蓝志贵不仅是一个西藏民主改革的见证人，也是一个西藏社会二十年历史巨变的记录者。1951年，年仅19岁的蓝志贵作为人民解放军第十八军的随军摄影记者从家乡四川赴西藏，在长达二十年的西藏生活中，他用自己的摄影作品生动纪录了人民解放军进军西藏、康藏公路建设、平息叛乱、民主改革、西藏自治区成立等一系列重大历史事件，真实再现了西藏社会的历史性变迁。

中文名：蓝志贵

出生地：四川重庆巴县

出生日期：1932年

职业：摄影家

主要成就：新中国第一个摄影国际金奖获得者

展览通告

社会任职

工作简历

主要作品

获奖情况

个人年表

展览通告

2009.3.21-3.31在中国美术馆举办《见证西藏民主改革 蓝志贵西藏1950-1970摄影作品展》。主办：中国西藏文化保护与发展协会、《中国西藏》杂志社；承办：南京国人文化广告传播有限公司；策展人：黄建鹏

2010.5.10.-5.20.“回眸经典——中国摄影大师蓝志贵、庄学本藏族摄影作品精品展”在南京博物院展出。主办：南京博物院、南京国人文化广告传播有限公司。策展人：黄建鹏。此次展览从两位大师的藏族摄影作品中各精选出40幅，共展出80幅作品，内容有藏族人像、生活、重大事件、风俗等，皆为两位大师藏族摄影作品中的艺术精品。黑白作品采用银盐纸基暗房精放，彩色作品采用C-41工艺。

社会任职

是十八军进军西藏的随军摄影记者，是解放后最早进入西藏、记录拍摄西藏的二十余个摄影记者中的杰出代表人物。他在西藏生活和拍摄了二十年，拍摄了进军西藏、康藏公路建设、西藏平叛、西藏民主改革、中印自卫反击战、西藏文革等重大历史题材；四川温江地区郫县武装部正工科科长；西南民族学院，任电化教学科副科长；西南民族学院，任专职工会副主席；四川人民出版社，任副编审。

工作简历

1945年，到重庆皇宫照相馆当学徒。

1949年底蓝志贵参加中国人民解放军。

1950年—1970年摄影黄金创作期，拍摄大量以西藏为题材的照片。

主要作品

《拉萨节日的欢乐》；《传大召·古骑士》；《翻越泥巴山》；《汽车第一次开到拉萨》；《僜人少女》；《僜巴族人爱吸烟》；《珞巴人群像》；《雪顿节·嘎厦政府官员在龙王潭祭潭》；《珞巴射手》；《晚境》；《牧女》；《小牛犊》；《青青小河边》；《西藏贵族第一夫人·泽仁夫人》；《邮递员来到我们家》；《国庆十周年藏族少年跳新疆舞》；《昌都八宿县然乌小学》；《汉人援建西藏的第一批砖瓦厂》；《神兵天降·我空军第一次在拉萨跳伞》；《第一台联合收割机在拉萨展出》；《丰收在望》；《桑登分到了土地》；《丈量分得的土地》；《雨过天晴》；《梁嘎的新生》；《山南的早晨》；《印军在卓垃山口我侧修筑工事的罪证》；《打响了，冲啊》；《追击》；《战区高山缺氧，战士艰难行军》；《农奴――革命战士》；《抗旱》；《齐心合力夺丰收》；《西藏红卫兵集会》；《西藏文革拉萨街头》；《手持红缨枪的西藏红卫兵》；《藏式忠字舞》。

