CangPing Street 56, Dali Old Town, Dali, Yunnan, China

中国云南省大理市大理古城苍坪街56号

Dali Photography Museum

大理摄影博物馆

大理摄影博物馆
Dali Photography Museum

大理摄影博物馆于2014年1月开始筹备建设,同年10月完成基础建设(旧厂房改建)。2015年8月1日正式开馆。建筑面积2000多平方米,有展览空间、图书室、多媒体教室,恒温储藏室、黑白暗房、数字暗房、综合办公室等。

 

目前收藏摄影图书500册、收藏老照片2000张,收藏老相机117件(套)。

 

本馆由大理州人民政府投资建设,以政府购买服务的形式由大图影像工作室管理运营。

 

大理摄影博物馆由人类学、民族学教授,摄影理论评论家、收藏家和多位艺术家参与的研讨会,研讨会确定了大理摄影博物馆以中国西南历史影像、人类学及少数民族学为主的收藏和研究方向。

 

2015年开始,大理摄影博物馆与法国吉美博物馆、法国外交部档案馆、阿尔伯特.卡恩博物馆、UV图片社、美国多伊尔历史学会、美国哈佛大学(ARNOLD ARBORETUM)图书馆、澳大利亚等多家博物馆等众多国外机构建立了联系与合作。将逐步并长期开始收集中国西南地区的历史老照片。

 

开展各类与摄影教育有关的活动,包括摄影分享会、讲座以及摄影工艺体验等活动。大理摄影博物馆将成为一个为社会提供影像教育、收藏和研究的专业机构。

Dali Photography Museum began preparatory construction in January 2014, and completed the infrastructure construction (old factory reconstruction) in October of the same year. It officially opened on August 1, 2015. The building area is more than 2000 square meters, including exhibition space, library, multimedia classroom, thermostatic storage room, black and white darkroom, digital darkroom, integrated office, etc.

 

At present, we collect 500 photographic books, 2000 old photographs and 117 old cameras.

 

The library is invested and constructed by the Dali People's Government and managed by the Datu Photo Studio in the form of government purchase services.

 

The Dali Photography Museum is a seminar attended by professors of Anthropology and ethnology, photography theory critics, collectors and many artists. The seminar has determined the direction of collection and research of the Dali Photography Museum, which mainly focuses on historical images, anthropology and ethnic minorities in southwestern China.

 

Beginning in 2015, the Dali Photography Museum has established contacts and cooperation with many foreign institutions such as the French Gimmet Museum, the Archives of the French Ministry of Foreign Affairs, the Albert Kahn Museum, the UV Photo Agency, the American Doyle History Society, the Harvard University (ARNOLD ARBORETUM) Library, Australia and so on. It will gradually and for a long time begin to collect old historical photographs of southwestern China.

 

To carry out various activities related to photography education, including photography sharing meetings, lectures and photography craft experience. The Dali Photography Museum will become a professional institution providing image education, collection and research for the society.

开馆 OPEN

星期二至星期日  TUE - SUN              10:30 am - 17:00 pm

《永恒之光》百年大理影像展

《ETERNAL LIGHT》ON DALI‘S PHOTOGRAPHY ACROSS A CENTURY

大理摄影博物馆

Dali Photography Museum C2-2

西南百年影像之初见,自然科学,与大理的视觉记忆

 

租界与猎奇,中国摄影的开端

 

1839年,摄影术发明。在极短的时间里,摄影立刻被运用到帝国殖民版图的扩张与海外探险之中。大量欧洲探险者用相机去探寻那些“未知”的国家与族落。1843年,法国海关官员于勒·埃迪尔,来到广东,在谈判工作之余,用达盖尔法,拍摄了全世界最早的中国,至此拉开了摄影在中国170年的序幕。

 

