The fishermen's paintings on the East China Sea islands can be traced back to the boat paintings of the Ming and Qing Dynasties, and even the statues, flags, and clothing patterns. The spiritual totems of the ancient Yue people were secretly passed on among the people. The ancient Chinese sea gods also appeared in fishermen's paintings. Poseidon scrupulously performs its duties, maintains the daily operation of the island, is responsible for escorting, curing epidemics, fending off pirates, quelling disasters, commanding the sea, island, sky and fire, and everything is in order. In addition, there are also some individual experiences that are worth cherishing. Their contents are mostly the daily life pictures of the old islands, which have triggered people's long-term memories. This ancient and young art of fishermen is inadvertently leaving precious historical images for the vast East China Sea. These images are unrepeatable. The faces in the painting clearly look at us, but look elsewhere. Their faces are vague, and they can't see their true faces, but they can sympathize with them, as if they are already in it.
After the Asian sea monster imagination, the film Leviathan (2012), produced by the Harvard Laboratory of Sensory Anthropology and directed by Lucien Kastein Taylor and Verena Parawell, will also be shown on the scene. In this film, the filmmaker used multi angle scattered shooting, such as tying GoPro to fishermen, throwing it into a pile of dead fish, and tying it to a wooden pole with tape and putting it into the sea. In a sense, this shooting method gives up the director's powerful position in film production, makes the camera disappear, and lets the audience experience the delirious deep-sea fear of Lovecraft style. The narrative structure of the film, from the outside to the inside of the ship, from the fish caught, to the sea birds accompanying the ship, to the fishermen who manipulate the ship and deal with the catch, outlines the image of a sea monster, and the transition from the eyes to the tail to the digestive tract, which also forms an ethical experiment from a radical perspective on the sea and fishing.
东海岛屿的渔民画，可以上溯到明清时期的船绘，乃至神像、旗帜、服饰纹样，古越人的精神图腾在民间秘密传递。中国古代的海神，也在渔民画里一一登场。海神恪尽职守，维护着海岛的日常运转，负责保驾护航，疗治疫病，抵挡海盗，平息灾害，统领着海水、岛屿、天空和火焰，一切井然有序。除此之外，还有些值得珍视的个体经验，其内容多为旧时海岛的日常生活图景，引发了人们长久的追忆。这种古老而又年轻的渔民艺术，正在无意中为浩瀚的东海留下珍贵的图像史料。这些图像是不可重复的，画中的一张张面孔明明看着我们，却又望向别处，他们面目模糊，无法目睹其真容，却能与之共情，仿佛已然置身其中。
在亚洲式的海怪想象之后，现场还将播放哈佛感官人类学实验室出品、由吕西安·卡斯坦因-泰勒和维瑞娜·帕拉韦尔导演的电影《利维坦》（2012）。在这部影片中，拍摄者使用了多角度的分散拍摄，如将GoPro绑在渔民身上、扔进死鱼堆里、用胶布绑在木杆上放进海里等。这样的拍摄方式在某种意义上放弃了导演在电影制作中的强力地位，让摄影机消失不见，让观众切身体验到洛夫克拉夫特风格的谵妄的深海恐惧。电影的叙事结构从船只的外部到内部，从捕捞的鱼获，到伴生跟随船只的海鸟群，到操纵船只和处理渔获的渔人，勾勒出一只海洋巨兽的意象，从眼到尾到消化道的过渡，也形成一种对海洋与渔业的激进视角的伦理实验。
Sheng Wenqiang, born in Qingdao in 1984, is a writer and marine culture researcher.
盛文强，1984年生于青岛，作家，海洋文化研究者。
作品见于《人民文学》《花城》《天涯》《大家》等，著有《海神的肖像》《海盗奇谭》《岛屿之书》《海怪简史》《渔具列传》《半岛手记》等。
