吳寅伯肖像
展覽前言
撰文/鮑昆
吳寅伯先生已經(jīng)離開我們六年了。
吳寅伯先生在上個(gè)世紀(jì)三十年代參加江南的攝影活動(dòng)，兩個(gè)歷史上著名的攝影團(tuán)體——“黑白影社”和“上海攝影學(xué)會(huì)”里都有他活躍的身影。他也曾作為郎靜山的助手在1949年前隨其到臺(tái)灣拍照寶島風(fēng)光。或許也就是那次臺(tái)灣之行，促成了郎靜山與大陸社會(huì)分道揚(yáng)鑣的決心，但吳寅伯在政局的變異中選擇了新中國。新中國成立之后，吳寅伯先生以極大的愛國熱情參與了社會(huì)主義建設(shè)，用攝影表達(dá)了對自己所選的忠誠，成為新中國攝影歷史的構(gòu)建者和見證人。
吳寅伯和他的時(shí)代同仁們共同構(gòu)建了一段攝影歷史，這段歷史成為中國現(xiàn)代文化歷史的一部分。他們在積弱貧窮的舊中國以業(yè)余愛好者的身份，執(zhí)著地以中國傳統(tǒng)的文化精神經(jīng)營攝影——這一外來的、新奇的影像技術(shù)，將中國文人的藝術(shù)理想和自我的人生感悟以影像的方式釋放給世界和歷史。他們不倦地參與世界各種形式的沙龍展覽比賽，以一種賽手的身份將藝術(shù)化的、非現(xiàn)實(shí)的中國影像推送到國際影像的交流平臺(tái)上。他們展示和堅(jiān)持了古老的中國精神，卻也在一定程度上回避了現(xiàn)代中國復(fù)雜的歷史進(jìn)程。
晚年的吳寅伯，以一種歷史主義的態(tài)度重新檢討這一代人的追求與實(shí)踐，坦承自己因?yàn)樗囆g(shù)至上而忽略了攝影這個(gè)媒介與社會(huì)歷史互動(dòng)的遺憾和缺失，表現(xiàn)了一個(gè)智者的襟懷。不過，吳寅伯先生或許過于自謙了。他曾經(jīng)為自己長期服務(wù)的《人民畫報(bào)》貢獻(xiàn)了二十多幅封面攝影作品，而這些作品正好體現(xiàn)了現(xiàn)代中國最為重要的一個(gè)視覺歷史階段。
吳寅伯先生幾乎將一生奉獻(xiàn)給了攝影，直到他生命的最后階段，還念念不忘中國攝影博物館的建立。為此，他多方呼吁奔走，其拳拳之念可昭日月。
吳寅伯先生作為歷史的符號(hào)，已經(jīng)鐫刻在我們民族的影像文化路程之上。遠(yuǎn)行的吳寅伯先生已及百年之誕，我們舉辦這個(gè)展覽，正是我們對他和那段歷史的紀(jì)念。
Writted by Bao Kun
It is 6 years ago that Wu Yinbo left us.
In 1930s, he played an active role in two popular photography associations – Black & White Photography Association and Shanghai Photography Society. He also travelled to Taiwan to take photos of the beautiful island as assistant of Lang Jingshan in 1949. Maybe it’s this trip that contributed to Lang’s determination to split with the mainland, but Wu chose the new China. After the founding of the P.R.C., with great patriotic enthusiasm, Wu participated in the socialist construction. As builder and witness of new China’s photography history, he expressed his loyalty with photos.
That period has become an important part of Chinese modern culture. During these difficult times, as amateur photographers, they were dedicated to photography with the spirits of Chinese traditional culture. By participating in world photography galleries and competitions, they presented the ideals and feelings of the Chinese people to the world.
While in his old ages, Wu Yinbo re-examined the pursuit and practice of the generation from a historic perspective, admitting that due to his attitude of art first, he had neglected interaction of photography as a media with the society and history. But he might be too modest. He had provided more than 20 cover photos for People’s Pictorial where he worked for a long time, and those photos perfectly demonstrated an important visual hi
