新展 | 景迈山：关于地方的想象
景迈山，位于云南省普洱市澜沧县惠民镇，自古以出产普洱茶而闻名遐迩的它拥有五片历史悠久、规模宏大、保存完好的人工栽培型古茶林。傣族、布朗族、哈尼族、佤族与汉族世居于此，以茶为生，共同造就了极具特色的古茶林文化景观。2012年11月，景迈山入选《中国世界文化遗产预备名录》。作为申遗项目的分支，我们受普洱市景迈山古茶林保护管理局委托，于2016年开启了对景迈山在地文化的考掘和整理。
景迈山遗产申报区涉及惠民镇下辖的两个行政村——景迈村和芒景村。其中，糯岗老寨和翁基是传统村落风貌最为鲜明的傣族和布朗族村寨，分别隶属景迈村和芒景村。2017 年 10 月，首个“乡土教材”式展览“今日翁基”落地于布朗族聚居的翁基村。时隔四年，我们在傣族聚居的糯岗村策划了“今日糯岗”。同时，配合申遗要求，我们将展陈放大至行政村的范围，“景迈村”和“芒景村”两个展览也于2021年如期完成。山上四个展览与山下景迈山展示中心的展览构成了一个完整的景迈山古茶林文化景观的遗产阐释体系。
有赖于茶产业的发展，景迈山并没有成为一个缅怀过去的标本，而是在持续生长。除了展示景迈山的核心遗产价值之外，我们还数次邀请艺术工作者上山创作。这些被习惯性称为“他者凝视”的“作品”与“乡土教材”形成了一种微妙的对照。
2018年，摄影师骆丹受邀来到景迈山的多个村寨拍摄肖像。景迈山人茶香氤氲的物质与精神文化世界，在他的湿版火棉胶摄影中得以转译再现。2021年初，拥有生物学背景的李朝晖来到景迈山，以“食物链”的眼光考察此地的自然与人文。食物是土地的延续，关乎生命的存续，更关联着人精神层面的安全感和幸福感。他通过采访不同民族的被拍摄者常吃和喜欢吃的食物，并用这些食物的肖像组合成人物拼像，讲述了景迈山上“什么养成了我们”的故事。同年，木刻艺术家刘庆元为山上的五个民族绘刻肖像。在他的肖像作品中，寨民们身着民族特色服饰，大方地向外来者展示自我。与此同时，他们也可通过他者的注目，与自己骄傲对视，展望遗产的未来。在驯化、栽培茶树的历史长河里，景迈傣族还发展出了独特的民族医学。其传统理论认为风、火、水、土是构成自然界的四种基本元素，而人体生命的构成与之有着密不可分的联系。设计团队Hybrid Studio于2018年来到景迈山，成立“翁洼雨林探索”，试图从多个维度打开这一美丽哲学，并用数字影像打造了一片治愈的雨林。他们还在布朗族地区最后一位祭司的指引下深入丛林，找寻着大家都认为已不复存在的密林游侠——云豹。
天遥地远的景迈山，曾用一条逶迤古道连接内陆与远方，如今更是向全世界敞开，越来越多的“他者”开始介入景迈山的表述与传播。“他者的目光”包含着外来者的感知与评判，这种外来的建构亦能成为本地寨民重新认识自我、回溯历史、明确方向的契机。它们无意成为寻常意义的图说，而是一种凝视景迈的角度，一种关于地方的想象。
左靖 王彦之
Located in Huimin Town, Lancang County, Pu’er City, Yunnan Province, the Jingmai Mountain has been famous for its Pu’er tea since ancient times. It is home to five large-scale and well-preserved old tea forests, and five ethnic groups – Dai, Blang, Hani, Wa and Han – who have lived here for centuries. Their lives unfold around tea and together have shaped a unique cultural landscape of the old tea forests. In November 2012, Jingmai Mountain was selected by UNESCO’s Cultural Heritage Tentative List of China. As a part of the heritage application project, in 2016, we were commissioned by the Ancient Tea Forests Protection Bureau of Jingmai Mountain, Pu’er City, to initiate the research and examination of the local culture.
The nominated property of Jingmai Mountain involves two administrative villages of Huimin Town –Jingmai and Mangjing. Nuogang Laozhai and Wengji are the best-preserved and most typical Dai and Blang villages, which belong to Jingmai and Mangjing administrative villages respectively. In October 2017, the first exhibition “Wengji Today” that takes “local teaching materials” as its principle landed in Wengji village, where Blang people make up the major population. Four years later, we curated “Nuogang Today” in Nuogang Village, where most villagers are Dai people. At the same time, to fulfill the application requirement, we expanded our scope of exhibition to the level of administrative villages. Two exhibitions “Jingmai Administrative Village” and “Mangjing Administrative Village” have been completed as scheduled in 2021. The four exhibitions on the mountain, together with the Jingmai Mountain Exhibition Center at the foothills, constitute a complete heritage interpretation system of the cultural landscape of old tea forests of the Jingmai Mountain.
Relying on the development of its tea industry, the Jingmai Mountain is not a specimen that looks to the past, but rather remains growing. In addition to showcasing its core heritage values, we have also invited art practitioners to create new works on the mountain. These works that are habitually called “the gaze of others” have formed a subtle distinction with the “local teaching materials.”
