骆伯年（骆筠、王素雪）年表

骆伯年（骆筠、王素雪）年表

• 1911年

3月出生于浙江杭州，父亲是杭县县衙官吏，家中排行老大。自幼受中国传统儒家思想教育，由于父亲酷爱书画收藏，自幼耳濡目染中国传统书画的影响，年轻时酷爱古琴艺术，书法绘画也有所涉猎。

• 1930年

与杭州女子高中校花王多嘉结婚。

• 1931年

长子骆涵翠出生。

• 1932年

毕业于杭州商业专科学校，财务专业。同年考入浙江商业银行工作。长女骆涵秀出生。业余时间开始接触摄影活动，购买了人生中第一台禄来双反相机。与王澄、吕濬、陈燕翘等同事摄影好友，常在杭州西湖摄影采风。常以艺名“王素雪”发表作品。

• 1933年

由于个人兴趣爱好的关系，与杭州著名画家唐云、著名书法家赵宗鼎有较多来往。

• 1934年

考入中国银行，派往浙江分行兰溪支行实习一年。经常在兰江、烂柯山、雁荡山等地摄影采风。《汲瓮》一组（1932年5月创作）收录于《中华摄影杂志》1934年第9期。

• 1935年

转正后正式调入中国银行上海总管理处工作。二女骆涵怡出生。在上海工作期间摄影同好们的交流学习更加便捷和频繁。接触到国际上现代主义风格的摄影画报和画册，摄影风格更趋多元化。作品《任重致远》、《飘萍泛梗》收录于1935年出版的《美术摄影特辑》。

• 1936年

积极筹备在上海的影展作品。经其父亲的同好挚友王二南先生介绍，认识了时年正在杭州场官弄“风雨茅庐”居住的王映霞（王二南先生之女）和郁达夫夫妇。《兰江晚泊》收录于《飞鹰》1936年第10期。《春满西湖》组照之《柳絲蘸水》、《倚榜听莺》、《春山杂树》、《春江水暖》、《担稭作蔟》、《泉之始达》、《暮云春树》、《柳阴孤泊》、《塔影波光》、《嫦娥临镜》、《满船空载月明归》、《月出于东山之上》和《細雨垂楊繁畫船》等作品发表于《现象（上海）》1936年第13期。

• 1937年

被派往中国银行浙江分行金华办事处工作。二子骆涵碧出生。由郁达夫亲自题词的他个人生涯中最重要的一次影展--“联谊影展”在杭州举办。影展作品中有多幅郁达夫、陈箓（号止室）、曹熙宇（字靖陶、号看云楼主人）、赵宗鼎等民国时期文艺和政治界鸿儒挚友的题词，也有部分作品由自己题词。寄往南京参加影展的三幅郁达夫题词作品在南京沦陷后遗失，只剩下另外三幅。

• 1938年

被派往中国银行香港分行工作，居住在弥顿道。期间在香港浅水湾、九龙塘、港口码头、九龙青山等地均是其创作之地。

• 1941年

太平洋战争爆发，7月英军退守香港放弃九龙等地，12月香港沦陷。大部分时间在室内进行静物类摄影创作。

• 1942年

年初，随中国银行香港分行工作人员及家属西迁，乘坐日本难民船--白银丸抵达广州湾（今湛江港），至玉林、柳州。时年夏，乘坐汽车经贵阳、遵义绕道抵达陪都重庆。同行的有中国银行董事梅兰芳的儿子和宋子文的弟弟等人。到达重庆后，先住在石桥铺镇，之后搬迁到南岸居住。进入中国银行重庆分行工作。

• 1945年

抗战胜利，派往中国银行成都分行工作。再次与上海时期摄影好友郎静山聚会于成都郎毓秀和肖济夫妇家中，交流多年来摄影心得。

• 1946年

返回中国银行上海分行工作。家住万航渡路中行别业。此时常在上海周边城市无锡、苏州等地进行摄影创作。

• 1947年

三女骆涵馨出生。

• 1948年

中国银行（总行）上海总管理处业务室工作。

• 1949年

拒绝前往台湾，等待上海胜利解放，坚守在中国银行工作，等待新中国成立。

• 1950年

随中国银行总管理处北迁北京，调入北京总管理处业务室工作，同年借调中国人民银行总行参与新中国金融建设。家住前门外双鱼胡同。由于国际上的封锁，经济条件、摄影耗材和国际资讯等诸多因素影响，造成摄影创作日益减少，期间在长城、故宫、颐和园等地还有少量摄影创作。

