2017年馬格蘭攝影獎大賽結果出爐，共有12位來自全球的攝影師獲獎。今年是馬格蘭攝影通訊社和攝影網路平台LensCulture第二度合辦攝影大賽，用意在於提供一個讓攝影人才被看見的機會，並給予獎勵和支持。每位得獎者均可獲得獎金，系列作品獎金為3,000美元，單張作品獎金為1,500美元。

所有入圍作品包括得獎作品、決選作品和評審獎作品，已在2017年7月18日起於網站上展出，也將於今年稍晚在倫敦攝影師藝廊以數位形式展出。

Twelve international photographers have been announced as the winners of the 2017 Magnum and LensCulture Photography Awards. The legendary photography agency, Magnum Photos, and LensCulture have joined forces for the second time to produce this opportunity to recognize, reward and support photographic talent. Each photographer will be awarded a cash prize. The winners of the Series Awards will each receive $3,000 and the winners of the Single Image Awards will each receive $1,500.

All selected work—including Winners, Finalists, and Jurors' Picks—will be included in an online exhibition hosted by Magnum Photos and LensCulture which will go live on 18 July 2017. There will also be a digital exhibition in London at the Photographers' Gallery later in the year.

•街拍：「丟臉」—— Argus Paul Estabrook，南韓 • Street: Argus Paul Estabrook, South Korea — “Losing Face”

在南韓社會中，最糟糕的事就是丟臉。因為，發生丟臉的事而產生的傷害具有毀滅性，足以完全摧毀一個人的社會地位與身份權威，而這正是發生在南韓第11任總統朴槿惠身上的事。2016年10月下旬，朴槿惠那位神出鬼沒的永世教顧問親信被揭發涉嫌干政及施壓獲利，讓南韓人民非常震驚。

抗議者連續幾個週末在首爾舉行大規模示威遊行，要求政府反貪腐和澄清疑雲。抗議者如洪流般充斥街道，一路往總統府青瓦台前進，在夜晚的空氣中高聲吶喊「下台、進監獄」的口號。首都也湧現朴槿惠的畫像及諷刺性的街頭藝術，特別是在光華門廣場一帶。抗議活動持續大約1個月之後，南韓蓋洛普公布了一份民調顯示，朴槿惠的支持度下降至僅4%，是南韓史上支持度最低的在位總統。

2016年12月9日，南韓國會以234票對56票，壓倒性地通過朴槿惠的彈劾案；2017年3月10日，朴槿惠在憲法法庭宣布彈劾確定後下台。

這就是南韓總統丟臉時的樣子。

In South Korean society, losing face is the worst thing that can happen to a person. The damage of having one's identity lost to shame is so ruinous that it can completely destroy a person's social standing and authority.

And that is exactly what happened to the 11th President of South Korea, Park Geun-hye.

In late October 2016, Park's relationship with a shadowy advisor from a shaman-esque cult was revealed to extend to acts of extortion and influence peddling. South Koreans were shocked by the revelations. Demanding a government free from corruption and unknown influences, protesters began staging mass demonstrations every consecutive weekend in Seoul.

Flooding the streets while they marched towards the presidential grounds, protesters filled the night air chanting in unison, “Come down and go to jail!” Effigies and satirical street art continuously sprang up around the capital, especially so in Gwanghwamun Square. Measuring public opinion approximately one month after the protests began, Gallup Korea revealed her approval rating sank to a mere 4%, the lowest for any sitting president in South Korean history.

On December 9, 2016, the National Assembly voted to impeach her in an overwhelming 234-56 vote.

On March 10, 2017, she was formally removed from office after the Constitutional Court announced its unanimous ruling to uphold the impeachment.

This is what it looks like when the South Korean President loses face.

