发布时间：2010-05-18 来源：无忌原创 作者：李逦 责任编辑：jack
延伸阅读：
草场地·北京 荣荣映里作品
冯博一：我准备在何香凝美术馆策划荣荣&映里的摄影展，也算是两个人的联展。因为他们合作摄影创作十年了，从2000年到2010年。
艾未未：你们合作不止十年吧？
荣荣：刚好十年，2000年开始的。
艾未未：你们住东村时候……
荣荣：东村时她还没来，2000年9月份来的，正是你们做《不合作方式》展览的时候。
艾未未：你们住东村时候……
荣荣：东村时她还没来，2000年9月份来的，正是你们做《不合作方式》展览的时候。
艾未未：那时，映里从日本过来时多大？二十七、八？之后生了三个孩子？几个男孩几个女孩？噢，都是男孩。为什么生这么多？生习惯了？还会生下去吗？
映里：差不多了。
艾未未：还要一个女孩？
映里：女孩儿长大了会很让人担心。
艾未未：会吗？
荣荣：我已经想通了，以后三个女孩——儿媳妇都会过来，呵呵。
艾未未：你们家阳气很重。荣荣有几个兄弟姐妹？
荣荣：我有五个，一个姐姐、一个哥哥、两个妹妹。
艾未未：映里呢？
映里：两个，一个姐姐。
艾未未：日本想生多少生多少？
映里：日本现在小孩不多。
艾未未：在哪家医院生的？
映里：老大、老二在中日医院，老三在美中宜和医院。
艾未未：“美中”不错，环境好。不存在超生问题？
荣荣：我属超生，交了罚款了，因为要中国护照，如果你不拿中国国籍可以。不管你太太哪国人。我原来以为不受限制了。这跟国外相差很大。
艾未未：为什么不拿日本国籍？
荣荣：因为都生活在北京了。
艾未未：想拿可以吗？
荣荣：当然可以！
冯博一：他们俩一起在国内美术馆还没有做过个展。
映里：在三影堂做过，展示了几个系列的作品。
艾未未：你们自己怎么看这种合作？
荣荣：改变很多。认识后有很大转折，东村、废墟几个系列都是在寻找，在一块后……
艾未未：改变什么？你们俩的性生活改变了？还是作息时间改变了？
冯博一：我印象中，在富士山开始拍裸照，应该是第一系列？
荣荣：不，之前在长城、在嘉峪关我们一起拍过。
艾未未：你们俩特别欣赏对方的身体吗？
映里：那个时候……
艾未未：你并不欣赏他的裸体吗？和我也可以拍裸体吗？我想起一件事，好像她怀孕的时候，我的身体和映里的身体要拍合影。
荣荣：本来那时未未的肚子和映里的肚子要拍一个合影，那天未未已经到三影堂了，映里突然反应特别厉害，要去医院。
艾未未：没别的原因吗？
荣荣：能有什么原因？
艾未未：那也没告诉我什么时候可以再拍？
荣荣：还得等等，等到她的肚子再大了。
艾未未：你欣赏她的身体吗？
荣荣：我觉得她很好、很棒。你觉得我怎么样啊，线条怎样？
映里：呵呵。
冯博一：他们最初开始恋爱时语言不通，我不知是如何一起创作的？
艾未未：你最向往的状态，你好奇的一块就是你感兴趣的。
冯博一：哈哈哈。
艾未未：语言不通怎么告诉你要裸体呢，直接把你脱了？
荣荣：语言不通有时会特别奇怪。第六感领悟特别好，身体语言调动起来的。
艾未未：语言通了是不是那种感觉就没有了？经过十年对对方的身体失去了兴趣吗？
映里：有变化。
艾未未：你呢？
荣荣：变化会有，不一样的阶段。
艾未未：怎么不一样？
荣荣：生活不一样了，也有小孩了，关注的也就不一样了。
映里：现在我们看那时录像也很奇怪，用一种原始的语言沟通。不只是眼睛看到的和大自然里面的东西。那时想拍心里面的东西，拍“富士山系列”时，没有提前说要怎么拍。
艾未未：带设备去啦？
映里：带了，要拍，拍什么样的没有安排。
艾未未：拍富士山的动机是什么？
映里：第一次见面时，我说：如果你再来，我带你去看富士山。
艾未未：荣荣第一次去日本回来跟我说了。我问怎么交流？他说他也不知道，反正能交流。记得吗？
荣荣：对，1999年你已经在这里了。
艾未未：后来怎么想做三影堂摄影艺术中心？
荣荣：北京慢慢发生变化，我们经常讨论。因为热爱摄影，因摄影而结缘，她拍了十年，我拍了十年，一直在拍。最早想做一个公共图书馆，对我来说作为一个摄影家去经营一个画廊我不感兴趣，对中国来说还是关心摄影现状，象做摄影一样来对待它。
艾未未：关心的话题，你们背景不同，尽管做摄影都做了十年，观点肯定不太相同。是一拍即合还是有摩擦？
荣荣：技术上，我粗糙，她精细，我们互补。
艾未未：你觉得荣荣带给你什么了？
映里：开放。在日本时，我特别封闭，独立一个人。和荣荣在一起后，可能和他性格有关，通过他，我对外面的世界，对其他的人，以前全部“断”了，现在已经开始有关系了，开始交流了。
冯博一：我看过映里原来的摄影作品，比较狂野；和荣荣合作后，感觉很浪漫，感情很丰富。