维多利亚时期,真正深入中国的外国人,寥寥无几。而心怀信念、客观记录、并不以猎奇为目的的人群,几乎就可以概括为两种:学者(地理学家、植物学家、汉学家);传教士。前者专注学术,摄影为工具更具功能性;后者依存布道救难之心,且多数在当地长期居住,了解风土人情,不同于普通匆匆访客。

 

1922年-1932年,著名的植物学家、地理学家约瑟夫.洛克,先后6次访问中国西南。最初因美国农业部派遣,在云南寻找抗病毒的栗子树种,同时受邀于美国《国家地理》杂志,收集动植物标本,并拍摄大量精美的黑白与彩色影像。洛克的摄影记录,比法国人方苏雅晚了30余年。但透过媒体,其影响程度巨大史无前例。

 

洛克以云南的村落为科考基地,对当地风土人情和动植物都进行了考察研究。这一时期,他刊于国家地理杂志上的图文,激发了作家詹姆斯·希尔顿的创作灵感。完成了著名小说《消失的地平线》,成就了香格里拉的美丽传说。

 

洛克人生的终点,重病的他已不可能再回到中国,“我宁愿死在那风景优美的玉龙雪山上,也不愿孤独地呆在冰冷的病房里,等待上帝的召唤。”

 

心系西南,以学者的严谨面对艰苦的科考,同时对土地、对人充满敬意,洛克客观的为西方描述了一个美丽如画的云南。

 

与洛克同一时期,三位法国贝塔朗教会的神父,抵达云南大理。1924年他们在这里设立宣教基地,他们学习汉语以及少数民族的语言、建立医疗诊所、培训当地的修女为护士,并冒着生命危险,渡河和飞越沟壑。尽职尽责完成自己的使命。1925年,经历了大地震后,教会决定采用大理的白族工匠和传统建筑风格,在这里建造教堂。

 

直至1952年,最后一批神父离开中国。他们带回了三本相簿,这些珍贵的影像显示了在大理和周围的教区,贝塔朗传教士与教民们的日常生活。在这些影像中,没有热门被拍摄的选题,没有强迫性面对镜头;中国人的眼神是自信与虔诚,不同于眼神空洞、木讷。按下快门的摄影师,是他们熟悉并生活在一起的良师益友。

 

在洛克与贝塔朗神父们记录云南的前后,著名的考古学家谢阁兰(VICTOR SEGALEN,1878~1919)1914年,从郑州探险至大理,留下诸多关注马帮的珍贵影像记录;深入考察白族文化的著名汉学家费子智,几乎踏遍了大理的每一个角落,记录大理人的生活点滴;日本 “满蒙印画协会”出版的《亚东印画辑》,大量篇幅用精美的影像与详实的文字,还原1930年代的大理的风俗民情与自然风光。 

 

他们对云南,对大理的观察, 细致入微,更是还原了一个真实的中国。

 

2015年至今,大理摄影博物馆从无到有、逐渐丰富、整理与收藏中国西南地区的老照片,并开始拼接我国摄影史中真正缺失的部分:还原那些被忽略的地域,被遗忘的人群和摄影师。

 

影像像一面镜子,观看影像中人物,也仿佛在看我们自己。透过照片的描述,跨越其构图边框的限制,所有对大理,这座风景如画的城市的感知、现实,都可以在这里探索。

回顾百年大理,回顾镜中人物,也就可以看清这座城市的起点与灵魂。

 

Eternal Light on Dali’s photography across a century

 

Concession and behold, the start of Chinese photography

 

Photography was invented in the year 1839 and promptly used by expansion of the Empire's colonial territory and overseas exploration. In 1843, a French custom officer named Jules Edir made the first photography of China by Daguerreotype when he came to Guangdong for some negotiation work. 

 

A few foreigners had traveled and studied China in depth during Victoria time. There were 2 kinds of these few foreigners in major including scholars of geologist, botanist and sinologist as well as missionaries. Scholars used photography for science research. Missionaries lived with local people for long term to preach and help people. Therefore they were different from the passing passengers, knowing a real life in China. 