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• 人像：「美麗男孩」──Lissa Rivera，美國 • Portrait: Lissa Rivera, United States ──“Beautiful Boy”

「美麗男孩」是我的浪漫伴侶的攝影系列，還在進行中。這攝影系列始於朋友之間的告白：有天晚上在地鐵上，我朋友分享了他在大學時期幾乎都穿著女裝的事；而在畢業後，他掙扎著走過看似剛能接受男扮女裝但同時又唾棄男扮女裝的世界。我認為攝影可以提供一個空間，實驗外在的孤寂。拍攝第一張照片是個充滿情緒的經驗，我感受到他的脆弱。隨著時間進展，他成為我的繆斯女神，最後成為我的浪漫伴侶；很快地，我們開始像上癮般拍照，每個週末都會安排許多拍攝畫面。

在拍照的時候，我覺得像在看電影那樣，從鏡頭抓到的奇幻畫面中感受到導演與演員之間共通的深刻連結。看到我的伴侶變身為無數女神的樣貌令人激動，這個計畫是我們欲望投射的畫布，有時，這些影像甚至成為我們的自畫像；相機把我們的私密經驗轉化成公開表現。

我常常在我的工作室搭建場景，其他時候我試著找出看起來就是場景的地方；我花了很多時間在構思那些我從舊貨店、eBay和折扣店買來的服裝。我認為重要的是，影像不能沒有縫隙，它更像是一個組合，你看得到黏著的膠水，而這樣的組合展露出運用過去視覺語言拼貼而成的當代特性。雖然我拍攝這些照片的時候充滿藝術導向，而且每張照片都存有強烈的美學目的，我的伴侶仍安適在他的服裝中，仍擺出深思的姿勢，以一種開放的感覺用身體展現了這些場景。

把我伴侶的女性特質用有力量的方式表現出來很重要，在我擁有一位親密繆斯的同時，我也想要得到那股力量。這個計畫是一種「走進」我們發現的誘人影像的方式，並檢視活出每個場景是怎麼回事。我們探索這些描繪女性特質的迷惑與矛盾，並藉由在絕世美人的世系下呈現我的伴侶，讓影像在媒體擴散，達成用我們的聲音重新主張何為魅力和美麗。

“Beautiful Boy” is an ongoing series of photographs of my romantic partner. It began as a confession between friends. On the subway one evening, my friend shared that he had worn women's clothing almost exclusively in college, but after graduation struggled to navigate a world that seemed both newly accepting and yet inherently reviling of male displays of femininity. I thought that photography could provide a space to experiment outside of isolation.

Taking the first pictures was an emotional experience, and I connected to his vulnerability. Over time he became my muse and eventually my romantic partner. Soon we began taking photos like addicts, setting up several shoots every weekend.

When taking the photos, I feel the same as when viewing a film where a director and actress share a deep connection to the fantasy captured. It is thrilling to see my partner transform into countless goddess-like forms. The project is a canvas to project our desires. At times the images even become self-portraits. The camera transposes our private experiences into public expression.

Often, I construct sets in my studio. Other times, I seek out locations that feel as if they are sets. I spend a lot of time conceptualizing the costumes, which I piece together from thrift shops, eBay, and discount fabric outlets. I think it is important that the images not be seamless, but more like an assemblage where you can see the glue, revealing contemporary identity as a collage of the visual language of the past. Although I art-direct the images and come to each shoot with a strong aesthetic intention, my partner inhabits each costume and set in a thoughtful way, embodying the scenario with a sense of openness.

It is important to show his femininity as strength. I want to feel empowered as well, and to have an intimate muse. Together we investigate feminine fantasies presented throughout the history of photography and cinema. The project is a way to “step inside” images that we have found alluring and examine what it is like to live each scenario out. We explore both our captivation and our ambivalence towards these depictions of femininity. By presenting my partner within the lineage of great beauties and populating the media with our images, we are reclaiming in our voice what is attractive and beautiful.

