作者：吴家林
出版社：中国摄影出版社
格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT
吴家林?密境临沧试读：
作者简介
吴家林 昆明 2011（摄影：吴月华）
Wu Jialin Kunming 2011（photo by：Wu Yuehua）
1942年出生于云南昭通。1968年开始自学摄影。1981年加入中国摄影家协会。原云南新闻图片社社长，2002年退休后成为自由摄影家。
1995年，美国《当代摄影家》（PHOTOGRAPHERS）辞典，入选“吴家林条目”及《云南山里人》作品。
1997年6月，《云南山里人》系列作品，获美国琼斯母亲基金会国际纪实摄影奖，并应邀到纽约领奖，第一个中国摄影家获此奖项。
1998年，由世界摄影泰斗亨利·卡迪尔·布列松指定、应英国维多利亚艺术博物馆馆长邀请，为亨利·卡迪尔·布列松摄影精品展的中国部分撰写馆藏评论，在该馆永久性陈列。
2003年，代表作《拉家常·成都1999》，被收入“亨利·卡迪尔·布列松的选择“影展及画册，入选者均是世界大师级摄影家，其中46人已作古，健在的仅39人，全世界首位华人摄影家获此殊荣。
2006年11月，《吴家林·中国边陲》作品集，进入世界摄影大师系列作品丛书（法国著名的摄影“袖珍黑皮书“）出版，同名摄影展也在当年巴黎国际摄影节隆重展出。该书的出版标志着吴家林已跻身世界摄影大师之列，全世界首位华人摄影家获此殊荣。
1989～2010年，其个人摄影展曾多次在巴黎国际摄影节和美国休斯顿国际摄影节展出，先后在德国赫尔腾国际摄影节、纽约国际摄影中心ICP、瑞典斯德哥尔摩艺术博物馆、莫斯科现代艺术博物馆、法国法布尔艺术博物馆、美国达拉斯PDNB画廊以及中国台湾、香港、北京、上海、平遥、连州、西安等地展出。上百幅作品被上述机构及收藏家收藏。数十幅作品曾在法国《摄影大师眼中的猫》画册、英国《世界100位摄影新秀》画册、新西兰《人类·爱情·家庭》画册、美国编辑出版的《中国五十年》画册及《纽约时报周末画报》、《美国新闻周刊》、《纽约秋季时尚》等刊载。
出版的作品集：《吴家林·云南山里人》（1993）；《吴家林·时光》（2004）；《吴家林·瞬间边地》（2005）；《吴家林·保山》（2006）；《吴家林·中国边陲》（2006法国岱乐比尔出版社法文版）；《吴家林·边地行走》（2007）；《吴家林·故乡昭通》（2007）；《一枚硬币的两面吴月华、吴家林摄影集》（2009美国视觉出版社·英文版）；《吴家林·玉溪》（2010）；《吴家林·秘境临沧》（2011）。序雷平阳
我一直坚信，有一种传统始终根植于荒烟蔓草的年代，它常常被朝代更叠、离乱和社会变革所肢解、误读和掩埋，但它从来没有死去。比如《击壤歌》之于诗歌的独立与自由精神；比如鬼喊傩叫之于魂不守舍者的惕厉与警示。
对有思想和美学洁癖的家林先生来说，这个古老而又血迹斑斑的传统，大抵可以视为他的命脉。其外在的形象是，言志与无邪，而内核则是仁慈和牺牲。《击壤歌》云：“帝力于我何有哉”，仿佛人们都走到了语言的尽头，活在了世界的外面，其实，当我们明确无误地说出“帝力”一词，我们当然也就知道，天空如罩，人间无处不牢狱。在此谁都躲闪不开的宏大背景下，与生俱来的传统或说灵魂的本能，自然而然地就会将我们推向一个个艺术的天葬台。用不着大惊小怪，一个怀抱传统和真理的艺术家，自古以来，都是背负铁血与悲怆的战士，不管是针对肉身还是针对灵魂！
为此我才觉得，就像其背后有一尊大黑天神在督促着，家林先生的《吴家林·秘境临沧》，一以贯之，不出所料地，在“不变”的精神气象中，不管不顾地，又一次为我们呈现出了被遮蔽或忽略了的临沧。“秘境”被解构了，百宝箱打开，倒出来的是百分之百的泥土。社会学、符号学和政治经济学铁皮柜里的那个临沧，人云亦云的临沧，被他拒斥在了镜头的外面。
摄影术通常被普罗大众当成一种机械时代的复制术，在家林先生这儿，则是一门“露骨”的手艺，在类似于“为天地立心”的内在力量的驱策下，以现代性的刀锋和敏锐的直觉，打开山，打开水，打开漫无边际的人烟，果断地为我们提供现场，本质和真相。那些关锁净土的污泥浊水和粉饰太平的庸脂俗粉，均一一被他勘破并抛弃。惟其如此，我从结识家林先生的作品及其本人的那天开始，就臣服于他洞察人世之时的度、量、衡，并叹服于他直逼人心之时的稳、准、狠。拜物教的兴奋剂，对他来说早就失去了功效，而他似乎也用不着在喊魂仪式结束之后，心惊胆颤地自己逼迫自己服用大剂量的麻醉药，他没有冒充上帝，他手上的那个镜头，却总是像他的第三只眼睛，寂寞而冷竣地睁开，犀利地看见，然后咔嚓一声。令人动容的是，他拍的每一张照片之中，都能找到他谦卑、萧索、凛冽，甚至带着一丝悲愤和绝望，赤子之血，是黑便黑，是白便白。他没有躲在相机的后面，一旦显影，他和他的作品便交付给了公信力和艺术之神。而我们也往往会在那泣血歌哭和骨惊肉飞的冷风景后面，一眼就看见，他个人的形而上，犹如一块石头，只高出大地一点点，或深埋于泥尘之中。