获奖情况

蓝志贵----中国现代摄影史第一个和第二个国际金奖获得者。

1959年10月3日《拉萨节日的欢乐》荣获民主德国国际摄影展金奖，1959年11月12日《拉萨节日的欢乐》荣获匈牙利布达佩斯第三届国际艺术展览金奖。此作品是中国现代摄影史上第一个和第二个国际金奖，在中国现代摄影史上占有重要地位。1959年中国摄影大师张印泉亲自放大这张图片，由中国摄影学会选送参展。1960年中国摄影大师庄学本先生为此作品撰写了评论，发表在《中国摄影》杂志1960年第一期上。《拉萨节日的欢乐》入选国庆十周年大型画册——《中国》。《拉萨节日的欢乐》1989年被评为建国四十周年优秀摄影作品。《拉萨节日的欢乐》在网上被公认为“中外极为精彩珍贵照片十大名作”。1959年由张印泉放大的仅存的一张原始原作，现存于南京国人文化广告传播有限公司。

个人年表

蓝志贵，男，1932年，出生于四川重庆巴县白寺驿附近一个村庄，少年时读过三年私塾，父母都是标准的农民。

1944年，在重庆白寺驿机场附近看到盟军军官用相机拍摄当地民俗，觉得非常神气，进而对摄影产生强烈的兴趣。

1945年，经人介绍来到当时民国的陪都重庆最好的三家照相馆之一皇宫照相馆当学徒。

1946年，由于有悟性、勤奋及对摄影技术非常钻研，摄影技术进步很快，能掌握座机拍摄、冲胶卷、修底片、描红及上彩等技术。作为皇宫照相馆的小摄影助理参与当时民国中央会议合影的拍摄，见到了蒋介石等国民党高官。

1947年，为皇宫照相馆上色的彩色照片在照相馆的橱窗中展出，为老板招揽生意。

1948年，满徒，能单独从事照相馆中各个程序工作。

1949年，在重庆上了半年的高级美术专科培训班(夜校)，学习素描、色彩及画面构成等美术知识，接触了一些西方美术知识，看到了一些世界美术名作的出版物。在皇宫照相馆拍照之余，经常到照相馆街对面的书店翻看西方艺术及摄影方面的书籍，虽然不懂英文，还是翻看了大量西方美术方面的图书画册，对蓝志贵影响很大。1949年底，重庆解放以后，解放军十八军军长张国华到皇宫照相馆照相，蓝志贵向他积极要求参加中国人民解放军。后被十八军宣传部摄影股林安波具体接收，于11月，光荣加入十八军，12月与十八军宣传部的领导留在重庆购买去西藏的摄影器材、胶卷、显影、定影等一些摄影用物资。

1950年初，经过二十几天乘车路程到达十八军总部乐山。3月在乐山拍摄了《进军西藏誓师大会》，后拍摄了《士兵学藏文》、《士兵搭帐篷野外生存》等图片。由于十八军进藏要办报纸，十八军送蓝志贵回重庆学习印刷照相制版技术，期间，将西康省上层人士赠送给毛主席的土特产及礼品押运到重庆转交重庆西南军区，西南军区转北京交给毛主席。年底学习完后返回十八军乐山总部。

1951年，作为摄影员随张国华、谭冠三大军进军西藏，拍摄了进军西藏初期等各类图片。十八军军部搬到西康省甘孜地区后拍摄甘孜、昌都地区民俗及解放军进军西藏的相关图片。

1952年，拍摄了进军西藏系列图片，与十八军画家林立在进军西藏途中身背西方文艺复兴时期画册和《世界著名美术作品集》，边走边拍边看，书中大场面及油画构图对蓝志贵影响很大。

1953年，春夏随西藏军区骑兵团参加拍摄了西康阿坝草原阻击战和平息阿坝黑水叛乱等图片，秋冬随西藏军区参观团赴朝鲜参观，拍摄了黄继光零号阵地、上甘岭战役和坑道战的相关图片。同年底从朝鲜回国，回到西藏后，领到了全新的135莱卡和120禄莱福莱克斯。

1954年，拍摄康藏公路修建，条件十分艰苦，到波蜜段时，每天都有筑路的解放军战士牺牲，蓝志贵经常站在水里拍摄，得了很严重的关节炎。《和洪水搏斗》修筑康藏公路摄影报道发表在一九五四年十月号《人民战士》杂志上，此杂志由西南军区政治部出版。《和洪水搏斗》是蓝志贵发表的处女作。

