Description: 鈐印: (左上)郎靜山(白文) (右上)留雲精舍(朱文)、郎靜山印(白文) (右上)楓林堂(白文)、郎靜山(朱文)、佛造像印(朱文) (右下)乾坤萬里眼(朱文)、朗靜山(朱文) With eight seals of the artist 著錄: (左上)《畫影江山—郎靜山攝影作品特展》,文物出版社,北京,2012 年4 月初版,頁73 (右上)《郎靜山》,上海文化出版社,上海,2014 年11 月初版,頁31 (左下)《影像中國—20 世紀中國攝影名家》,印刷工業出版社,北京,2013 年10 月初版,頁46 (右下)《郎靜山傳》江蘇人民出版社,江蘇,2012 年6 月初版,頁50 ILLUSTRATED: Landscape on Negatives: A Special Exhibition of Long Chin-San's Photographic Works , Cultural Relics Press, Beijing, 2012, p.73 Long Chin-San , Shanghai Cultural Publishing House, Shanghai, 2014, p.31; Image of China: 20th-century Chinese Photography Masters: Lang Jingshan , Cultural Development Press, Beijing, 2013, p.46 Long Chin-San , JiaugsuRenmin Chubanshe, Jiansu, 2012, p. 50 此件拍品為四件郎靜山先生的銀鹽集錦作品,集錦山水攝影的畫面貼近於山水畫的意境,如禪意中,「見山不是山,見水不是水,見山是山,見水是水。」指的是生命的一個境界,和大自然一種密不可分的關係,日常中抬頭能見雲,山頭可不易見,究其構圖,以中西方的構圖談起與其在視覺上如何做到突破,立體派的觀點始於1906年,集錦山水的畫面似乎也是在這樣的視角和觀點下達到一個平衡,銀鹽的時代,要從90年代的上海開始談起,然而在郎靜山的攝影作品中能窺其畫面中具有和古詩古畫相似的取意,則光線的不同似寫詩一首,超脫的空間。 Four works by Long Chin-San are gelatin silver prints, sharing similar composition of traditional landscape through photography. The works suggest a realization of life through Chan philosophy, that nature is interrelated. Representation of such vast landscape in the Eastern and Western composition is a challenge to artists. This started Cubism in 1906, with an attempt to strike a balance between an artist’s experience and way of representation. Gelatin silver print became popular in the 1990s in Shanghai. With such modern technology, Long Chin-San was able to express landscape in an ancient poetic description, creating a majestic art piece.