陈雨星｜东方图景——关于塔的隐喻与想象
Yuxing Chen | The Oriental Scene—the metaphor and imagination
about tower
Writer: zhuo
Date: 12/20/2023
Keywords: oriental / tower / metaphor
Date: 12/20/2023
Keywords: oriental / tower / metaphor
陈雨星获得了英国皇家摄影学会 IPE Award，作品入围 2023 年瑞士“Grand Prix lmages Vevey"，2023年英国“OD Photo Prize”，入送2023 年意大利 PhMuseum Days Exhibition，获 2022 年第四届 1839摄影提名奖等。她的作品曾在英国，意大利，德国及中国等多地展出。
Yuxing Chen (b.1998), graduated with a master's degree in MA Photojournalism and Documentary Photography from the London College of Communication, University of Art London. She is an art creator using photography, images and archive, and currently lives in London.Photography has expanded her perspective as a new approach to narrative and representation. Her photographic practice is centered around the creation and discussion of decolonization and its influence on cultural differences, identity, and historical public issues.
Yuxing Chen has been awarded the IPE Award by the Royal Photographic Society, United Kingdom and nominated as the Finalist of Grand Prix Images Vevey, Switzerland, the Longlist of Open Door Prize, United Kingdom, PhMuseum Days Exhibition, Italy, the Fourth 1839 Photography Nomination Award, China and so on. Her work has been exhibited in the United Kingdom, Italy, Germany, China, and various places.
从左到右：邱园中国塔，840x1050mm，喷墨印刷, 2022
left to right: ：The Great Pagoda at Kew Gardens, 840x1050mm, Archival Inkjet Print on Hahnemuhle ultra smooth, 2022
比达尔夫中国花园，594x742mm, 喷墨印刷, 2022
The Chinese House in Biddulph Grange Garden, 594x742mm, Archival Inkjet Print on Hahnemuhle ultra smooth, 2022
奥尔顿塔，594x742mm，喷墨印刷, 2022
The Alton Tower，594x742mm, Archival Inkjet Print on Hahnemuhle ultra smooth, 2022
陈雨星的作品“东方图景”（The Oriental Scene），以英国皇家植物园邱园中复制的南京瓷器塔作为主要考察对象，其中包括物品、绘画和文件，以展示该塔在不同媒介中的表现形式。她以图像的方式考察了解殖背景下英国的中国式建筑概念，探索了被瓷塔隐喻的东方与西方社会文化、艺术碰撞中所隐含的复杂性。
In her work “The Oriental Scene”, Yuxing Chen focuses on the replica of the Porcelain Tower of Nanking in the Royal Botanic Gardens at Kew in the UK, using a variety of materials such as objects, paintings and documents, to show a lineage of how the Porcelain Tower has been morphed in various form. Through. Images, she investigates Chinoiserie architecture in the UK in the context of de-colonialism, exploring the complexities inherent in the cultural and artistic interactions between Eastern and Western societies, as symbolized by the porcelain tower.
瓷器塔档案，1749（图左）
Tour de Porcelaine à Nanking, Jakob van der Schley,1749(left)
瓷器塔档案，1748（图右）
Vue de Nanking tirée de Nieuhoff，Unsigned, 1748（right)
在“东方图景”中，曾经西方对东方的想象与定义被重新解构与塑造。17和18世纪，当欧洲正经历着一股中国⻛(Chinoiserie) 的装饰浪潮时，威廉钱伯斯爵士于1762年在邱园建造了一座南京瓷塔的复制品。1856年，太平军摧毁了南京瓷塔。当时摄影术在中国还未被广泛使用，瓷器塔没有留下照片可作为“真实”的参考。东⻄方保存下来的版画和文字对瓷塔的描述有细微的差别，导致了误解：例如，南京瓷塔的层数在欧洲版画和书籍插图中显示为九层和十层两种版本。然而，根据中国汉传佛教传统，在大多数情况下，塔的层数是奇数，而南京瓷塔是九层，邱园塔有十层。从广为流传的描绘东方的图像到邱园的宝塔景观，瓷塔成为早期⻄方世界对东方想象的一个要象征。
In “The Oriental Scene”, the Western imagination and definition of the East are deconstructed and redefined. During the 17th and 18th centuries, when Europe experienced a wave of Chinoiserie decoration, Sir William Chambers built a replica of Porcelain Tower of Nankingat Kew Gardens in 1762. In 1856, the Porcelain Tower of Nanking was destroyed by the Taiping Army. At that time, photography was not widely used in China, so there were no photographic references to accurately represent the tower. There were subtle differences in the engravings and texts that described the Porcelain Tower in the East and the West, leading to misunderstandings. For example, European engravings and book illustrations depicted the Porcelain Tower of Nanking with either nine or ten layers, whereas according to Chinese Mahayana Buddhist tradition, the number of layers in a pagoda is typically odd, with the Nanjing Porcelain Tower having nine layers yet the Kew Gardens replica having ten layers. From widely circulated images depicting the East to the pagoda landscape at Kew Gardens, the Porcelain Tower became a symbol of early Western interpretations of the East.
瓷器塔档案-Nanking
陈雨星以南京瓷塔作为研究的切入点，收集了历史上的各种关于南京瓷塔的记录，包括绘画、历史插图等，将这座缺少影像记录的建筑以多种视觉形式的收集呈现。
Yuxing Chen uses the Porcelain Tower of Nanking as the starting point for her research, gathering various historical records about the tower, including paintings, historical illustrations, and other depictions. Through this collection, she presents the architectural landmark in various visual forms, highlighting its representation in history despite the lack of photographic documentation.
盘中瓷器塔，2022
红塔中餐外卖盒, 2022
红塔中餐外卖盒, 2022
在这个项目的实践中，摄影被用来以当代的形式呈现这些图像。通过对东方主义的抹杀，建筑的改编介入了东方主义下关于东方所有权的辩论。
In this project, photography is used to render these images in a contemporary form. By deconstructing Orientalism, the adaptation of architecture engages in the debate over ownership of the East under Orientalist paradigms.
从左到右：莱斯特中国亭, 594x742mm, 喷墨印刷, 2022
left to right: Chinese Garden in Leicester, 594x742mm, Archival Inkjet Print on Hahnemuhle ultra smooth, 2022
维多利亚公园中国茶屋, 594x742mm, 喷墨印刷, 2022
Chinese Temple in Victoria Park, 594x742mm, Archival Inkjet Print on Hahnemuhle ultra smooth, 2022
邱园塔, 2250x1800mm, 乙烯基印刷, 2022
The Kew’s Pagoda, 2250x1800mm, Vinyl Print, 2022
斯卡伯勒中国公园, 594x742mm, 喷墨印刷, 2022
Chinese Park in Scarborough, 594x742mm, Archival Inkjet Print on Hahnemuhle ultra smooth, 2022
在陈雨星的这组作品中，主体建筑被剔除，以留白的形式呈现，这种对建筑图像的改写，不仅加强了观众对主体物建筑的凝视，同时也揭示了西方创造的东方场景背后的殖民历史，以及对东方主义的审视和视觉叙事的书写，也让我们重新关注到那些被遗忘与忽视的“东方图景”。
In this series of works by Yuxing Chen, the main architectural elements are removed and presented as blank spaces, which not only intensifies the viewer's gaze on the subject building but also reveals the colonial history behind the Western-created Oriental scene. This rewriting of architectural imagery exposes the narrative of Orientalism and the visual storytelling it encompasses, drawing our attention back to those Oriental Scenes that have been forgotten or overlooked.