1955年初，用4×5座机拍摄了《拉萨全景接片》，这一图片极其珍贵地记录了那个时代的拉萨，拉萨平原只有很少一些房屋。《汽车开到拉萨》发表在《解放军画报》封面一九五五年叁月号上。《汽车开到拉萨》入选第一期全国摄影集。开始使用彩色胶卷记录西藏，拍摄了中国当代摄影史上第一批彩色照片，其最初彩色代表作为《西藏贵夫人及服饰》、《西藏噶厦政府游龙王潭》等。

1956年，该年是蓝志贵作品丰收最多的一年，这一年拍摄的许多作品在以后的几年中陆续出版、发表、获奖。并能用藏语单独进行采访。

1957年，摄影报道《种子》用两个整版发表在一九五七年一月号《解放军画报》上。《察隅西藏高原的江南》用两个整版发表在一九五七年三月号《解放军画报》上。《汽车开到拉萨》入选一九五七年《中国摄影艺术选集》。《林中》发表于一九五七年第四期《中国摄影》。

1958年，藏历新年"传大召"期间拍摄了中国当代摄影第一个国际金奖《拉萨节日的欢乐》，《拉萨节日的欢乐》（《节日的欢欣》）入选第二届全国摄影艺术展览。1958年3月加入中国摄影学会，成为中国摄影学会最早期的会员。1958年，西藏也搞"大跃进"，用缴获国民党的电影摄影机拍摄了十几分钟的纪录电影，用手工的方法进行显影冲洗。《拉萨节日的欢乐》入选一九五八年《中国摄影艺术选集》。摄影报道《我们的指导员》用一个整版发表在一九五七年三月号《解放军画报》上。

1959年，以随军记者身份拍摄了西藏平叛等珍贵历史镜头，其中冒着生命危险拍摄了《叛乱分子包围西藏工委》及一系列平叛镜头。平叛胜利后，拍摄了1000多张民主改革时期的西藏图片，记录了西藏由封建农奴制度向社会主义制度过渡的全部过程。《欢乐的节日》（拉萨节日的欢乐）发表在一九五九年第二期《中国摄影》，并入选中华人民共和国建国十周年《中国》画册，此画册最终由周恩来总理亲自审订出版。1959年10月3日《拉萨节日的欢乐》荣获民主德国"社会主义胜利"国际摄影展金奖，此金奖为中国当代摄影史上第一个国际金奖。1959年11月12日《拉萨节日的欢乐》荣获匈牙利布达佩斯第三届国际摄影艺术展览金奖。在一年之内，两次荣获国际金奖。《雨过天晴》发表在一九五九年第四期《中国摄影》。《梁嘎的新生》与蒙紫合作，用两个整版发表在一九五九年七月号《解放军画报》。《山南的早晨》与蒙紫合作，用三个整版发表在一九五九年十月十一月合刊《解放军画报》上。

1960年，与藏族妇女干部拉宗卓玛（何贵仙）结婚。《千年的债务废除了》发表在一九六○年第四期《中国摄影》。

1961年，《牧女》入选个一九六一年《中国摄影艺术选集》，《则巴村纪事》用两个整版发表在一九六一年五六月合刊《解放军画报》上，《换了人间》发用两个整版发表在一九六一年六月号《解放军画报》上，荣获全军摄影专题报道一等奖。《多吉湖畔》发表在一九六一年第五期《中国摄影》。

1962年，《牧女》发表于一九六二年第二期《中国摄影》。《野炊》发表于一九六二年第四期《中国摄影》。《在新分得的土地上》入选一九六二年第一版《中国人民解放军摄影艺术展览作品选集》。以随军记者身份完整拍摄了中印自卫反击的多个重要战役。作为随军记者深入作战部队出生入死战地摄影采访拍摄了从克节朗战役到西山口战役，从达旺到邦迪拉山口，纵深前进一千多里与部队行军作战，拍摄了沙则战斗，西山口战役，印军王牌旅长达尔维准将被擒，米4直升机被焚等重大题材，三次与死神擦肩而过。

