中国摄影自产生那一天起,就宿命般地受制于两大限定:向外,作为一种从西方引进的艺术品种,西方上百年摄影发展的一切经验和常规,成了很多中国摄影人顶礼膜拜的对象,在对西方的学习和模仿中,这些摄影人耗尽了自己的艺术生命;于内,由于中国的特殊国情和历史道路,意识形态对于艺术的特殊要求和规定,使得摄影人自觉承担起宣传甚或图解政治的责任,影像常常成了意识形态符号。在国家越来越关注为民众提供社会文化服务的时候,相当多的摄影人仍然过分关注陈旧 Since the day of its birth, Chinese photography has been subjected to two kinds of limitations: outwardly, as a variety of art imported from the West, all the experiences and practices of the development of photography in the West over the past century have become the cult of many Chinese photographers In the study and imitation of the West, these photographers exhausted their own artistic life. During this period, due to China’s special national conditions and historical path, the special requirements and regulations of ideology for the arts made the photographer consciously bear To propagandize or even chart the responsibility of politics, images often become ideological symbols. At a time when countries are increasingly concerned about providing social and cultural services to the general public, quite a few photographers are still overly concerned with obsolescence