建立一个个人的图像王国，或许是每个有理想的摄影师的极端目标，但很多人都热衷于观念上的翻手为云覆手为雨，艺术手法上横征暴敛，思想谱系上大而无当，创作实践时浮皮潦草，没有定力和韧劲，收罗一堆天下的“奇珍异宝”，便以为高高在上了。殊不知，一个王国的组建和运营，一个王国的气象和气数，并非只维系于沙场点兵急、锣鼓喧天、日新月异和浩瀚的仓廪，它更需要法度、良知和秩序，自由当升入天空而非囚于地窖，精神应魂归大地而非埋于鼠穴。《吴家林·秘境临沧》显然没有开天辟地或大兴土木的迹象，它是一个王国自主生成或自成体统，道法自然，一个个瞬间，都具有时间和艺术的合法性，都饱含了悲天悯人者明目张胆的菩萨心肠，它或许会被一些沙文主义者所质疑，但它的牢固性和可靠性，远胜于人们的记忆和言辞，也足以颠覆人们所能提供的一系列反抗的证据。我甚至认为，至少在目前，这个图片王国是真实的、牢不可破的，这不是视角的问题，而是基于立场，而是基于大合唱的挽歌或安魂曲烟消云散之后，我们理应持守的艺术底线和公共天良！
家林先生说，到他这把年纪，如果还不说真话，那就太可悲了。同理，一辈子用相机力图为世界立像，如果一次次面对养育自己的河山时，仍然只知道“摆拍”，仍然只满足于名利趋策之下的社会学价值，而无忏悔与救赎之心，而无活泼泼的、丰饶的、真相意义上的浮世图出现，那就愈发地可悲了，给人予幻像，或可视为好心，给时光予幻像，则是鸡鸣狗盗也。
世界终归会静下，世界终归会恢复其法身，家林先生之为，我视为圭臬，且不管他镜头下呈现的是临沧还是昭通，中国还是世界！昆明，岁次庚寅中秋
Preface
By Lei PingyangI have always believed that a tradition established in ancient times will be replaced，changed by dynasties，dismembered，misunderstood or buried by reforms. However，it will never die，just as what Song of Jirang has endowed poetry the spirit of independence and freedom as well as the warnings given by the people who desperately shout to those who lose their minds.
For Mr. Wu Jialin，such a thoughtful and ethical person，that old and bloodstained tradition is his life. Its outside appearance is ambition and pure while its inside is kindness and sacrifice. Song of Jirang says：“The power of the emperor has no influence on me.” It seems that people have run out of words and live in another world. In fact，as far as emperor’s power is concerned，we know that the world is a net that exists everywhere. Therefore，nobody can be free from this inborn tradition or the instinct of talking about souls，which will naturally put us to a celestial burial platform of arts. No wonder that an artist believing in tradition and truth has always been iron-willed and sorrowful，no matter physically or mentally.
For this I think that seemingly motivated by a god，Wu Jialin，who stuck to his principle of truth，unexpectedly showed us a covered or neglected LIN CANG through his album Wu Jialin·Mysterious Lincang. Mystery was deconstructed. The treasure box was opened，but inside was soil. That Lincang trapped in the iron box of sociology，semiotics and political economy and the stereotyped one has been rejected by his camera.