 

A famous botanist and geologist named Joseph Rock had visited south-western China for 6 times from the year 1922 to 1932. He initially was sent by United States Department of Agriculture for seeking virus of chestnut tree in Yunnan. At the same time, he was invited by National Geographic for collecting the specimens of plant and animal. He made plenty of great photographs both in black white and in color. Although his photography record was 30 years later than Auguste Francois from France, his photography had a dramatic effect by media influence.

 

Rock took Yunnan as research base for the study of local people and biology. He published his articles and photos in National Geographic magazine which inspired James Hilton to create the famous novel Lost Horizon and the beautiful legend of Shangri-La.

 

Rock expressed his wish when he got heavy sick in his life ending: “I would rather close my eyes before the beautiful Snow mountain of Yulong than stay in the cold hospital waiting for the death call from God.”

 

In the same period, three Betharram priests arrived in Dali from France. They set up their missionary base and studied local languages, founded medical clinic and trained local nuns into nurses. They risked their life to cross the river and the gully to accomplish their mission. In the year 1925 a heavy earthquake destroyed their church. They determined to rebuild a new one by Bai’s craftsmen with local traditional architecture style. 

 

The last group of priests left China in 1952 and carried 3 books of photos back with them. These precious photos recorded the daily life of Betharram priests and the believers in and around Dali instead of hot subject and compulsive shoot. There was a confidence and devotion in the Chinese people’s eyes instead of empty and dull because the photographer pressing the shutter was their familiar friends and teachers.

 

There were also several foreign scholars who left us precious photography around the same period when Rock and Betharram priests stayed in Yunnan. A famous archeologist named Segalen (1878-1919) had token a serial of photos for the caravan on the exploring journey from Zhengzhou to Dali in 1914. A famous anthropologist named Charles Patrick Fitzgerald had traveled everywhere in Dali, recording every moment of local lives. Manchu and Mongolia Photography Association published the East Asia Photo Album which represents customs and natural scenery of 1930’s Dali with a major section of fine images and detailed text.

 

Their thorough and deep observation helped us to have a look at a real China of that time.

 

Dali photography museum has achieved a quick accomplishment from nothing to many varieties of old pictures collection of southwestern China since 2015. After an efficient work of sorting and collecting, the real missing part in the history of photography in China has been found and the missed puzzle was put together from the ignored areas and photographers.

 

Image is a mirror. When we look at the people in an image, we are watching ourselves. And we can touch every detail of beautiful Dali beyond the frame of the photos.

Looking back at Dali century ago and watching the people in the mirror, then we will clearly see the city’s origin and spirit.

《伟大记忆,见证芳华》影像展

《解放云南 解放大理》

大理当代艺术空间

Dali contemporary art space C2-1

2019年是新中国成70周年,

70年来伟大祖国发生了

翻天覆地的巨大变化,

中华民族实现了从站起来、

富起来到强起来的伟大飞跃。

大理从解放初期的一座西南小城,

发展成如今拥有

360万人口的滇西中心城市,

这既是民族地区沧桑巨变的见证,

也是新中国繁荣富强的缩影。

为庆祝新中国成立70周年,由云南省摄影家协会指导,大理州文联、大理广播电视台主办,大理州摄影博物馆、大理州摄影家协会、大理方圆音画承办,共同策划推出了“伟大记忆•见证芳华——庆祝新中国成立70周年大理影像系列活动”。

影像是幸福的余香,照片是凝固的历史。这次在大理古城床单艺术区大理摄影博物馆一楼展厅的影像展,展出有大理摄影博物馆收藏由作者侯波签名的“开国大典"影像,有收藏的解放军二野四兵团解放云南的原始照片55幅,有欧燕生同志提供的边纵七支队解放大理数码照片10幅,还有工作团队走访拍摄的14位老干部、老同志的纪实影像,以及由他们提供的当年的老照片、奖章、证书若干;由剑川县民族博物馆提供的张伯简、王北光的影像,大理州档案馆提供的七支队影映件等。