1963年，拍摄的数百幅反映中印边境自卫反击战的图片已被中国人民解放军作为军史资料珍藏，并在北京军事博物馆展出。同年被专程邀请到北京参加全军摄影工作会议，在会议上介绍了中印边境战地采访的经验，受到了军委首长的接见和总政治部的嘉奖。战地采访中印自卫反击战荣立三等功。

1965年9月1日至8日，拍摄了西藏自治区成立大会等一系列珍贵历史镜头。9月19日冒着生命危险拍摄的《印军在卓垃山口我侧修筑工事的罪证》，新华社1965年9月22日向全世界刊发通稿，此稿受到周恩来总理和总参的好评。《农奴――革命战士》用两个整版发表在一九六五年九月号《解放军画报》。摄影报道《抗旱》发表在一九六五年八月号《民族画报》上。摄影报道《齐心合力夺丰收》用一个整版发表在一九六五年二月号《解放军画报》上。《英雄面前无险阻》入选第八届全国摄影艺术展览。

1966年，文革初期拍摄了《西藏红卫兵集会》、《批斗西藏"牛鬼蛇神"》。1966年，获得由中国人民解放军西藏军区直属政治部颁发的三等功一次。

1967年，由于保"周扬"文艺黑线，成为西藏军区十四个坏分子之一，被打为半年的"反革命"，由拉萨转移关押到十四师。半年后平反，到北京采访拍摄毛泽东思想学习班。

1968年，在北京的西藏军区驻京办事处工作，在北京参加一年毛泽东思想学习班。回西藏后拍摄了《藏式忠字舞》、《西藏人民创作〈毛主席去安源〉油画》、《西藏自治区革命委员会成立》等一批反映西藏"文革"珍贵的历史镜头。

1970年， 1970年12月25日，蓝志贵被西藏军区派到四川成都岷江机床电机厂作为军代表支左，将心爱的莱卡相机和禄莱福莱克斯相机交西藏军区宣传部。

1971年，作为四川成都岷江机床电机厂军代表负责生产，"抓革命促生产"，带领三十几人到上海学习柱上油开关技术。这一时期自己购买了相机，在上海拍摄了部分图片。

1972年，以军代表的身份作为四川成都岷江机床电机厂生产负责人。

1973年，任四川温江地区郫县武装部正工科科长。创办了《民兵报》。

1975年，作品《翻身农奴喜分土地》入选由毛泽东题写书名的《西藏自治区画集》。

1978年，转业到西南民族学院，任电化教学科副科长。

1979年，在西南民族学院，任专职工会副主席。

1980年，作西南民族学院工会群众工作。在西南民族学院期间拍摄了民族学院各民族大学生的生活系列图片。

1981年，在西南民族学院建院三十周年之际，举办了蓝志贵西藏民俗摄影展。国家民委民族研究所收藏了数十幅图片，并在国家民委主办的相关杂志发表。国家民委专家称蓝志贵是西藏断层文化的参与者和记录者。多幅作品入选外文出版社出版的《变革中的西藏》。1981年英文版《TIBET NO LONGER MEDIAEVAL》。

1982年，调四川人民出版社工作，任《旅游天府》、《西南旅游》杂志社任摄影记者、摄影编辑等工作。拍摄大量的旅游图片。

1985年，荣获西藏自治区人民政府颁发的"和平解放西藏、建设西藏、巩固边防作出贡献荣誉证书"

1986年，十余幅作品入选《战斗在世界屋脊》大型画册，长城出版社1986年10月第一版。

1987年，被四川人民出版社聘任为副编审。

1989年，《拉萨节日的欢乐》荣获由中国摄影家协会在北京举办的《四十年摄影艺术展览》优秀作品奖，荣获金杯一座。《拉萨节日的欢乐》入选《49’-89’中国摄影艺术作品选》大型画册。