Photography has always been regarded as a skill of mechanical reproduction. However，in the case of Mr. Wu Jialin，it is an undisguised skill. Motivated by the desire to set up a system of spiritual value focused on morals for society，he discovered mountains，rivers and boundless wildness and resolutely showed us locality，nature and truth. The filth and mire which keep us from pure land as well as the vulgar things which pretend to beautify peace and tranquility have never affected him and were all deserted by him. With regards to this，from the day when I first knew of Wu Jialin and his photos，I began to admire him for his capability of perceiving society and his accuracy of revealing people’s inner world. The excitement of fetishism has no effect on him. Moreover，it is unnecessary for him to force himself with shudder to indulge in the narcotics after the ceremony of calling back the soul of the dead. He has never pretended himself to be God. The camera in his hand is like his third eye. It opens quietly and calmly，sees things sharply and shoots with the sound of a click. What moves us is that we can see him in each of his photos：modest，lonely，sharp，even indignant and desperate. Whatever it is，it should be
true. He didn’t hide himself behind his camera. He didn’t resign himself to the credibility and the idolatry of art. We can understand his philosophical thoughts from these breath-taking photos. It is like a stone，a bit higher than the land or deeply buried in the earth.
It is an ultimate target for every ambitious photographer to build a photo kingdom for himself. However，most of them are crazy about shifty ideas，exploitation of art skills，large but impractical thoughts system，careless creation and practice. They lack composure and willpower. They think that they are superior to others because they have collected lots of rare treasures. In fact，building a kingdom not only depends on outside decorations，but it more emphasizes testimonies，conscience and order. Freedom should rise into the sky instead of being imprisoned in the basement；spirit should return to the land instead of being buried in the mouse hole. Wu Jialin·Mysterious Lincang does not present any sign of creating a new world or large-scale construction. It is constructed naturally with reasonable principles. Every moment is valid in terms of time and art；every moment includes the kind heart of a humanitarian. It is possible that some chauvinists will doubt it，but its firmness as well as its reliability is more effective than people’s memory and words. It is enough to overthrow any negative evidence that people can provide. In my opinion，this photo kingdom has been at least true and unbreakable. It has nothing to do with vision. Instead it is based on one’s viewpoint，on the bottom line of arts and the public conscience we should keep.
Wu Jialin once said it was really sad not to tell the truth at his age. Similarly，when facing the land that nurtures us，it is even more sad if we always arrange in advance for shooting or only satisfy the social value impelled by fame and wealth without penance and salvation and without lively，rich and true pictures. It can be considered kind-hearted to create illusion for people，but it is a trick to create illusion for time.
The world will ultimately return to its original appearance. No matter what Mr. Wu Jialin showed us is Lincang or Zhaotong，China or the world，what he has done is criterion to me，Kunming，Mid-Autuman Day，2010
临翔区 Linxiang District
砖瓦窑 临翔 2010A Brick Kiln Linxiang 2010墙壁 临翔 2010Wall Linxiang 2010老街 临翔 2010An Old Street Linxiang 2010村寨里玩耍的儿童 临翔 2010Kids Playing in the Village Linxiang 2010步行街上 临翔 2010At a Pedestrians Street Linxiang 2010钢筋工 临翔 2010Steel Benders Linxiang 2010大棚栽培 临翔 2010Greenhouse Planting Linxiang 2010抗旱保苗 临翔 2010Weathering the Drought Linxiang 2010修筑山寨公路 临翔 2010Building a Country Road Linxiang 2010畜圈 临翔 2010A Barn Linxiang 2010拉祜山村 临翔 2010A Lahu Village Linxiang 2010农家院 临翔 2010A Country Yard Linxiang 2010乡村少年 临翔 2010A Country Boy Linxiang 2010铁匠铺 临翔 2010A Blacksmith’s Shop Linxiang 2010等待回村的赶街人 临翔 2010A Man Going Back Home from a Market Linxiang 2010商业区 临翔 2010Downtown Linxiang 2010村景 临翔 2010A Country Scene Linxiang 2010街景 临翔 2010A Street Scene Linxiang 2010摩托车上的小狗 临翔 2010The Dog on a Motorbike Linxiang 2010超市门外 临翔 2010Outside a Supermarket Linxiang 2010村道上 临翔 2010On a Village Road Linxiang 2010建筑工地 临翔 2010A Building Site Linxiang 2010家具商场外的广告 临翔 2010The Advertisement outside a Furniture Shop Linxiang 2010培育烤烟苗 临翔 2010Cultivating Flue-Cured Tobacco Linxiang 2010云县 Yun County
漫湾水电站 云县 2010Manwan Water Power Station Yunxian 2010澜沧江畔的桥墩 云县 2010The Bridge Pier of Lancangjiang River Yunxian 2010澜沧江大桥 云县 2010Lancangjiang River Bridge Yunxian 2010试读结束[说明：试读内容隐藏了图片]