• 1951年

申请返回家乡杭州工作，调往中国人民银行杭州分行工作，家住下城区木场巷26号。自此不再进行摄影创作，家中仅悬挂郁达夫题词的三幅其影展作品。

• 1953年

反右运动开始之前，离开中国人民银行杭州分行调往上海市总工会杭州屏风山疗养院财务科工作。

• 1966年

文革开始，家中自清代以来收藏的大量书法、绘画等均被烧毁，其中由大量唐寅、张大千、齐白石等书画作品。由于摄影作品均为个人创作，自返回家乡杭州工作之后不再进行摄影创作，因此没有被发现而损毁。

• 1971年

退休于上海市总工会杭州屏风山疗养院财务科。

• 1976年

文革结束，十年动乱期间，其历年的摄影展览作品、大量的底片和诸多国外摄影资料、摄影年鉴和画册等珍贵文献资料一直视为珍宝，和抗战逃难期间一样悉心保护，得以保留至今。

• 2002年

6月14日在杭州逝世。

Chronology

• 1911

Luo Bonian was born the oldest son in Hangzhou, Zhejiang Province. His father was a mandarin in the imperial government of Hangzhou County. Luo was educated under classical Confucian traditions, and came under the influence of traditional Chinese calligraphy and painting, largely through his father who had extensive collections of both. As a young man, Luo also became a Guqin (an ancient Chinese seven-string zither) enthusiast, and made his early attempts at calligraphy and painting.

• 1930

Married Wang Duojia, who while a student at Hangzhou Girls’ High School was renowned for her beauty.

• 1931 

His oldest son, Luo Hancui, was born.

• 1932

Graduated from Hangzhou College of Commerce, majoring in accounting. He started working at Zhejiang Commercial Bank the same year.His oldest daughter, Luo Hanxiu, was born.He started to learn about photography during his free time, and purchased his first Rolleiflex camera. He started photographing around the West Lake in Hangzhou, together with fellow amateur photographers such as Wang Cheng, Lv Jun and Chen Yanqiao. He often published his work under the name“Wang Suxue”.

• 1933 

Due to his personal interests, he had maintained regular contact with Tang Yun, a famous painter, and Zhao Zong Ding, a famous calligrapher, both based in Hangzhou.

• 1934

Luo secured a position at Bank of China, and was sent on a one-year internship at a branch of the bank in Lanxi, Zhejiang Province. He often photographed in Lan Jiang, Mount Lanke and Mount Yandang.His series entitled “Ji Wen”, or “Drawing Water from a Well”, dated May 1932, was published in Issue 9 of the Chinese Photography Magazine in 1934.

• 1935

Took a permanent position with Bank of China, and was reassigned to the general management division in Shanghai.His second daughter Luo Hanyi was born.

Luo’s interactions with fellow amateur photographers intensified whilst working in Shanghai. He became exposed to international and modernist photography journals and photobooks, and the style of his work diversified.His works Heavy Loads and Distant Journeys and Floating Duckweeds and Drifting Sprigs were published in Special Feature: Art Photography in 1935.

• 1936

Actively preparing pieces for the exhibition in Shanghai. He was introduced by Mr. Wang Ernan, a good friend of his father, to Mr. Wang’s daughter Wang Yingxia, as well as Mr. and Mrs. Yu Dafu, who at the time lived at the residence named Stormy Cottage in Chang Guan Lane, Hangzhou.His work Night Mooring on the Lan River was published in Fei Ying, 1936, Issue 10.Selections from his series The West Lake in Spring were published in Phenomenom in Shanghai, 1936, Issue 13.