荣荣：其实，我个人的作品始终离不开环境。离开东村，到六里屯，映里、身边的人、物、事，我没有跑太远。如果说没有映里，我一个人跑富士山上，跟我以往关注的就没什么关系了。
映里：来之前不知道以后会不会做摄影。来这里以后，没有讨论什么，非常自然开始拍照片。一开始我拍他，他拍我，或去同一个风景地，他拍的时候，我不拍。有点奇怪，后来一起拍。富士山作品之前，我们在自然中有一系列作品，在长城、在嘉峪关等。特别想要去自然里面，语言不通，通过相机交流，我们说相机是我们的“第三个眼睛”。
艾未未：谁先看上谁的？肯定是映里先——中国的帅哥来了。
荣荣：不是，不是，我先看上她的。
映里：我先看上他的作品，嘿嘿。
艾未未：怎么有兴趣去看荣荣的展览？
映里：小熊（熊文韵）在日本，她说她朋友来东京做展览。
艾未未：喜欢他的照片吗？
映里：不是喜欢不喜欢，直接到心里去哦！
艾未未：你们什么时候上的床？他说在日本就已经和你上床了。
荣荣：乱说。呵呵！
艾未未：哈哈，都三个小孩了，你们还羞涩，不至于吧。
映里：来北京后。
艾未未：你当时下决心了？做好准备了？
荣荣：这个过程很漫长的，不是那么容易来的。我还有各种手段，我不会用手机、电脑、传真，后来都用上了。现在我又不会用电脑了。那时电话费很贵的，我房租都交不起还天天打电话给她。
艾未未：当时有没有替中国人复仇的感觉？
荣荣：这是哪跟哪儿呀？
冯博一：我觉得荣荣没有。
艾未未：你会有？
冯博一：我也没有，这是私人感情。
艾未未：你的意思是私人事务、跟公共事务、跟历史没关系？你们怎么看中日战争？年青人会比较坦然看历史吧，不关他们的事？你知道吗？你嫁给中国人有压力吗？日本人怎么看这个问题？
映里：日本人对外比较排斥。
艾未未：中国人对你呢？以前没有在中国的经验吧。
映里：难说，人很多，不一样，快十年。比如说他的家里人很特别，爸爸影响大，特别细，也比日本人细，特别干净。
艾未未：怪物。中国很少有细的。
荣荣：所以我们跟他在一起很难相处，过分干净。
艾未未：举例。
荣荣：比如洗碗水不能溅出来，小孩吃饭一点汤洒了，他马上就去擦。
艾未未：那你留这么长的头发，还娶个日本媳妇。
荣荣：在家不能留长发，所以我跑到北京来留了，哈哈。以前，每年春节回家我爸爸都说：你这年龄还没女朋友？现在有了就好了。但是他担心中日关系，操心。
艾未未：他多大？
荣荣：73岁了。
荣荣：他以前是供销社采购员。
艾未未：那肯定总有甜头，好吃的不少吧。
荣荣：改革开放后，他承包供销社，我给他打工三年。他承诺给我一笔钱，我可以买相机，之后爱干什么干什么。
艾未未：第一个相机什么时候买的？什么牌子？
荣荣：美能达，1992年。
艾未未：我们1993年就认识了，映里呢？
映里：我高中，1994年，爸爸的老相机，理光的。
艾未未：设备加起来有多少钱？算过吗？
荣荣：真没算过。
映里：我来中国之前全部卖了。
荣荣：她以前当记者，相机、镜头大大小小，全卖了，来为六里屯生活用。我在那住过八年，你们都去过的。
冯博一：生活上的转机大约在哪年？
荣荣：2002年左右吧。1997年第一次卖照片，去维也纳做展览。之前有一点点，真正卖作品在2000年后。
艾未未：所以，是映里带来的运气吧。
荣荣：我也给她带来运气，是吧，相互的。2000年我们创作改变，生活改变。
艾未未：下回想做什么？
映里：这次回日本，因为十年没回去过年了。
荣荣：十年没回日本过年，今年回去了。
映里：想能去日本农村拍一些照片。好像小孩在那里也很好，特别自然。后来没有拍，很奇怪的。
荣荣：有一种矛盾状态，跟三影堂有关系吧。精力、时间不允许，三影堂还在路上，还需要我们管理。以后希望能远一点，能回到原来的创作状态。
冯博一：和个人的创作状态还是有冲突。
荣荣：现状不允许呀。
冯博一：荣荣以前对恶劣的环境比较关注，和映里在一起后变化挺大的，比如富士山系列。
荣荣：那个时间段比较特殊，刚领完结婚照证。
艾未未：标准模式，你们俩在自然中。
荣荣：拆迁也是自然。
艾未未：如果离婚了还会一起合作吗？
映里：看缘份吧。
冯博一：最后一个问题，你们合作后，与各自以往的创作最大区别是什么？
映里：之前都是独立的，作品在内心里；合作的改变，通过生活，作品哪里都是可以拍的。
冯博一：荣荣呢?
荣荣：对，那时在东村，现在在草场地。环境改变，没有刻意，都是身边的事。
艾未未：小孩怎样?健康？
映里：最近全部得流感啦。
艾未未：很辛苦，累不累？乐趣多吗？
映里：我只管小孩。
荣荣：我也管的。
艾未未：挺了不起的！
荣荣：没有。以前，我老爸老妈有更多小孩。
艾未未：那不太一样。日本幼儿园好不好？
