自上世纪90年代至今，艺术博物馆、画廊、艺术收藏机构（如基金会、银行等）频繁地展示一类尺寸巨大且画面清晰异常，被摄主体常被置于画面正中，戏剧性和韵律感被摒弃于画面之外的摄影作品。后来的艺术评论家与艺术家认为这是“无表情”美学于摄影艺术中的体现。本文试图以微观史学的研究方法对“无表情”美学于摄影中的兴起至成熟的发展过程进行梳理，沿着时间轴对此种美学风格形成过程中的人物、事件进行考证、比对与阐释，揭示摄影师的主体性、个体性与时代特殊性间的相互作用在“无表情”美学于摄影中的形成和传播过程中的重要意义。本文采取年代叙事的模式，以四个时间节点为支点进行研究，即：一、1839年至1910s，“无表情”美学于摄影中的显现阶段；二、1910s至1950s， “无表情”美学在摄影艺术潮流中的萌芽阶段，显现出两大特征——客观性与写实性；三、1950s至1990s，德国杜塞尔多夫学派和美国新地形学的流行扩宽了“无表情”美学于摄影中拍摄题材；四、1990s至今，随着艺术市场全球化的到来及装裱技术的革新， 以“无表情”美学为拍摄风格的摄影师迅速地迈向了公众舞台，并大放异彩。同时，在涉及具体案例的分析与论述中，笔者主要运用文献调查法与图像分析法，以《面孔下的无情绪化》《漠视下的景观》《景观与人的相互交融》三个小章节具体阐述了“无表情”美学于摄影中的发展，对其风格的产生及流变进行综合分析，以解析与推论串联起不同个案进而得出本文的结论，即：一、无表情的形象内涵主要由角色代替符号来体现；二、看似客观的画面背后隐藏的是创作者强烈的主观性。借此，笔者获得本次毕业设计作品的创作灵感，并以此为学术根据，遵循其拍摄方式及视角，完成了名为《故园·黄河两岸》的摄影作品。作品主要运用大画幅所带来的沉静的凝视感，对当下环境中的人与景观进行拍摄，凸显摄影师与被摄体间的距离感，细致入微地刻画了正在改变的黄河沿岸景观，借由影像的形式重点探讨了人与环境、自然之间的关系。
Since the 1990s, art museums, galleries, foundations, banks and other art collection institutions have frequently displayed a kind of photographic works with huge size and extremely clear pictures. The subject is often placed in the middle of the picture, and the sense of drama and rhythm is abandoned outside the picture. Later art critics and artists considered it the embodiment of “deadpan aesthetics” in photography.This work attempts to take the micro historiography research methods to tease out the development process of “deadpan aesthetics” in photography from rise to mature, and to test, compare and interpret the characters and events in the formation of this kind of aesthetic style along the time axis. It reveals the importance of the interaction among the photographer’s subjectivity, individuality and the particularity of the era in the formation and dissemination of “deadpan aesthetics” in photography. The work adopts the narrative mode of chronology and takes four time nodes as the fulcrum for research, namely: 1.From 1839 to 1910s, “deadpan aesthetics” appeared in photography; 2.From 1910s to 1950s, “deadpan aesthetics” emerged in the budding stage of artistic trend in photography, showing two characteristics -- objectivity and realism; 3.From 1950s to 1990s, the influence of German Düsseldorf School and new topography of the United States led to the expansion of shooting subjects; 4.Since the 1990s, with the advent of the globalization of the art market and the innovation of mounting technology, photographers with the style of “deadpan aesthetics” have rapidly stepped onto the public stage and shined.At the same time, the author mainly uses literature research method and image analysis method for the analysis and discussion of specific cases. In the Emotion-free under the face, Landscape under the disregard and The mutual integration of landscape and people three chapters, the author elaborates on the “deadpan aesthetics” in the development of photography, comprehensively analyzes the generation and rheology of its style, connects different cases by analysis and inference, and draws the conclusions: First, deadpan expression is mainly reflected by the role instead of the symbol.; Second, the seemingly objective picture hides the creator's strong subjectivity.Therefore, the author got the inspiration of this graduation design work, based on this academic basis, and completed the photography work named hometown · both sides of the Yellow River, which followed its shooting method and perspective. The work mainly uses the calm gaze brought by the large-format to shoot the people and landscape in the current environment, highlights the sense of distance between the photographer and the subject, and depicts the changing landscape along the Yellow River in detail. Through the form of images, the relationship between people, environment and nature is mainly discussed.
