林海聪：《妙峰山庙会的视觉表达——以甘博照片为中心的考察（1924—1927）》，《民俗研究》2019年第5期。

【内容摘要】美国社会学家甘博曾组织学者三次前往妙峰山进行庙会调查，借助现代技术拍摄了121张照片。相较于文人笔记、风俗画等传统民俗文献侧重于勾勒妙峰山作为“风景”的文化内涵，这批民国老照片作为连续性的、叠写式的“视觉集合”更加突出香会、香客以及商贩等民俗主体的仪式实践和文化互动，纪实而系统地运用视觉表达手法再现了中国庙会的宗教性、娱乐性与商业性，也反映了西方学者甘博对中国民间信仰的多元化凝视。通过视觉图像、调查研究和身体经验的彼此联结，甘博拍摄的妙峰山照片为后人重构妙峰山庙会的历史文化图景增添了一个现代性的技术视角，并与顾颉刚等人的文字书写形成文化对话，向读者提供了一种多感官地理解中国文化的可能性。

【关键词】甘博；妙峰山庙会；视觉表达；摄影；文化接触

Visual Representation of Miaofeng Shan Temple Fair: A Study of Sidney Gambles Photos (1924-1927)

Lin Haicong

Abstract: During the period from 1924 to 1927, American sociologist Sidney Gamble intermittently organized scholars to do temple fair surveys at Miaofeng Shan for three times and took 121 photos with camera. Compared with traditional folk literature, such as literati notes and folk paintings, which focus on the cultural connotation of Miaofeng Shan as a "landscape", these old photos highlight the ritual practice and cultural interaction of the folk subjects, including pilgrim societies, pilgrims and vendors. They use visual representation techniques to represent the religiosity, recreation and commerciality of Chinese temple fairs systematically and documentarily, which reflect diversified gazes of Sidney Gamble on Chinese folk religion from the perspective of a Western scholar. Through connecting visual images, field investigations and individual body experience, Gambles photos of Miaofeng Shan not only add a modern technical perspective to the historical and cultural construction of Miaofeng Shan Temple Fair, but also make a cultural dialogue with the textual writings of Gu Jiegang and others, and ultimately provide readers with a chance to understand Chinese culture through multiple sensory means.

Key words: Sidney D. Gamble; Miaofeng Shan Temple Fair; visual representation;  photography; cultural contact