映里：没什么教育，只是玩。
艾未未：玩，做游戏，那不就最好嘛。中国人能进吗？
映里：现在政府开始管，不让外国人办学校。
艾未未：捣乱！其实家族经营也可以啊。
映里：对，我们也在考虑。
Participants: Rong Rong, inri, Ai Weiwei, Feng Boyi
Date: March 3, 2010
Location: Ai Weiwei’s Studio
Feng Boyi: I wanted to curate an exhibition of Rong Rong & inri’s work at the He Xiangning Art Museum. It can be considered a joint exhibition of two artists because they have collaborated on photographic works for ten years, from 2000 to 2010.
Ai Weiwei: You’ve been collaborating for more than ten years?
Rong Rong: Exactly ten years, beginning in 2000.
Ai Weiwei: When you lived in the East Village…
Rong Rong: When I was in the East Village, she had not yet come [to Beijing]. She came in September 2000, just as you were putting on the Fuck Off exhibition.
Ai Weiwei: inri, when you came here from Japan, how old were you? 27, 28? And you’ve had three children since then? How many boys and how many girls? Oh, they’re all boys. Why did you have this many? Did you just get used to it? Will you have more?
inri: That’s about right.
Ai Weiwei: Do you still want a girl?
inri: Girls growing up can be worrisome.
Ai Weiwei: Can they?
Rong Rong: I’ve already thought this through, and three girls will come later. Our son’s wives. Ha-ha.
Ai Weiwei: Your family has a strong masculine energy. Rong Rong, do you have siblings?
Rong Rong: There were five of us. I have an older sister, an older brother, and two younger sisters.
Ai Weiwei: And inri?
inri: There were two of us; I have an older sister.
Ai Weiwei: In Japan, you can have as many children as you want?
inri: In Japan today, there aren’t many children.
Ai Weiwei: In which hospital did you have your children?
inri: I had the oldest and the middle ones at the China-Japan Friendship Hospital, and the youngest at the Amcare Women’s and Children’s Hospital.
Ai Weiwei: Amcare, not bad! It’s a good place. Did you not encounter problems in having more [than two] children?
