文/游正宇
西宁摄影师纯碱的影像系列“羌羌木”（2016-2020），拍的是青海的树。青海是古羌族生活的地方，纯碱将这个系列命名为“羌羌木”，有出于这个考虑。最初无系列的意识，后续渐渐生成，这也与纯碱及其父亲的工作或学习经历有关。在青海，树的生长，比草生长更难。“羌羌木”这个系列的拍摄和观察下来，纯碱提到，青海日月山以西树非常稀有；在青海，80%的情况，有树的地方，人就比较多，没树的地方，人口会很少或是无人区。
我理解纯碱的羌羌木系列，是从文化、艺术和生态三个视角出发。单单文化这个视角，包含地域文化、中国园林文化以及普适性的国际性的文化视角；艺术和生态这两个视角，毫无疑问也有这样的层次。纯碱有意识或者无意识的，达成了这些观察，并在这个摄影系列里呈现出来。因而我在编辑选片时，这是一个线索。这样的专题性的摄影创作，关于在地、本地，因深入达到一个体量，它的意义不止在摄影或者艺术范畴，它还关乎更多的面向，也为其它专业的从业者，提供研究的素材（材料）和角度。
树，或者树这类自然物，亦或人造物、社会植物（徐坦的研究与命名），处于人与自然的交界面，借由树，可相互滑入。

By You Zhengyu
Xining photographer ChunJian’s photo series “Qiang Qiang wood” (2016-2020) takes pictures of trees in Qinghai. Qinghai is the place where the ancient Qiang people live, and ChunJian named this series “Qiang Qiang wood” for this consideration. Initially, there is no series of consciousness, and then gradually generated, which is also related to the work or study experience of soda ash and his father. In Qinghai, the growth of trees is more difficult than that of grass. After the shooting and observation of this series of “Qiang Qiang wood”, ChunJian mentioned that trees west of Riyue Mountain in Qinghai are very rare; In Qinghai, 80% of the cases, where there are trees, there are more people, and where there are no trees, the population will be very small or no man’s land.
I understand the Qiang Qiang wood series of ChunJIan from three perspectives: culture, art and ecology. The perspective of culture alone includes regional culture, Chinese garden culture and universal international cultural perspective. There is no doubt that the two perspectives of art and ecology also have such levels. ChunJian, consciously or unconsciously, made these observations and presented them in this photo series. So when I was compiling my selections, it was a clue. Such thematic photography creation is about the local and local, because it reaches a volume deeply, its significance is not only in the field of photography or art, it is also related to more aspects, but also provides other professional practitioners with research materials (materials) and angles.
Trees, or trees such as natural objects, or artificial, social plants (Xu Tan’s research and naming), at the interface between man and nature, through the tree, can slide into each other.