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• 新聞攝影：「目的地 歐洲」—— Jason Florio，英國 • Photojournalism: Jason Florio, United Kingdom — “Destination Europe”

在過去2年（2015-16），我參與了NGO組織MOAS，執行救援船任務。他們的具體目標是拯救試圖越過地中海和愛琴海的移民和難民。在加入組織MOAS之前，我主要待在在西非國家甘比亞，從2013到2015年期間，我在那裡幾乎每天都聽到有人又離開了，或是有人因為走俗稱「後路」 這條到歐洲的非法路徑而死亡。

在MOAS我被分配到紀錄利比亞海岸和愛琴海的救生任務。最初，這只是一個作業，但不久後，我們不僅拯救了敘利亞人、索馬里人和逃離衝突的奈及利亞人，而且許多甘比亞人逃脫了獨裁統治，消除了貧困。

在第一批甘比亞的救援行動中，我救援了一名18歲的青年，他是我甘比亞朋友的小孩，類似的情況在甘比亞的救援中持續發生。只要可能，我會盡可能在救援船上打電話給他們在甘比亞的親人，讓他們知道他們珍愛的人現在是安全的。

起初任務維持3個星期，但我很快地投入了更多情感在這個故事當中，我持續在不同海域做了2年的救援活動。現今，我的作品主要是放在大量移民對於接待國家的影響。

For the past two years (2015-16), I was embedded with the first search and rescue NGO, Migrant Offshore Aid Station, to operate rescue ships. Their specific aim is to save the lives of migrants and refugees attempting to cross the Mediterranean and Aegean seas.

Prior to working with MOAS, I was based in The Gambia, West Africa, from 2013-15. During that time, rarely a day went by without hearing about someone who had left or who had died at sea trying to take “the back way”—as the illegal route to Europe is colloquially called.

I was assigned to document MOAS's lifesaving missions off the coast of Libya and in the Aegean. Initially, it was just an assignment, but quite soon we were rescuing not only Syrians, Somalis, and Nigerians fleeing conflict, but many Gambians escaping a dictatorship and grinding poverty. My work quickly began to take on an added role when, in the first group of Gambians we rescued, I met 18-year-old Sana Colley, the son of a friend of mine back in The Gambia. These close connections with rescued Gambians continued to happen.

Whenever possible, I would call their relatives back in The Gambia from onboard the rescue ship to let them know their loved ones were now safe. My initial embed was for three weeks, but I was soon emotionally invested in the story, and I stayed on to make multiple sea missions over the next two years. I am now focusing my work on the effects of mass migration in source countries including The Gambia and other host countries.

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•不限類別：「彩度：一首給J.D. ' Okhai Ojeikere的頌歌」── Medina Dugger，奈及利亞 • Open: Medina Dugger, Nigeria ──“Chroma: An Ode to J.D.' Okhai Ojeikere”

「彩度：一首給J.D. ' Okhai Ojeikere的頌歌」是一組還在進行中的攝影系列，它透過奇特的當代視角歡慶奈及利亞拉各斯的女性髮型。這些影像的靈感來自頭髮顏色的潮流和奈及利亞的攝影師J.D. ’Okhai Ojeikere，他生平拍攝了超過1,000種不同的頭髮樣式。Ojeikere的方法偏向自然紀實，他記錄了上百種髮型，並且累積了超過40年的龐大資料，他一開始用黑白照片來拍攝髮型。在奈及利亞脫離殖民之前，假髮與頭髮燙直已經是常見的做法，特別是在全國都會地區；在奈及利亞獨立之後，這種傳統髮型再次流行。

非洲編髮可以追溯到數千年前之久。奈及利亞的頭髮文化則從童年便展開，是一整個豐富而又持續延伸的過程，而編織方法和變化則受到社會文化格局、歷史事件和全球化的影響。髮型範圍從純裝飾到能傳達更深、更具象徵意義的層次，可以揭示社會地位、年齡以及部族和家庭傳統。如今，當地市場上提供的接髮和羊毛既豐富又多彩，讓穿線和編織技術產生獨特變化。

「彩度」是一種傳統和當代編織方法的慶典，這系列拍攝對於Ojeikere的紀實風格和再脈絡化Ojeikere或其他人的髮型，突顯髮型設計的想像和當代，同時禮讚奈及利亞髮型文化的藝術。

“Chroma: An Ode to J.D. ' Okhai Ojeikere” is an ongoing series which celebrates women's hair styles in Lagos, Nigeria through a fanciful, contemporary lens. The images are inspired by hair color trends and by the late Nigerian photographer J.D. ' Okhai Ojeikere, who photographed over a thousand different hair styles in his lifetime.