Rong Rong: I counted as over the quota [for number of children in a family], and we paid the fine because I have a Chinese passport. If you don’t have Chinese citizenship, it’s ok, regardless of what nationality your wife is. I originally thought that we wouldn’t be subject to the limits. This differs greatly from other parts of the world.
Ai Weiwei: Why didn’t you get Japanese citizenship?
Rong Rong: Because we all live in Beijing.
Ai Weiwei: Could you get it if you wanted to?
Rong Rong: Of course!
Feng Boyi: They’ve never had a solo exhibition in a domestic art museum.
inri: We had one at Three Shadows that included several series.
Ai Weiwei: How do you view this collaboration?
Rong Rong: It’s changed a lot. Our meeting was a major turning point. The East Village and Ruins series were all seeking [something], and after we were together…
Ai Weiwei: What changed? Did your sex life change? Or did your daily routine change?
Feng Boyi: My impression is that your first series was when you started to take nude photographs at Mount Fuji?
Rong Rong: No, before that we took photographs at the Great Wall and Jiayu Guan.
Ai Weiwei: Do each of you especially appreciate the other’s body?
inri: At that time…
Ai Weiwei: You don’t appreciate his naked body at all? Can you also take nude pictures with me? I’ve just thought of something, it seems that when she was pregnant, we wanted to take a picture of my body and inri’s body.
Rong Rong: At the time, I originally wanted to take a picture of Weiwei’s belly and inri’s belly. That day, Weiwei had already arrived at Three Shadows, and inri suddenly responded very intensely and had to go to the hospital.
Ai Weiwei: There was no other reason?
Rong Rong: What other reason would there be?
Ai Weiwei: But you never told me when we could retake it?
Rong Rong: We had to wait until her belly was big again.
Ai Weiwei: Do you appreciate her body?
Rong Rong: I think she’s very good; she’s great. What do you think of me? How are my lines?
inri: Ha-ha.
Feng Boyi: When they first started dating, there was a language barrier. What I don’t know is how you collaborated.
Ai Weiwei: What you most long for and what you’re curious about is what you’re interested in.
Feng Boyi: Ha-ha-ha.
Ai Weiwei: With the language barrier, how did she tell you that you should be naked? Did she just undress you?
Rong Rong: At times, the language barrier was especially strange. We had a very good understanding through a sixth sense, body language transferred meaning.
Ai Weiwei: Did the removal of the language barrier eliminate this feeling? After ten years have you lost interest in the other’s body?
inri: It’s changed.
Ai Weiwei: And you?
Rong Rong: There have been changes; different stages.
Ai Weiwei: Different how?
Rong Rong: Life is different. We also have kids, and what we’re interested in is different.
inri: Now when we look at the videos from those times, it’s very strange. We used a primitive language to communicate. It wasn’t just what the eyes saw and things in nature. At that time we wanted to take pictures of psychological things. When we took the Mt. Fuji series, we didn’t talk beforehand about how we wanted to take those pictures.
Ai Weiwei: Did you take your equipment?
inri: We did. We wanted to take photographs, but we hadn’t figured out how we would take them.
Ai Weiwei: What was the motivation behind taking pictures at Mt. Fuji?
inri: The first time we met, I said, “If you come back, I’ll take you to see Mt. Fuji.”
Ai Weiwei: When Rong Rong came back from Japan for the first time, we talked. I asked how you communicated. He said he didn’t know, but that they could communicate. Remember?
Rong Rong: Right, in 1999 you were already here.
Ai Weiwei: Later, how did you think of the Three Shadows Photography Art Centre?
Rong Rong: Beijing was changing slowly, as we often discussed. [I wanted to create the Centre] because I love photography, I formed relationships because of photography. She took photos for ten years; I took photos for ten years, continuously. At the earliest stage, we wanted a public library. I had no interest in being a photographer operating a gallery. We were still concerned with the present state of Chinese photography, approaching China by taking pictures.
Ai Weiwei: On the topic of interests, your backgrounds are very different. Even though you have taken photographs for ten years, your viewpoints are certainly not too similar. Do you fit together easily or are there clashes?
Rong Rong: In terms of technique, I’m rougher, and she’s more refined. We complement each other.
Ai Weiwei: What do you think that Rong Rong has given you?
inri: Openness. When I was in Japan, I was an especially closed, independent person. After I met Rong Rong, it could have something to do with his personality, but through him, I have now started to have relationships, started to communicate. Before, I was cut off from the outside world and other people.