1990年，《云南纳帕湖风光》荣获中国台湾中华摄影学会影赛金牌奖。加入中国台湾中华摄影学会。拍摄、编辑的大型画册《长江三峡》四川人民出版社用汉、英、日文出版，入选作品数十幅。

1991年，西藏和平解放四十周年之际，西藏文联，西藏摄影家协会举办了袁克忠、林安波、蓝志贵、陈珺、陈宗烈西藏老摄影工作者影展，蓝志贵入选作品最多。此影展受到了自治区领导和市民的高度评价。蓝志贵亲赴拉萨参加了开幕式，并在西藏进行了摄影创作。

1993年，从四川人民出版社退休，将尼康F3相机交还出版社，自己购买了尼康FM2相机，出版社退休前拍摄、编辑、出版了60多期《西南旅游》杂志，《西南旅游》杂志多次被评为全国优秀期刊。在《西南旅游》杂志发表图片数百张。

1994年，1950年～1994年期间发表了两千多张图片，各类摄影报道数百篇。此外，1978年转业后还拍摄了大量的西南地区民俗黑白图片。

1995年，将自己的尼康FM2相机封存，不再拍摄任何图片。

1996年至今，股民。

2007年12月开始，在国际一流美术馆和画廊的策划下，精选部分作品，用银盐纸基纸，收藏级工艺编号精放了部分作品，并在作品上签名。蓝志贵黑白作品一律选用暗房精放，银盐纸基纸工艺，蓝志贵拒绝在一切通过电子文件输出的黑白图片上签字。蓝志贵同意在部分用数码形式输出的早期彩色原作上签字，与监制人的签名一同构成编号限量原作。

2008年3月，在博物馆和作品代理人近一年的劝说下，蓝志贵同意与助手一起亲自制作部分纸基相纸照片。2008年《中国摄影家》第四期用37个版面介绍摄影家蓝志贵。2008年战地摄影作品《战火中追歼入侵者》、《战区山高缺氧 战士艰难行军》入选中国摄影出版社出版的《摄影中国――中国摄影50年》大型图书。

2009年3月号第二期《西藏人文地理》用20个版面刊登了黄建鹏专栏发表的文章《蓝志贵 20世纪50年代至70年代西藏摄影的代表人物》。

2009年3月21日至3月31日，“见证西藏民主改革——蓝志贵西藏1950-1970摄影作品展”在中国美术馆展出后，反响强烈，截至2009年4月15日，展览先后吸引中外一百多家一线媒体争相采访报道。包括美联社、路透社、法新社在内的多家外国驻华记者采访报道了此次展览。中央电视台晚间新闻、中央电视台三套《综艺快报》、凤凰卫视等多家电视媒体作了报道。中央电视台《焦点访谈》、中央电视台一套《走向阳光—庆祝西藏百万农奴解放50周年文艺晚会》均播出展览信息、选用蓝志贵展览图片。新华社、中新社、人民日报、中国青年报、光明日报、解放军报、文艺报、经济日报、中国摄影报、人民政协报、中国文化报、中国艺术报、北京晚报、北京晨报、新民晚报、新京报、三联生活周刊等国内一线媒体均大篇幅报道了此次展览。新民晚报、中国日报、北京日报、青年参考、中国民族报等使用整版介绍了此次展览及摄影家蓝志贵。中国西藏信息中心、中国西藏网等多家网站做了专题网页，宣传报道在中国美术馆的展览及摄影家蓝志贵。此次展览为黄建鹏策展，黑白作品全部全用银盐纸基，博物馆收藏级工艺制作，均为蓝志贵签字限量编号原作的第一张。