Ojeikere's approach was documentary in nature, as he took inventory of hundreds of hairstyles and amassed an enormous index spanning over 40 years. He began photographing hairstyles in black-and-white, following the re-emergence of traditional hairstyles which became popular again following Nigeria's independence. Prior to de-colonization, wigs and hair straightening had become a commonplace practice, especially in urban areas of the country.

African hair-braiding methods date back thousands of years, and Nigerian hair culture is a rich and often extensive process which begins in childhood. The methods and variations have been influenced by social and cultural patterns, historical events and globalization. Hairdos range from being purely decorative to conveying deeper, more symbolic meanings, revealing social status and age as well as tribal and family traditions.

The availability of colorful hair extensions and wools in local markets today has led to unique variations on threading and braiding techniques. “Chroma” is a celebration of traditional and contemporary braiding methods. The series takes more of a conceptual approach to Ojeikere's documentary style and recontextualizes some of Ojeikere's (and other) hairstyles to highlight current and imagined hair designs, celebrating the art of Nigerian hair culture.

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• 藝術：「植物探查」──Daniel Shipp，澳洲 • Fine Art: Daniel Shipp, Australia──“Botanical Inquiry”

「植物探查」是一系列的照片，將自然、地理和物理學融入到熟悉但虛構的環境中。在這些作品中，我收集到這些不起眼植物的物理特徵成為了講故事的元素，它們在常見的城市環境的背景下與之對抗，探索人類對自然世界那股寧靜但險惡的影響。從一個主觀而模糊的角度來看，我們見證植物的適應力和生存能力。運用我所構建的類比「機器」來操縱攝影的光學和再現攝影的屬性，我「用相機」產出這些在工作室建構出的圖像，而非使用Photoshop合成。他們完全以相機的單一視角呈現，使其機械技巧消失不見。

“Botanical Inquiry” is a series of photographic dioramas that shuffle nature, geography, and physics into familiar but fictional environments.

In these compositions, the physical characteristics of the unremarkable plants I have collected become storytelling elements which, when staged against the backdrop of common urban environments, explore the quietly menacing effect that humans have on the natural world. From a subjective and ambiguous point of view, we witness the plants' ability to adapt and survive.

By manipulating the optical and staging properties of photography with an analogue “machine” that I have constructed, I have produced these studio-based images “in camera” rather than using Photoshop compositing. They rely exclusively on the singular perspective of the camera to render their mechanics invisible.

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「麵包和馬戲團」是杜拜休閒和消費主義的紀錄片。

是成功的故事還是狂妄自大？在1960年代，杜拜從一個充滿沙塵的漁鎮迅速轉變為今日超現代的大都市，吸引了許多為它著迷的支持者和批評者。隨著人造島嶼和指標性的摩天大樓出現，這個在波斯灣的小小酋長國成為世界級旅遊勝地和商業國的一員。

無論如何，杜拜真的是房地產開發商和大膽建築師的天堂。杜拜的城市發展是市場導向。杜拜的酋長也把自己當作是「杜拜品牌」的首席執行長，不遺餘力地向全世界推銷他的城市──一個經濟完全自由、擁有無限可能和無限樂趣的地方。

「波斯灣的拉斯維加斯」為遊客和當地居民提供各式各樣的活動：主題樂園、購物中心、夜總會和沙灘俱樂部、室內滑雪、遊獵行程⋯⋯。杜拜的娛樂產業和它的奢華、消費主義的生活方式，已經對阿聯酋地區的城市化產生巨大影響。

“Bread and Circuses” is a documentary on leisure and consumerism in Dubai.

Success story or megalomania? The rapid transformation of Dubai from a dusty fishing town in the 1960s to the ultramodern metropolis of today fascinates both its supporters and critics. With artificial islands and iconic skyscrapers, the little emirate on the Persian Gulf is a world player when it comes to tourism and business.

