微缩景观展现给人们的大致有如下几种情况：客观世界模具化、游戏性、谜语一样的幻境……这样的微缩景观，很多来自移轴相机所带来的中心点聚合效应，这些在大卫-伯奈特拍摄的体育比赛影像里，已经具有了可观的评价。在国内大量地应用于摄影实践中的，都无非是将镜头对准中国密集的城市建筑，制造出奇异而虚假的再观看镜像。

　　如果反过来，将人造画面构建起的场景进行二次定格，观看者处于真实与虚假的观看困惑中，则是较为困难的拍摄项目。就目力所及，国内投入这种拍摄的有李洁军，他的荷赛获奖作品《复制战争》，是还原部分经典战斗场景，场景素材来自于摄影师本人的创造。

　　而摄影师博尚似乎更具野心，他避开了原始素材的创造，直接面对成熟而完整的艺术品，其作品《临摹此刻》的素材来自于美国华裔舞台美术大师Ming Cho Lee的舞台模型道具，他选取了道具中距离日常生活视觉最近的那些，作为自己对于真实与虚构的依附关系的思考文本。

　　在艺术批评家约翰•伯格那里，现实(可见之物)不过是文本和符码信息(code)。承认了这种“符码信息”的可控性，则是构建另一种真实的前提。在博尚的作品中，现实作为文本，舞台道具是现实生活的摹本，摄影师再将此作为素材，进行映照，这种多次交叠而成的影像即成为“摹本的摹本”。博尚通过理性的编码，实现解码的诉求，同时对于现实与摹本的关系做出思考。作品画面中阴森窄仄光影下的模型小床如何和感官现实交替和指代?当彼此成为参照，真实便成为最后的谎言，即便是我们赖以信任的眼睛，它所看到的现实世界，也不过是对现实的临摹。被誉为“当代达-芬奇”的意大利小说家翁贝托-埃科说：热爱人类者的责任也许就是使人嘲笑真实，因为唯一的真实教导我们，为了真实而从疯狂的情感之中解脱出来。

　　影像作为现实世界的摹本，它以对于现实世界的映照所建立的另一个断面，构成了现实的对话体。影像的生产，意味着现实的死亡，真实被蔑视和否决，世界同时进入悬疑。因此，我们可以说，博尚的作品，试图以一种交叠的圈套来提出问题，并对素材和作为“符码信息”的现实用影像来进行分层，最终通过编码和构建真实对我们的观看方式做出新的尝试。这种尝试，反映在作品实践中，就是提供给观众多层思考纬度和空间。作为观众，我们不得不跟着他去猜谜，并通过这种智力较量来获得解读的快感。

　　Text and Construction of Text

　　By Hai Jie

　　There are several sides shown by miniatures: mould of objective world, game-plays, puzzle-likes illusions…many of such miniature landscapes come from the centered aggregation effects of TS cameras, and it has been evaluated considerably in sport images by David Burnett. It is applied in photographic practice in China, and is nothing more than focus on dense urban buildings, to create a strange and false re-viewing mirror.

　　If, in turn, the scene made of artificial pictures is framed second time, viewers will be in a confusion of viewing between real and false, so it would be a difficult project of photography. On eyesight, some photographers work by this way, as like Li Jiejun, and his works Copy War which won the award in WPP, restored some battle scenes by materials created by photographer himself.

　　The photographer Bo Shang seems to be more ambitious; he avoided the creation of original materials, and directly confronted with matured and completed arti work. His work, Copy at the Moment, used the stage models from Chinese-American stage designer Ming Cho Lee, and he selected those which close with viewings in daily life, as his thinking text for the co-dependence between the real and the imaginary.

　　According to John Berger, the real is just text and code information. If one acknowledged the controllability of such codes, he constructs an alternative prerequisite of the real. In Bo Shang’s works, the real becomes a text, stage props a copy of real life, so the photographer can make a reflection with these materials; these overlapping images become a copy of copy. With rational encoding, Bo Shang realized his demand of decoding, while considered the relationship between the real and the copy. How does small bed model under light and shadow in the picture realize alternation and reference for the real? When they become a reference each other, the real turns into the last lie, even if we trust in our eyes, but the real world we seen just is a copy of the real. Italian novelist Umberto Ecko, Known as the ‘Contemporary da Vinci’, said: lovers of mankind have a responsibility to make people laugh at the real, because the only real teaches us, we must be free from crazy emotion for the real.

　　As a copy of the real world, image constructs a dialogue of the reality with another section built by a reflection of the real world. Production of image means the death of reality, the real is contempt and rejected, while the world turns into suspense. Therefore, we can say that Bo Shang’s works try to bring up a question with a overlapping trap, and delaminate the materials and the real as code with image, at last make a new attempt for the way of viewing through encoding and constructing of the real world. This attempt reflected in the works is to provide multi-latitude and space of thinking for viewers. As viewers, we have to follow him to guess, and get the pleasure of reading through such intellectual contest.

　　(毛卫东译)