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利亚撒·朗曼：致力于苏联革命形式的摄影家

来源： 《透视俄罗斯》
Eleazar Mikhailovich Langman (1895-1940) remains one of the most enigmatic figures in the history of Soviet photography. In the early 1930s, passions boiled over at the mention of his name and those of Alexander Rodchenko and Boris Ignatovich, who together formed the core of the "October" photographic society. Langman was accused of having a penchant for formalism and leftism, and of deliberately "skewing" his images.
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Eleazar Langman

时至今日，利亚撒·米哈伊洛维奇·朗曼（1895-1940年）仍然是苏联历史摄影史上最神秘的人物之一。20世纪30年代，他与亚历山大·罗德钦科（Alexander Rodchenko）、鲍里斯·伊格纳托维奇（Boris Ignatovich）曾同为“十月”摄影协会的核心人物，并因此成为舆论的焦点。朗曼被指责偏好形式主义和左派，并故意“扭曲”自己的作品。
The master's archive, which contained negatives, photographs, documents, and manuscripts (he published articles in the magazine Soviet Photo), has apparently been lost, since, after divorcing his wife, Langman spent the last years of his life wandering from one darkroom to another without a permanent abode.

Eleazar Langman

这位摄影大师的所有资料档案，包括底片、照片、文件和手稿（发表于《苏联摄影》杂志上的文章），已全部丢失。与妻子离婚后，朗曼生命中的最后几年总是辗转在不同暗房之间，始终居无定所。
In 1929-30, Langman worked as a photojournalist as part of "Ignatovich's crew", which shot pictures for the newspaper Evening Moscow. That time saw the development of his creative signature, characterized by a desire to vanquish the visual cliches of photographic composition.

Eleazar Langman

1929-1930年期间，朗曼曾在“伊格纳托维奇图片社”担任摄影记者一职，为《莫斯科晚报》拍摄图片。他的创造性在那个时期得到了展现，其特征为希望摒弃摄影构图千篇一律的做法。
"Eleazar Langman is one of the new breed seeking an original and dynamic form of photographic art," reads an article most likely written by Lev Mezhericher, the cataloguer of the "Masters" exhibition, "though among the most extreme of them," he adds. He belonged to the "October" circle of artists.

Eleazar Langman

列夫·梅热里切尔（Lev Mezhericher）曾为朗曼的作品制作编目。在一篇作者可能是他的文章有一段这样的文字：“利亚撒·朗曼是新一代寻求摄影艺术本色和动感的人之一，尽管他可能是其中最极端的一个。” 梅热里切尔也属于“十月”艺术家摄影圈。
He said himself that his aim was to seek out a "new revolutionary form" to convey Soviet themes. The characteristic features of his compositional interpretations were "rationality, sharp accentuation of certain elements of the image, distinct angles and linearity, and complete saturation of the photographic frame."

Eleazar Langman

朗曼曾亲口说过，自己的目标是寻求一种“新的革命形势”来传达苏联主题。其创作所诠释的特征为“理性、极力强调影响的某些要素、独特的视角和线条，以及画面的完整性和饱和度”。
In the early 1930s, the titles of Langman's photographs began to vividly describe the era. During October's active period of 1930-31, when an exhibition at the House of Print caused a scandal provoking caustic articles in the journal Proletarian Photo about October's perceived formalism, literary titles abounded in Langman's works. For example, "Old and New Simonovka" (the region of Moscow's Simonov Monastery), "Female Timekeeper in an Educational-Experimental State Grain Farm". The literary inscriptions wittingly defined the political or progressive (in a technical sense) context in which the photographs were construed.

Eleazar Langman

20世纪30年代初，朗曼摄影作品开始从标题上更加生动的描述当时的时代。在“十月”摄影学会活动最活跃的1930-1931年期间，因出版管理单位举办的一次展览引发的丑闻导致《无产阶级摄影》杂志发表了对该摄影学会感知形式主义的抨击文章，而朗曼作品的名字就出现在其中。例如，《新旧西蒙诺夫修道院》（位于莫斯科西蒙诺夫修道院地区），以及《教育实验国有粮食农场的女计时员》。这些文学性的名称有意无意间定义了照片拍摄时所处的政治或发展背景（技术意义上）。
However, the "correct" titles did not always suffice. When the criticism of October was in full swing, Proletarian Photo wrote: "... we will relentlessly resist the modern blueprints of October's creative method, in which form suppresses content, and insipidity (essentially content that is alien to our class sensibilities) is veiled by peppy captions."