At the very least, Dubai is a true paradise for real estate developers and bold architects. City development in Dubai is market-driven. The sheikh, acting as the CEO of the “Dubai brand,” spares no cost nor effort to promote his city worldwide as a place of complete economical freedom, unlimited possibilities and big fun.

The “Las Vegas in the Gulf” offers a wide range of activities for its visitors and residents: theme parks, malls, night and beach clubs, indoor skiing, safaris…

Dubai's entertainment industry—and the luxurious, consumerism-based lifestyle—have a huge impact on the urbanization of the Emirate.

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•街拍：「合唱」──Hakim Boulouiz，瑞士 • Street: Hakim Boulouiz, Switzerland ──“Choral”

城市的風景總用它的心情和季節讓我為之不斷震懾。它受隨機和假設的日常生活所宰治。街道可以被學習和被馴服，但它從未被完全掌控。關於「合唱」，我認為我的相機是一個視覺回收的工具。我相信復活、修復和復興，就像雕刻家從廢料中做了幾件作品，或是設計師致力於創造新的生活和使用簡單的廢物。

這個計畫無關乎任何一個特定城市，而與街道、城市相連。它也許是每個城市的一部分，也可能是虛構的，它的所有敘事力量來自於它似是而非的論點；它激發了吸引力，也釋放排斥和異化。

我不是一個想要拍攝突發事件的攝影記者，或是尋找名人的狗仔隊；相反的，我的挑戰是拍攝日常，以這樣的方式讚揚這個不經意，把路人轉化成特殊的個體。在這個計畫中，我佔用了這個城市，我觀察它並對其空間感興趣；這座城市是一個錨點，也是積極參與的起點。在相同的框架內，心靈從一地移動到另個地方，從一個故事到另一個故事。

在最佳的調配和情境下，這個故事成為一個社會的縮影，簡述了街頭的片段。人的位置是重要的，它們成為一個在懷舊與現在真實之間的隱喻空間，以及對未來的懸念。

The urban scene continually astonishes me with its moods and its seasons. It is governed by a daily life that remains random and hypothetical. The street can be learned and tamed, but it’s never completely controlled. For “Choral,” I consider my camera as a tool of visual recycling. I believe in resurrection, recovery and renaissance, just like in the case of a sculptor making several works from scraps or a designer working to give a new life and use to simple waste.

This project is not related to one specific city—it's connected to the streets of any city. Maybe it is a part of every city; perhaps it is a fiction. All its narrative strength comes from its paradox. It inspires both attraction and release as well as repulsion and alienation.

I am not a photojournalist looking to photograph an accident or a paparazzo looking for celebrities; instead, my challenge is to photograph the banal in a way that celebrates the accidental and transforms passers-by into special individuals. With this project, I appropriate the city—I observe and take an interest in its spaces. It is an anchor point and an active participation in the imaginary. The mind moves from one place to another, from one story to another, within the same framework.

This story is, in the best of its formulas and its scenarios, a microcosm society, a summary within a fragment of the street. The positions of the humans are important; they become a metaphor for a space caught between nostalgia, the reality of the present, and the suspense of the future.

• 人像：「Kasia」──Artur Zdral，波蘭 • Portrait: Artur Zdral, Poland──“Kasia”

一整年中，我並沒有拍攝許多照片，所以每一張照片我都仔細考慮；在我拿起相機之前，我會想清楚所有細節。 我試著去認識那個人，然後才走到他們面前；當我開始拍攝時，我總是準備好想法（而不是在我拍的時候才去想）。

我總是想知道公眾會如何看待我的影像。我很好奇我的影像是否會讓某人停留一段時間：它們是否會很吸引人？它們是否讓某人哭泣？它們到底會不會被人理解？ 我使用黑色和白色而不是彩色，因為我發現簡單的顏色穩健和清晰。

這張名為「Kasia」的影像，是為了一個基金會而拍，這家基金會援助患有侵犯性癌症的孩童。 Kasia因為癌症失去了她的腿，這張影像是一個5萬美元的募款活動的一部份，款項將用於生產新的義肢。

I don't take too many photos throughout the year, so every single one must be deeply considered; I refine all the small details in my idea even before I pick up the camera. I try to get to know the person before I step in front of them, and I'm always prepared with an idea when I get to set (rather than working out my process as I go).

