名称: Tibetan Woman/西藏妇人 
类别: Bromide Paper/溴化纸
日期: 1903-1904
尺寸: 14x20cm

描述: 拍摄时间大约在1903年至1904年之间，属于他在西藏和锡金等地拍摄的系列作品，主要记录了当地人的日常生活和风貌。照片中的女性穿着传统藏族服饰，坐在竹篮和售卖物品旁，展现了当时藏地市井生活的一幕。



名称: The First Pass Under Heaven/秦皇岛山海关
类别: Bromide Paper/溴化纸
日期: 1904
尺寸: 14x20cm

备注：1904年，英国驻锡金政府官员克拉克随弗朗西斯·杨哈斯班（Francis Younghusband）率领的远征队启程，主要任务是通过军事与外交进入西藏。克拉克在队伍中承担行政与记录职责，并热衷于摄影和观察沿途风景。远征途中，路线经过中国东北进入华北，而山海关作为长城东端的军事要塞和交通枢纽，成为必经之地。克拉克因此来到此处，并以影像和文字记下关城的壮丽景象。山海关的经历虽非远征核心，但为他留下了珍贵的文化与历史印记。



名称: Forbidden City Lion/故宫狮子
类别: Bromide Paper/溴化纸
日期: 1904
尺寸: 14x20cm



名称: Great Wall of China/长城
类别: Photogravure/凹版照片
日期: 1904
尺寸: 24x114cm

备注：1904年，克拉克作为英国驻锡金的政府官员，参与了由弗朗西斯·杨哈斯班（Francis Younghusband）领导的远征队，途经北京，经过昌平区南口关（Nankow Pass）时，他拍摄了长城的照片。这幅照片展示了长城在清朝末期的壮丽景观，成为研究长城历史和建筑的重要资料，作品首次于1923年在《国家地理杂志》上发表。


John Claude White (1853-1918) was a British photographer, surveyor, and local official, renowned for his images of Tibet, Bhutan, and Sikkim during the late 19th and early 20th centuries. More than a photographer, he was a witness and recorder of history, and his works possess both artistic and documentary value. While serving in the British colonial administration in India, White made several expeditions into the heartlands of Tibet and Bhutan, where he captured a large number of photographs of Himalayan landscapes, palaces, religious rituals, and local people. These images are celebrated for their clarity of composition, refined use of light and shadow, and rare subject matter, making them invaluable for the study of the region’s history, religion, and culture.

约翰·克拉克（John Claude White，1853-1918）是一位英国摄影师、测绘师及政府官员，他因在19世纪末至20世纪初拍摄西藏、不丹和锡金等喜马拉雅地区的影像而享有盛名。他不仅是摄影者，更是见证者与记录者，其作品兼具艺术性与文献价值。克拉克在英属印度殖民政府任职期间，多次深入西藏及不丹腹地，拍摄了大量关于高原风光、宫殿建筑、宗教仪式以及当地人物的照片。这些影像以清晰的构图、细腻的光影处理和罕见的题材而闻名，成为研究喜马拉雅地区历史、宗教与文化的重要资料。怀特的西藏影像被集结出版，最著名的版本是由加尔各答（Calcutta）的 Johnston & Hoffmann 1907-08年之间出版的《Tibet and Lhasa》影像集。

Artistically, White’s photography transcended the exoticized perspective often found in colonial imagery of his era. He paid close attention to detail and authenticity, ensuring that his works were both documentary and aesthetically engaging. His compositions often drew from the visual traditions of classical Western landscape painting, creating a sense of grandeur and mystery. At the same time, his focus on Tibetan Buddhist art, religious festivals, and architectural heritage elevated his photographs beyond mere geographical records, endowing them with cultural and artistic significance.

White’s Tibetan images were also gathered into published form. The most notable edition was the photographic album Tibet and Lhasa, issued by Johnston & Hoffmann in Calcutta between 1907 and 1908, and printed as a single volume around 1908. This rare publication further cemented his reputation and allowed his visual documentation of Tibet to reach a broader audience.

White’s works are now widely preserved in major museums around the world. Institutions such as the Victoria and Albert Museum, the British Library, the Library of Congress, and The Metropolitan Museum of Art hold important collections of his photographs. Among the most notable are his images of Bhutanese religious ceremonies, panoramic views of the Potala Palace in Lhasa, and portraits of the Sikkimese royal family. Today, White’s photography stands not only as a precious resource for art history and anthropology but also as a vital part of cross-cultural dialogue and museum collections worldwide.  

Bromide paper was a pivotal photographic printing medium from the late 19th to the mid-20th century. Coated with a silver halide emulsion on a paper base, it produced images with exceptional tonal depth, sharp contrast, and subtle gradations of gray. Its durability and wide tonal range made it one of the most artistically valued printing processes in the history of photography. Many renowned photographers, including Alfred Stieglitz and Edward Weston, employed bromide paper in their work, achieving prints that combined documentary precision with aesthetic refinement. Today, bromide prints are regarded as classics of photographic art, with high research and collection value. Prestigious institutions such as the British Museum, the Metropolitan Museum of Art in New York, and the Musée d’Orsay in Paris preserve bromide paper prints, underscoring their significance in the study of early photographic aesthetics and technical evolution.

在艺术成就方面，克拉克的摄影突破了当时殖民地影像中常见的猎奇视角，他注重细节与真实呈现，使影像兼具纪实性与审美性。他的作品在构图上常采用西方古典风景画的视觉传统，营造出宏伟与神秘并存的氛围；同时，他对藏传佛教艺术、宗教节庆和建筑遗产的拍摄，使得这些照片超越了单纯的地理记录，展现出独特的文化美学价值。

在博物馆收藏方面，克拉克的摄影作品广泛流传于世界重要机构。例如，英国维多利亚与阿尔伯特博物馆（V&A Museum）、大英图书馆（British Library）、美国国会图书馆（Library of Congress）、纽约大都会艺术博物馆（The Metropolitan Museum of Art）等均有收藏。他拍摄的不丹宗教仪式、拉萨布达拉宫全景以及锡金皇室肖像，已成为国际博物馆典藏的重要影像，常被用于展览与学术研究。如今，克拉克的摄影不仅是艺术史与人类学的珍贵资料，更是跨文化交流与博物馆展示中的重要组成部分。

怀特是一位英国政务官兼摄影师，他在锡金任职逾二十年，并随同弗朗西斯·扬格哈斯班德（Francis Younghusband）率领的1903–04年英印远征西藏。其间，他成为少数早期获准拍摄拉萨寺庙内部的西方人之一。后来，怀特的西藏影像被集结出版，其中最著名的版本是由加尔各答（Calcutta）的Johnston & Hoffmann于1907–08年间发行的《Tibet and Lhasa》影像集，并于约1908年以单册形式出版。

溴化纸（Bromide Paper）是19世纪末至20世纪上半叶摄影印相的重要工艺，以银盐乳剂涂布于纸基为主要特征，能呈现出层次丰富、对比清晰且质感细腻的影像效果。其独特之处在于高稳定性与宽广的色调表现，从深邃的黑到柔和的灰皆能精准还原，被誉为摄影史上最具艺术性的印相方式之一。许多摄影大师，如阿尔弗雷德·斯蒂格利茨和爱德华·韦斯顿，都曾使用溴化纸进行创作，使作品兼具写实性与艺术性。今日，溴化纸印相作为摄影史上经典工艺，具有极高的研究与收藏价值，被大英博物馆、纽约大都会艺术博物馆、法国奥赛博物馆等国际重要机构典藏，成为研究早期摄影美学与技术演变的核心实物。>>返回>>