• 1937

He was reassigned to a position at the Jin Hua Branch of Bank of China.Second son Luo Hanbi was born.The most important exhibition of his life was held in Hangzhou. Yu Dafu contributed calligraphy for the title of the exhibition “Friendship Photography Exhibition”. The exhibition featured multiple calligraphic inscriptions provided by friends and influential figures in the arts and politics of the Republican era, such as Yu Dafu, Chen Lu, Cao Xiyu, and Zhao Zongding. Some of the works were inscribed by Luo himself.Three pieces of Luo’s work posted to Nanjing for an exhibition were lost after Nanjing fell to the Japanese. Only three others remain.

• 1938

Luo was reassigned to a position with Bank of China in Hong Kong. He lived on Nathan Road in Kowloon. He had photographed various places in Hong Kong during that time, such as Repulse Bay, Kowloon Tong, the ports, and Castle Peak.

• 1941

The Pacific War broke out. The British forces retreated from Kowloon to Hong Kong Island in July, and by December Hong Kong fell to the Japanese. Luo spent most of his time indoors photographing still life.

• 1942

At the beginning of the year, Luo, along with employees of Bank of China in Hong Kong and their famililes, retreated by the Japanese refugee ship Shirogane Maru to Guangzhou Bay (or the Port of Zhanjiang today), and went further to Yu Lin and Liu Zhou. That summer, Luo took a detour via Gui Yang and Zun Yi and arrived at the war-time capital Chongqing by bus. Travelling with Luo were the son of famous Peking Opera singer and director of Bank of China Mei Lanfang and the younger brother of T. V. Soong of the prominent Soong family, among others. Upon arrival in Chongqing, Luo initially lived in the town of Shi Qiao Pu, and then moved to the south bank. He started working at Bank of China’s Chongqing Branch.

• 1945

China won the war against Japan. Luo was assigned to Bank of China’s Chengdu branch.He reunited with one of his photographer friends of the Shanghai days, Lang Jingshan, at a gathering hosted by Lang Yuxiu and her husband Xiao Ji. They exchanged thoughts and ideas on photography that developed over the years.

• 1946

Luo returned to Bank of China’s Shanghai branch, and lived on Wanhangdu Road. He often photographed in Shanghai and in nearby cities such as Wuxi and Suzhou.

• 1947

His third daughter Luo Hanxin was born.

• 1948

Luo worked at the general management division of Bank of China’s head office in Shanghai.

• 1949

Luo refused to go to Taiwan with the Nationalists, and awaited the arrival of the Communists as he continued his work with Bank of China.

• 1950

As the general management division of Bank of China was moved to Beijing, Luo relocated and started working there. He was seconded to the head office of the People’s Bank of China working on developing the financial system for the new regime. Luo lived in Shuang Yu Hutong near Qian Men. Due to international trade embargos, economic limitations, shortages of photographic materials and of international information, the amount of Luo’s work decreased during this period, although he took occasional photographs at the Great Wall, the Forbidden City, and the Summer Palace.

• 1951

Luo made an application to be transferred back to his home town Hang Zhou. He was relocated to the Hang Zhou branch of the People’s Bank of China, and lived at 26 Mu Chang Alley.He had by then stopped taking pictures. The only three photographs still on the wall of his home were three from the exhibition, with inscriptions from Yu Dafu.

• 1953

Before the onset of the Anti-Rightist Movement, Luo left the People’s Bank of China and was re-assigned to the Ping Feng Shan Resort in Hangzhou, affiliated with the Main Workers’ Union of Shanghai. He worked in the accounting department.

• 1966

The Cultural Revolution began. A sizeable collection of calligraphy and painting, accumulated by Luo’s family since the Qing Dynasty, was torched. Among the works lost were those by Tang Ying, Zhang Daqian and Qi Baishi.As the photographs were his personal creations, and as he had stopped taking pictures since he returned to Hangzhou, these remained undiscovered.

• 1971

Luo retired from his position at the Ping Feng Shan Resort.

• 1976

End of the Cultural Revolution. During the ten years of unrest, he had treasured and carefully preserved the work he had photographed and exhibited over the years, large numbers of negatives, various international photographic literature, annuals, and photobooks, much the same as he did while migrating during the war.

• 2002

Luo Bonian died in Hangzhou on 14 June.