Eleazar Langman

然而，“正确”的名称并非总是足够。在对“十月”摄影学会激烈抨击时，《无产阶级摄影》杂志写道：“……我们将坚持不懈地抵制‘十月’摄影学的现代化创作计划，他们企图用形式替代内容，以名称的变化来掩盖内容的乏味（其内容不符合无产阶级品味）。”
Of all the members of October, Langman was the most extreme, candid, and bold experimenter. By comparison, Rodchenko is more classical, Ignatovitch more narrational, and Vladimir Gruntal more circumspect with his camera angles and inclinations. None of the above possesses the expressive foreground that can only be found in Langman's photographs.

Eleazar Langman

在“十月”摄影学会的所有成员中，朗曼是最极端、坦率且大胆的实验者。相比之下，罗德钦科更为传统，伊格纳托维奇更注重叙述性，而弗拉基米尔·格伦塔尔（Vladimir Gruntal）更加关注拍摄倾斜角度。他们的作品并不具有朗曼照片中的表现前景。
"Image" in the name of form. Once it's been done, there's no point in redoing it. I won't do it better, and I don't want to do it worse. One thing was clear to me: the refined form that I had attained could be used as a basis for genuine, realistic things.

Eleazar Langman

以形式为名的“影响”一旦完成，就不需要再次重复。我不会拍得更好，也不想拍得更差。有一点我很清楚，即我所得到的精心制作的形式的基础来自真正的、现实的事物。
Langman also explained the origin of his "skewed" photographs, which became, in his words, "the talk of the town," i.e. the oft-repeated accusation of formalism. He remarked that the "skewing" effect in his pictures was a "protest against the cliched grayness of photography." In the mid-1930s, when this "skewness" also became hackneyed, Langman focused his attention elsewhere.

Eleazar Langman

朗曼还解释其“倾斜”照片的来源。用他的话说，这是“城市的语言”，即对形式主义的不断批判。他表示，自己作品中的“倾斜”效果是一种“对老套灰色摄影的抗议”。20世纪30年代中期，但这种“倾斜”也变得过时之后，朗曼的注意力开始转向别处。
He tried to abandon his trademark slants and angles, yet retain the compositional expressiveness of the shot. An edition of the journal USSR in Construction devoted to Kazakhstan and the photo album "10 Years of Uzbekistan" first featured Langman's photo portraits. The viewpoint - slightly from below and extremely close-up - gave a clear study of the human face. When edited and cropped for publication by Rodchenko and Stepanov, Langman's viewpoints sharply emphasized the contrast between the large foreground and the tiny background.

Eleazar Langman

他试图放弃自己标志性的倾斜和角度，但依然保留摄影的构图表现。《苏联建设》杂志曾在一期中发布哈萨克斯坦图片和《乌兹别克斯坦10年》影集，其中第一次刊发了朗曼的人物摄影作品。这幅照片中，拍摄角度略向上，焦距很小，非常清晰地表现出人的面部。经过罗德钦科和斯捷潘诺夫为出版所做的编辑和修剪后，朗曼的拍摄角度极大强调了大前景和微小北京之间的反差。
Langman's pictures are distinguished by their internal saturation and deliberateness. They were created intentionally and are remembered as such: uniquely feasible and maximally informative. Taking advantage of the small dimensions of his Leica camera, he concentrated information, forms, and space into each and every frame.

Eleazar Langman

朗曼的摄影作品在取景饱和目的性方面极具特点。作品的拍摄很刻意，给人以唯一可行和最大限度详实的印象。他充分利用自己的徕卡相机尺寸小的优势，专注于每张照片的信息、形式和空间表现力。
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2013年9月23日
标签: 苏联、 历史、 摄影、 作品、 革命

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