I always wonder how my images will be received by the public. I am curious whether my images will make someone stop for a while: whether they will be intriguing, whether they make somebody cry or whether they’ll be understood at all. I use black and white instead of color because I find the simple colors firm and legible.

The image entitled “Kasia” was created for a foundation that aids children who have been diagnosed with aggressive cancer. Kasia lost her leg from cancer. This image was part of a campaign in favor of a $50,000 donation that would go towards a new prosthetic limb.

• 新聞攝影：「逃離死亡」──Szymon Barylski，愛爾蘭 • Photojournalism: Szymon Barylski, Ireland──“Fleeing Death”

這張照片是在希臘與馬其頓邊界的伊多梅尼難民營所拍攝，在那裡有數以千計的難民來來去去，他們主要是敘利亞人。難民營被不同社會階層的人所佔領。他們正在逃離戰爭、死亡和飢餓，他們都希望能繼續通過馬其頓前往北歐和西歐，但並不是每個人都能夠成功通過文件的驗證，這使得家人不得不分離。

此外，難民們生活在非常艱困的環境，睡在過度擁擠和濕透的帳篷裡。他們受凍，只能使用有限的衛生設施；難民們對他們的處境感到未知，而且疲憊不堪。

Photographed at the refugee camp in Idomeni, on the Greek-Macedonian border, where thousands of refugees, mainly Syrians, passed through. The camp was occupied by people from different social strata. They were all fleeing war, death and starvation. They all hoped to continue their journey through Macedonia to the north and west of Europe.

But not everyone succeeded with the verification of their documents, which lead to the separation of families. Furthermore, the refugees were living in difficult conditions and sleeping in overcrowded and soaked tents. They were frozen and had limited access to sanitation. The refugees were exhausted, tired and uncertain about their situation.

•不限類別：「充公」──Britta Jaschinski，英國 • Open: Britta Jaschinski, United Kingdom──“Confiscated”

物種正以驚人的速度消失，生物學家懷疑，我們正在經歷第6次大規模滅絕，而這一次人類只能怪自己。自2016年以來，我一直在全球各地的邊境和機場記錄非法交易的野生動植物。近年來，為了滿足對動物產品的需求，非法野生動植物交易爆炸式成長。野生動物的販運變得像毒品或武器一樣，由危險的犯罪集團所控制。如今，這是世界上最賺錢的非法貿易之一。

Species are disappearing at an alarming rate—biologists suspect we are living through the sixth major mass extinction. This time we have no one but ourselves to blame.

I have been documenting illegally traded wildlife at borders and airports across the globe since 2016. In recent years, the illegal wildlife trade has exploded to meet an increasing demand for animal products. Controlled by dangerous crime syndicates, wildlife is trafficked much like drugs or weapons. Today, it is one of the most profitable illicit trades in the world.

• 藝術：「星辰」──Ellie Davis，英國 • Fine Art: Ellie Davis, United Kingdom──“Stars”

「星辰」探索了我的渴望，去找到在我放縱的青春和我跟自然無處不在的抽離感間找到平衡。

西方景觀傳統體現了詹姆斯·埃爾金斯（James Elkins）所說的「主體客體關係」的對照。以「景觀觀點」為特徵，我們經常通過雙筒望遠鏡或望遠鏡凝視著廣闊的視野和戲劇性的海景，驚訝且不知所措。但是，這種景觀經驗往往會使觀眾對景觀產生疏離──因為在這樣的觀看中，地景本身成為一個客體，觀者與景觀之間因而產生疏離。

今天，大多數人生活在城市或半城市的環境中，我們經由科技及不同媒體遠距經驗這些景觀。從這個角度來看，景觀在它似乎無法碰觸的所有感性的物質性的概念中，我們的存在在它的內部，而不是在它的外面。

「星辰」藉由吸引觀眾進入森林的核心，解決了這個問題。森林仍然擁有神秘感，並提供發現和探索的潛力。這系列影像思考了我們與自然世界的關係脆弱，以及作為人類所建構的景觀的時間有限性。

這些成熟和古老的森林景觀被置入了哈勃望遠鏡捕獲的空間影像。

“Stars” explores my desire to find some balance between a relationship with the wild places of my youth and my pervasive sense of disconnectedness from the natural world.