Feng Boyi: I’ve seen inri’s original works, and they’re rather wild. After collaborating with Rong Rong, [the work] had a romantic feeling; they were rich in emotion.
Rong Rong: In fact, my individual works were inseparable from the environment. Leaving the East Village and going to Liulitun, I didn’t go too far from inri, the people around me, things, and events. If not for inri, I going to Mt. Fuji by myself would have had no relationship to what I was interested in before.
Feng Boyi: I want to ask inri, what is different about creating in China?
inri: Before I came, I didn’t know whether I would continue to take pictures. After I came, without discussing anything, I very naturally started to take photographs. At first, he photographed me, I photographed him, or we went to the same scenic spot and when he took pictures, I didn’t. That was a little strange, and so later we took photographs together. Before the Mt. Fuji works, we did a series of works in nature, at the Great Wall and at Jiayu Guan. We especially wanted to go to nature, with the language barrier, we communicated through the camera. We said that our camera was our “third eye.”
Ai Weiwei: Who liked who first? It was certainly inri who first [liked Rong Rong]. [Such a] handsome Chinese man!
Rong Rong: No, No. I took a fancy to her.
inri: I took a fancy to his work. He-he.
Ai Weiwei: What made you interested in Rong Rong’s exhibition?
inri: When Little Xiong (Xiong Wenyun) was in Japan, she said that her friend had an exhibition in Tokyo.
Ai Weiwei: Did you like his photographs?
inri: It wasn’t like or dislike; it went directly to the heart!
Ai Weiwei: When did you first sleep together? He said that in Japan you had already slept together.
Rong Rong: Gossip. Ha-ha!
Ai Weiwei: Ha-ha. You have three kids and you’re still shy. Not likely.
inri: After I came to Beijing.
Ai Weiwei: You decided then? Were you ready?
Rong Rong: This was a long and slow process; it did not come that easily. I still had various strategies. I couldn’t use a mobile phone, a computer, a fax, and later I used them all. Now I can’t use computers again. At that time, phone calls were very expensive, I couldn’t afford my rent, but I still called her every day.
Ai Weiwei: At the time, did you have the feelings of wanting to avenge the Chinese people?
Rong Rong: What does this have to do with anything?
Feng Boyi: I don’t think that Rong Rong has those feelings.
Ai Weiwei: Do you?
Feng Boyi: I don’t either, it’s a private emotion.
Ai Weiwei: You mean that personal affairs have nothing to do with public affairs and history? How do you view the Sino-Japanese War? Young people can view history relatively calmly, [as something] not related to them. You know? Did you face pressure when you married a Chinese man? How do the Japanese see this issue?
inri: The Japanese often reject the foreign.
Ai Weiwei: How do Chinese people treat you? You didn’t have experience in China before [you arrived].
inri: It’s hard to say. There have been many people, all different, over ten years. For example, his family is very special; his father is influential, very attentive, more attentive than Japanese people, and very clean.
Ai Weiwei: What an eccentric. There are very few attentive people in China.
Rong Rong: So it was difficult for us to get along, [he’s] excessively clean.
Ai Weiwei: Give an example.
Rong Rong: For example, water can’t splash out [of the sink] when you’re washing dishes. When the kids have soup and drip some on the table, he will immediately wipe it up.
Ai Weiwei: So, you let your hair grow long and gave him a Japanese daughter-in-law.
Rong Rong: At home, I couldn’t leave my hair long, so I went to Beijing. Ha-ha. Before, every year at Spring Festival, my father always said, “At this age, you don’t have a girlfriend?” Now that doesn’t happen anymore, but he worries about Sino-Japanese relations. He worries.
Ai Weiwei: How old is he?
Rong Rong: 73.
Rong Rong: He used to be a buyer for the Demand and Supply Cooperative.
Ai Weiwei: That must have had benefits, always good things to eat.
Rong Rong: After Reform and Opening, he contracted with the Demand and Supply Cooperative, and I worked for him for three years. He promised to give me some money so that I could buy a camera. After that, I did what I loved.
Ai Weiwei: When did you buy your first camera? What brand was it?
Rong Rong: A Minolta, in 1992.
Ai Weiwei: And we met in ’93. inri?
inri: In ’94. I was in high school. It was my father’s old camera, a Ricoh.
Ai Weiwei: How much did all of your equipment cost total? Have you added it up?
Rong Rong: Never.
inri: I sold it all before I came to China.
