PDF《CHINA:》

1860 蛋白银盐 albumen silver print 私人收藏 courtesy of a private collection 约翰・汤姆森 John THOMSON 广州华林寺的僧人 Monks in Hualin Temple 1870s 蛋白银盐 albumen silver print 私人收藏 courtesy of a private collection 洛克与维特费尔德照相馆 Lock &

Whit?eld Studio 郭嵩焘肖像 Portrait of Guo Songtao 1870s 伍德伯里印相法 woodburytype 私人收藏 courtesy of a private collection 托马斯・查尔德 Thomas CHILD 中国男子肖像 Portrait of a Chinese Man 1880s 蛋白银盐,名片照 albumen silver print, portrait card 私人收藏 courtesy of a private collection 方苏雅 Auguste FRANCOIS 自拍像 Self Portrait

1903 纸基 printing out paper 私人收藏 courtesy of a private collection New China photography (1930sC1960s) From the 1930s, as the Communists began to gain momentum against the disintegrating Nationalist Regime, photography emerged as a useful tool of propaganda. Photographers like Sha Fei, who between

1937 and

1949 created an important photographic document of the Communist Eight Route Army, and Wu Yinxian who was instrumental in shaping the way in which New China was seen through his work with documentary ?lm, were instrumental in forging a distinctive path for photography in China. Their vision was shaped by the times, and were informed by the directives given by Mao Zedong in

1942 (as part of the Yan'

an Forum on Art and Literature). Even though photography was teaching people a new visual code, it was one strictly guided by political ambitions. From the 1930s through to the mid-1970s, the production of visual culture in China was not concerned with personal or cultural impetus, curiosity or invention. It justi?ed by an ideology of collectivism and produced exclusively for public consumption. By its nature, photography was an ef?cient means for delivering information and a practical tool for the Party. Even when photography is being produced for ideological purposes, however, an image accrues different nuances of meaning over time. Here, the shifting prism through which China was viewing itself is mapped in the scenes of communes photographed by Wang Shilong, the postures of national advance framed by Cai Shangxiong, the reorganisation of agricultural in the rural areas documented by Xiao Zhuang and socialism'

s brand of evangelists captured in action by Yin Fukang. By the time we arrive in the mid-1970s, as Chairman Mao approached his death in 1976, photography began to reveal the full impact of frailty, tension, brutality and unease. 新中国摄影(1930C1960 年代) 自20世纪30年代,共产党人异军突起,国民党政权逐渐分崩 离析,而照片就成了政治宣传的有力工具.其中如沙飞(Sha Fei),他在

1937 到1949 年间拍摄了八路军的大量纪录材 料;

还有 吴印咸(Wu Yinxian),他通过记实性影片,用娴 熟的手法塑造了新中国的形象,并且开辟了中国摄影的独特 道路.这一阶段的摄影师深受时代的影响,毛泽东还在

1942 年提出了若干指示(参见《在延安文艺座谈会上的讲话》) .尽管摄影意在为人们寻找新的视角,却受到政治意图的严 格指导. 从整个20世纪30年代到70年代中期,中国制造视觉艺术的动 因不在个人或文化,也不在于猎奇或是创作本身.这以集体 主义思想为本,专门制作给大众吸收.在本质上,影像资料 是党传播信息的有效手段和实用工具. 即便是意识形态的产物,摄影随着时间的推移也会累积 出细微的差别.在这里,不断变换的画面正是中国观察 自身的镜头,其中有王世龙(Wang Shilong)拍摄的市 镇、蔡尚雄(Cai Shangxiong)记录的国家大发展、晓庄 (Xiao Zhuang)描绘的农村合作社改组,以及尹福康(Yin Fukang)刻画的热火朝天的社会主义建设者. 当我们把目光投向70年代,也就是毛主席逝世的1976前不 久,照片中充斥着虚弱、紧张、暴戾和焦虑的情绪. 庄学本 ZHUANG Xueben 民和土族妇女头饰 The Head Dress of Tu Woman in Minhe