The Western landscape tradition embodies a pairing that James Elkins calls “the subject-object relationship.” Typified by the “scenic viewpoint,” we gaze, often through binoculars or telescopes, at wide vistas and dramatic seascapes and are awed and overwhelmed. But this landscape experience often alienates the viewer from the scene and—just as the landscape itself becomes an object—a separation arises between them.

Today, the majority of people live in urban or semi-urban environments, experiencing the landscape from a distanced position mediated through technology and various media. From this viewpoint, the notion of the landscape in all its sensuous materiality, our being within it rather than outside it, seems beyond reach.

“Stars” addresses this distancing by drawing the viewer right into the heart of the forest, which still holds mystery and offers the potential for discovery and exploration. The series considers the fragility of our relationship with the natural world and the temporal and finite nature of landscape as a human construct.

These mature and ancient forest landscapes are interposed with images of space captured by the Hubble Telescope.

• 紀實：「街頭摔角」──Retam Kumar Shaw，印度 • Documentary: Retam Kumar Shaw, India──“Street Wrestling”

這張照片拍的是印度非常受歡迎的遊戲，稱為「dangal」或英文的「摔跤」。摔跤是最古老的戰鬥形式之一，它的起源可追溯到1萬5千年之前，在法國洞穴圖上就有了。古代奧運在公元前708年引進這項運動，而1896年雅典現代奧運會上，希臘羅馬摔跤也成為奧運項目。

自古以來，摔跤在印度一直非常受歡迎。在那些日子裡，人們習慣穿著腰帶在地上對戰。在印度某些地方比如瓦拉納西，這種傳統的摔跤方式仍然非常普遍。

我在印度加爾各答拍攝了這張照片。加爾各答的Howrah大橋附近還有幾個「akhadas」（摔跤訓練中心）。每天早晨，都可以看到許多「desipehelwans」（摔跤手）在恒河岸邊進行晨間訓練。每次練習，摔跤手會先撫平他們練習的泥土坑，接著用土壤摩擦身體、揀樹葉，然後向他們的守護神禱告。

每年，加爾各答當地的摔跤俱樂部會安排俱樂部之間的比賽。由於他們沒有現代化的摔跤場地，他們常常就擋住交通、搭建臨時擂台，然後在那裡舉行一整天的比賽。

我在路邊房舍的露台上拍攝了這張照片。我想展現的不只是比賽本身，還有比賽周遭的情況，可以看到許多當地人都參與了摔跤比賽。

This picture is based on a very popular game in India called “dangal,” or “wrestling” in English. Wrestling represents one of the oldest forms of combat. The origin of wrestling goes back 15,000 years and can be seen in cave drawings in France. The sport was introduced into the ancient Olympics in 708 BC, and at the modern Olympic games held in Athens in 1896, Greco-Roman wrestling was introduced as an Olympic discipline.

Wrestling has been very popular in India since ancient times. In those days, people used to play it on the ground while wearing loincloths. In some parts of India, like Varanasi, this traditional way of wrestling is still the most common.

I took this picture in Kolkata, India. In Kolkata, there are a few “akhadas” (training centers for wrestling) near the Howrah bridge. Every morning, lots of “desipehelwans” (wrestlers) can be seen doing their morning exercises on the banks of the Ganges. The wrestlers begin every session by smoothing the dirt pit in which they practice and rubbing their bodies with soil and neem leaves. They then offer a prayer to their patron deity.

Every year, local wrestling clubs in Kolkata arrange for their inter-club competition. As no modern wrestling grounds are available for them, they temporarily construct a stage after blocking regular transportation. They then hold the game there for the entire day.

I took this image from the terrace of a roadside building. I wanted to show not only the game but also the nearby situation; many local people are involved in the wrestling matches.