十幅以布达拉宫为背景的系列作品《布达拉的见证》将在2009年5月18日—7月19日广东美术馆举办的“第三届广州国际摄影双年展2009”展出。

2010年5月10日-20日，“回眸经典——中国摄影大师蓝志贵、庄学本藏族摄影作品精品展”在南京博物院展出，黄建鹏策展。此次展览的黑白作品全部全用银盐纸基，博物馆收藏级工艺制作，均为蓝志贵签字限量编号原作的第八张。

2010年9月，《西藏经典影像的创作者：摄影大师蓝志贵》（作者：白萍）发表在文化部主管的国家级核心期刊《中华文化画报》“大家”栏目。

A Profile of Lan Zhigui

In 1932, Mr. Lan Zhigui was born in a small village near Baisi Post of Ba County, Chongqing. He finished his education in an old-style private school for three years. His parents are farmers.

In 1944, he was interested in photograph when he watched the allied officers took photos for the folklores of Baisi Post Airport.

In 1945, he was introduced and became an apprentice in the Royal Photo Shop, one of the best three photo galleries in Chongqing.

In 1946, he became a skilled worker in the shop because of his smart and diligence. As a little assistant of the Royal Photo Shop, he participated in group photograph, especially for the Conference of the central government of the Republic of China. He even accompanied his tutor to shoot images for Chiang Kai-shek and the other KMT officials.

In 1947, his works, a chromotype showed in the shop’s window as its ad.

In 1948, he finished his apprentice semester and could independently work on photographing, developing film and other various techniques.

In 1949, in order to improve the competitiveness of the Shop, the boss sent Lan Zhigui to a senior training class in art (evening school) for half a year, then he benefited from the knowledge including Chinese and western art with regard to sketching, color, and picture design. In addition, he often used his spare time to read books about western art and photograph at the bookstore in front of the Royal Photo Shop. Although he could not understand English, he enjoyed those wonderful pictures. All these laid down a favorable foundation for his late personal development in photograph. In the end of this year, Chongqing was liberated. Mr. Zhang Guohua, the commander of No.18 Corps of the Southwest Army Force of the PLA, paid a visit to the Royal Photo Shop to have a picture taken. On hearing he was the commander, Lan Zhigui asked to join in the army. In November, he was recruited in the Photo Unit of Propaganda Department of No. 18 Corps of the PLA by Lin Anbo. In December, he and his leader purchased a lot of photographic equipments, such as cameras, films, developing and fixing materials for the photo unit.

Early in 1950, after more than twenty days journey by car, Lan Zhigui got to the headquarters of No.18 Corps of the PLA in Leshan of Sichuan. In March, he photographed No. 18 Corps of the PLA Rally for March into Tibet, PLA Soldiers Studying Tibetan, PLA Soldiers Putting up Tents and other photos. Because No. 18 Corps of the PLA was going to publish newspaper, Lan Zhigui was sent back to Chongqing to study photoengraving and printing technique. He escorted the native gifts from the upper class of Xikang Province for Chairman Mao Zedong to the Southwest Military Region in Chongqing by the way. At the end of this year, he finished the training course and returned to headquarter of No. 18 Corps of the PLA in Leshan.

In 1951, as a photographer, he followed General Zhang Guohua and Tan Guangsan’s army, marched to Tibet and shot a lot of pictures on this trip. After No. 18 Corps of the PLA moved headquarter to Ganzi area of Xikang, he shot folklore of Ganzi and Chamdu and recorded the PLA marching into Tibet in his camera.

In 1952, he photo a series of pictures about PLA marching into Tibet. He and Lin Li, a painter, carried renaissance albums and collections of world famous art, and read them on the way. Lan Zhigui benefited a lot from the great scenes and compositions of oil paintings.

In spring and summer of 1953, Lan Zhigui followed the Cavalry Regiment of Tibet Military Region and recorded the blocking action in Aba Grassland and the appeasing of Heshui rebellion in Aba of Xikang. In fall and winter of 1953, he visited North Korea as a member of the Sightseeing Group of Tibet Military Region and shot the Zero Position of Huang Jiguang, the Shangganlin Battle, the Trench Warfare and so on. After he returned Tibet from North Korea, he received a newly Leica 135 and a Rolleiflex 120.

