就會感覺到奇石的美學象征與符號性存在。

As an ancient Chinese saying goes:“The wise man finds the pleasure in water while the virtuous finds it inmountains.” But the scholars’ rocks are beyond water and mountains, andtherefore it is the combination of the wisdom and the virtue. Thisunderstanding is essential for the appreciation of rocks and the aesthetics ofagnosticism. The Chinese scholars love their rocks. They collect them,appreciate them and are obsessed with them. Through those practices, thescholars discover their identity, cultivate their temperament, and gaininspiration from the rock’s spirit. Any foreigners who have visited the SuzhouGarden or the study of Chinese literati would sense the strong aesthetic emblemof those scholars’ passion for rocks.

宋人米顛拜石的典故，徽宗趙佶的花石綱與皇朝變故，漢斯不必壹定知道，卻應該看看晚明吳彬為米萬種所作的《十面靈璧圖》。或許也已經見到過，他的攝影和《十面靈璧圖》有異曲同工之妙，石之空洞無常，如雲之態，其若聚若散，如雲之意，其迷漫蒼茫，如雲之趣，背景非煙非霧，而如煙霧之色。

Although Fonk may not know theanecdotes from Song Dynasty of Mi Dian’s admiration towards rocks nor EmperorZhao Ji’s special boat for transporting exquisite rocks, but I would not besurprised if he had seen the Ten Views of a Lingbi Rock by Wu Bin fromthe late Ming Dynasty, devoted to the owner of the Lingbi rock, Mi Wanzhong.Fonk’s photography work and Wu’s painting are uncannily parallel in the way ofexpressing the spirit of scholars’ rocks: its vagueness and impermanence, justlike the collected or scattered clouds, are apparent in their works. Bothartists choose the background that is neither foggy nor smoky, but appearing asthe mist wreathing the rocks.

昔者郎靜山攝制風景照片，得山水畫之意韻，日本人來中國所拍風光照片，也傳達從前中國的況味。漢斯並非東亞人，不知為何壹來中國就對奇石情有獨鐘，他的攝影是對奇石的再創作，在清晰與朦朧、物質與非物質、光照與陰暗的相互作用中，訴說自己心目中的奇石圖像，壹片幽邃玄幻。

In the past, Lang Jingshan’sphotograph works of landscape embodied the spirit and momentum of Chinesetraditional landscape painting. Japanese photographs have also conveyed thesimilar sentiment and reflected the taste of ancient scholars. However, comingfrom the Western culture, it is mystical how Fonk fells in love with thesemarvelous rocks at first sight. His photography is a recreation of thescholars’ rocks through the interaction of clearness and vagueness, bothphysically and spiritually. With the light and darkness, Fonk has delivered hisown interpretation of the rocks’ spirit and created his own secluded andinfinite space.

奇石的神秘，並不完全來自奇異的形狀，亦為光影煙雲所決定。漢斯猶如素描家，不但刻畫精微，且賦予明暗變幻與幽邃背景，以成全意象之美。禪語“壹朝風月，萬古長空”，使人想起晴朗好天氣，而漢斯的照片提醒我們，幽暗中也另有風月與萬古長空。

The mystical nature of scholars’ rock,apart from its exotic shape, is also largely determined by the use of the lightand the smoke. Through a sketcher’s eye, Fonk meticulously captures thesilhouette of the rocks under the changing light and smoke, and utilizes theserene setting to realize the beauty of his images. As the Zen saying goes: “Inmorning's first light, moon and wind abate. From the remote antiquity, sky isever present.” Fonk’s photography reminds us that such bright moonlight andeternal firmament can also exist in the darkness.

幽暗中的奇石，像虛空的種子，萌動的意念，動力之起源，漢斯領悟了奇石及其的虛空背景，並以光影顯現其原形，向我們顯示空幻之心，傳達世界的本質。

Amidst the darkness,scholars’ rock is the seed of vagueness, and it germinates ideas and generatesmomentum. Fonk fully grasps the essence of scholars’ rock by emphasizing on thehollowness, revealing its primitive form through lights and shadows, andshowing us how a heart of serenity is the true nature of our universe.

2018年，盛夏

2018 Summer

---

Hans Fonk 个人简介

在过去的几年里，汉斯经常去北京体验和探访中国的城市和生活。作为OBJEKT 杂志的总发起人的汉斯 （Hans Fonk） 从一个国际知名的摄影师，主编，出版人，发展出了新的身份，艺术家。从北京的象征之一的紫禁城到当地的小街道 (胡同)，汉斯受到了北京丰富的传统文化的启发,他创造了一些新的艺术系列来纪念这一令人欣喜的发现和心得。通过他的作品, 我们可以看到当代中国的两个不同侧面，传统又现代，独特又丰富多彩。

北京奇石系列

从皇帝到平民在每一个中国人的心里，都有一块石 头。它代表着中国（文）人的审美，有着隐隐的禅宗的意味。从洗练奇特的风格来给渴求美和风格的眼睛以享受。 摄影作品在经过计算机处理后打印在特殊制作的宣纸上

来源：原创： 韦羲