发表于2024-10-06
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Wu Hung is Harrie A. Vanderstappen Distinguished Service Professor of Art History, and East Asian Languages and Civilization, at the University of Chicago. Special research interests include relationships between visual forms (architecture, bronze vessels, pictorial carvings and murals, etc.) and ritual, social memory, and political discourses.
From the first sets of photographic records made by Western travelers to doctored portraits of Chairman Mao and the avant-garde photographic performances of the post–Cultural Revolution era, photography in China has followed divergent paths. In this book, Wu Hung explores the multiple histories of photographic production in China, using them to tell a larger story about China’s shifting sociopolitical contexts and the different agendas, technologies, and aesthetics that have helped define its arts.
At the center of the book is a large question: how has photography represented China and its people, its collective history and memory as well as the diversity of Chinese artists who have striven for creative expression? To address this question, the author offers an in-depth study of selected photographers, themes, and movements in Chinese photography from 1860 to the present, covering a wide range of genres, including portraiture, photojournalism, architectural and landscape photography, and conceptual photography. Beautifully illustrated, this book offers a multifaceted and in-depth analysis of an important photographic history.
##非常精彩的一本摄影史著作。诚如一些豆友的批评,这本书整体上的深度或许有所欠缺,叙述方式上重于个案分析,对于摄影史线索的梳理不甚清晰。但我认为这些无法掩盖这本书最大的亮点:根据不同视觉材料的特征确定最为适切的分析框架。本书第一章对晚清肖像照片的研究中,巫鸿通...
评分 评分 评分##任何新來的(exotic)的事物都會經歷著陸,生根和延發的過程,只有在本生文化中尋求到理解才能最終超脫于本生文化的土壤,攝影也不例外。巫鴻這本書更像是會議集(conference proceedings),而文章全是他一人主導,所以像是他一個人的會議。他採取case study,大致是以時間的順序作為安排,揭示了攝影在中國的歷史的若乾面向,如何最初在本土通過重新表達既定而長存的題材,互動,進而迎向在概念上飛躍。推薦給想了解攝影,但又不拘于枯燥的historical survey的讀者。
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