Rong Rong: She was a reporter. The camera and lenses of all sizes were all sold to pay for life in Liulitun. I had lived there for eight years, you’ve all been there.
Feng Boyi: When did things turn for the better?
Rong Rong: Around 2000. In 1997, I sold my first picture and went to Vienna to exhibit. After that we had a little, my work only started really selling after 2000.
Ai Weiwei: So, it was inri who brought you good luck.
Rong Rong: I also brought her good luck. We brought it to each other. In 2000 our work changed, our lives changed.
Ai Weiwei: What do you hope to do next?
inri: [We want to] go back to Japan because I haven’t been back to celebrate the New Year in ten years.
Rong Rong: We haven’t been to Japan to celebrate the New Year in ten years, so this year we’ll go.
inri: We hoped to go to the Japanese countryside to take some pictures. It would have been good for the children, very natural. We didn’t take the pictures, it was very strange.
Rong Rong: There are clashes [between these sorts of ideas and the requirements of] Three Shadows. Our energy and time do not permit it. Three Shadows is still a work in progress, and it needs our guidance. Later we hope to gain a bit of distance and return to our original state.
Feng Boyi: There are still conflicts with individual creation.
Rong Rong: The present situation doesn’t permit it.
Feng Boyi: Rong Rong, in the past you had been interested in poor environments. After you and inri got together, the change was significant, as with the Mt. Fuji series.
Rong Rong: That was a special period of time; we had just finished with the wedding photos.
Ai Weiwei: The standard model; the two of you in nature.
Rong Rong: Demolition is also natural.
Ai Weiwei: If you were to get divorced, would you still collaborate?
Inri: That’s for fate to decide.
Feng Boyi: One last question. What’s the greatest difference between your collaborative works and your individual works?
inri: Before, I was very independent and my work was very introspective. Collaboration changed that. Works could be created anywhere in life.
Feng Boyi: Rong Rong?
Rong Rong: Yes. I was in the East Village before and now I’m in Caochangdi. The environment has changed, but [our art] does not require great effort; it’s all of the things around us.
Ai Weiwei: How are the kids? Healthy?
inri: They’ve all caught colds recently.
Ai Weiwei: That’s tough. Are you tired? Do you get the chance to have fun?
inri: I just look after the kids.
Rong Rong: Me too.
Ai Weiwei: Amazing!
Rong Rong: Not really. My parents had even more kids.
Ai Weiwei: That’s different. How’s the Japanese kindergarten?
inri: They don’t learn, they just play.
Ai Weiwei: Playing and making up games is what’s best. Can Chinese people sign up for this kindergarten?
inri: The government has started to manage it; they don’t allow foreigners to run schools.
Ai Weiwei: How bothersome! Families can operate schools, though.
inri: Yes, we’re also considering that.
Ai Weiwei: Ha-ha. You haven’t positively answered a few of my questions; I had originally intended to get deeper. We’ve already known each other 18 years.
{:7_307:}{:7_307:}神州揽胜 发表于 2015-4-18 19:31
欣赏支持 谢谢分享。
唐河老徐 发表于 2015-4-26 10:20
双休日快乐，老徐加分投票欣赏支持！！
安逸001 发表于 2015-4-19 07:15
漂亮作品。欣赏学习佳作，投票支持！
安逸001 发表于 2015-4-19 07:15
漂亮作品。欣赏学习佳作，投票支持！
云追月 发表于 2015-4-29 16:32
好文章 学习了
云追月 发表于 2015-4-29 16:35
好知识 学习分享了
唐河老徐 发表于 2015-5-1 09:22
佳作一起欣赏，快乐一起分享，老徐加分投票欣赏支持，五一佳节快乐！！
谢谢分享！云追月 发表于 2015-4-29 16:32
好文章 学习了
云追月 发表于 2015-4-29 16:35
好知识 学习分享了
唐河老徐 发表于 2015-5-1 09:22
佳作一起欣赏，快乐一起分享，老徐加分投票欣赏支持，五一佳节快乐！！
老兵新手 发表于 2015-5-7 21:02
浏览欣赏支持。
老兵新手 发表于 2015-5-7 21:02
浏览欣赏支持。
秋之韵 发表于 2015-5-17 11:11
欣赏佳作，感谢分享！
秋之韵 发表于 2015-5-17 11:11
欣赏佳作，感谢分享！
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