In 2018, photographer Luo Dan was invited to take portraits for the villagers on the Jingmai Mountain. Their tea-nourished spiritual and cultural inner world is successfully translated by his wet-collodion photographic technique. In early 2021, Li Zhaohui, who has a background in Biology, came to investigate the nature and humanity from the perspective of “food chain”. Food is a continuation of land, and is essential to the survival of life, and more importantly the security and happiness of people on a spiritual level. Li interviewed the villagers from different ethnic groups the food they often and like to eat, and then used the portraits of these food to create portraits of the interviewees, aiming to tell the story of “what cultivate us” on the Jingmai Mountain. Same year, woodcut artist Liu Qingyuan created woodcut portraits for the five ethnic groups here. In the portraits, villagers dressed in traditional ethnic clothing confidently showcase themselves to the outsiders. Meanwhile, the portraits allow them to proudly look back at themselves through others’ gazes, review their origins and history, and look ahead at the future of the heritage.
In the long history of domestication and cultivation of tea trees, the Jingmai Dai people have developed an ethnic medical science. Its traditional theory believes that wind, fire, water, and soil are four basic elements of the natural world, with which the composition of human life is inextricably linked. Design team Hybrid Studio came to the Jingmai Mountain in 2018, and established Wengwa Rainforest Discovery. Hoping to unveil this beautiful philosophy from multiple dimensions, they used digital media to create a healing rainforest. Meanwhile, under the guidance of the last priest of the Blang area of the Jingmai Mountain, they have been looking for the “shadow of the forest”—the clouded leopard, which to many people no longer exists in the Jingmai Mountain.
The distant Jingmai Mountain used to use an ancient route to connect the inland and faraway lands. Now, as it is fully open to the entire world, more and more outsiders begin to participate in the expression and promotion of it. “The gaze of others” contains the perception and judgment of the gazer, and this external construction can also be an opportunity for local villagers to look back at themselves, trace the past, and envision the future. It is not intended to be an ordinary illustration, but more importantly a perspective of looking, an imagination about the place.
Zuo Jing, Wang Yanzhi
Food chain is a biological term that refers to the connections between organisms in an ecosystem formed by food. Li Zhaohui took photos of more than 200 species used by villagers as food, and photographed full-body standing portraits of a man and a woman each from the Dai, Blang, Hani and Wa ethnic groups; then he invited the photographed villagers to select their regular and favorite foods. Finally, photos of the selected foods are marked with biological labels and put together as the villagers’ own “food maps” and portraits.
人类本是生态系统的普通一员，经过200万年的进化和发展，登上食物链金字塔的顶峰，成为自然生态系统的终端消费者。这期间，人类获取食物的方式经历了从“自然采集”到“大规模种植”的演变。和其它地区不同，景迈山人的食物来源则居于这种演化的中间状态。正是因为“自然采集”方式的保留，景迈山人的食物结构表现出品种总数多、特有品种多、野生品种多等特点。而“食物多样性”正是在人类学意义上与“生物多样性”的一种对应。
李朝晖，2021年
《景迈山食物图谱》（采集篇）
为社会而给诸众木刻，是刘庆元木刻行动的出发点。乡村是木刻天然的发生场域。2021年初，刘庆元来到景迈山，为共居于此的五个民族——傣族、布朗族、佤族、哈尼族和汉族人造像。设计与艺术的结合，使这些造像由黑白而被赋予色彩。拼接与重叠，又使得它们由个体而群像，传达出民族团结的意蕴和一股与广袤茶山互相关照的蓬勃力量。
刘庆元 x huangyangdesign，木刻，2021年
（骆丹）
Jingmai Mountain is in Lancang County, Pu’er City, Yunnan Province, China. At the borderland of China, it is only a two-hour drive from Myanmar. For thousands of years, the ancestors of the Jingmai Mountain have left here with tens of thousands of acres of ancient tea forests in the forest, where tea trees grow along with the indigenous forest and are therefore given a unique fragrance of orchids and the charm of wilderness. The Blang, Dai, Hani, Wa and Han people who have lived on tea for generations, over the course of time, have formed a set of wisdom of beliefs, architecture, food and craftsmanship that coexists with nature, which has gradually permeated their daily lives.
(Luo Dan)
《景迈之一，云秀和儿子叁飞，翁基村》
《景迈之二，南门河边的一家人，那乃村》
骆丹，2018年，106 × 82 cm
《景迈之十，翁基村的月洋》
《摩雅的世界》，2021年
达曼即布朗族的祭司，布朗语音译为Ka Nan Xian。他们学习研究傣文经典，是布朗族较大的宗教活动的组织者。达曼除了为人诵经占卜以外，大部分时间也会用来从事生产劳动。古代达曼负责全寨的土地分配、租借，与外寨交涉、接纳外来户、主持祭祀、婚丧仪式以及节日活动等重大事物。新的达曼通过占卜的形式在村寨中的成年男子中选举产生，无任期年限，其主要职责是通过宗教仪式与万物神灵对话。
《最后的Ka Nan Xian》，2021年
《HINGU – 雨林之影》，2021年
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