In 1954, he shot the building of Kham-Tibet Road. When the highway was built to Pome County, there were PLA soldiers sacrificed for it everyday. Lan Zhigui was touched deeply and often shot them in the water, then got serious arthritis. His Fighting with Flood published in the Oct. 1954 of People’s Warrior magazine, which published by the Political Department of the Southwest Military Region. Fighting with Flood is Lan Zhigui’s first work to be delivered in public.

In early 1955, he shot Panorama of Lhasa (splicing), which recorded Lhasa at that time, and then there were few houses in the Lhasa Plain. Trucks for the First Time Come to Lhasa published on the cover of the March issue, 1955 of PLA Pictorial. It was also selected into the first Collections of National Photograph. From then, he began to shoot Tibet using color films and finished the first series of photo in the contemporary photograph history of new China. His first representative works were Tibetan Noblewomen and Their Costumes, and The Sagadawa Festival, Officials of Tibet Local Government Playing in Dragon King Lake and so on.

In 1956, it was a bumper year for Mr. Lan Zhigui. Many of his works taken in this year had been published and won awards later. Further more, from this year, he could interview with Tibetan by himself.

In 1957, Lan Zhigui Photographic Exhibition of Minorities in Zayul was taken in Publicity Department of Politic Department of Tibet Military Region. His Seeds was published in the first issue of PLA Pictorial in 1957 with two full-page. Zayul, South Regions of the Yangtze River in the Tibet Plateau published in the March issue of PLA Pictorial in 1957 with two full-page. Trucks in the First Time Come to Lhasa was selected in the national photograph exhibition held by People’s Daily, Xinhua News Agency, China Pictorial, PLA Pictorial and the Chinese Artists' Association, and it was also selected in Selected Collections of China Photographic Art in this year. In the Forest published in the fourth issue of Chinese Photography in 1957.

In 1958, Mr. Lan joined the China Society of Photography and became an earliest member of the Society. He took The Happy Festival of Lhasa in the Tibetan Grand Summons Ceremony of Tibetan New Year, which is the first international gold award in modern China’s photographic history. In this year, Tibet was also engaged in “Great Leap Forward”. Mr. Lan shot a ten minutes documentary film with a video camera captured from KMT and developed it by himself. The Happy Festival of Lhasa was selected into the Second National Photograph Exhibition and chosen in Selected Collections of China Photographic Art in 1958. His Our Instructor was published in the March issue of PLA Pictorial in 1958.

In 1959, as a military photographic correspondent, Mr. Lan took a series of rare historic photo about PLA appeasing the Tibet Rebellion, including Rioters Surrounded the Tibet Work Committee. After the rebellion was appeased, Mr. Lan shot more than one thousand photos about the democratic reform in Tibet and recorded the whole process in which Tibet transited from the feudal serf system to the socialist one. The Happy Festival of Lhasa was published in the second issue of Chinese Photography in 1959 and selected in the China, a picture album which was examined and revised by Premier Zhou Enlai personally to celebrate the founding of PRC. Dawn of Lhasa published in the fifth issue of Popular Photography in 1959.On Oct. 3, 1959, his image The Happy Festival of Lhasa won the “socialism victory gold award” in Democratic Germany, which is the first international gold award in modern China photographic history. On Nov. 12th, 1959, this photo was also crowned with the gold award in the third international photographic art exhibition in Budapest, Hungary. This was the first time a photographer of China won the international award in those days. Sunny after Rain published in the fourth issue of Chinese Photography in 1959. Rebirth of Langar, which he and Mengzi cooperated to shoot, was published in the July issue of PLA Pictorial in 1959 with two full-page. Morning of Lhoka, also he and Mengzi cooperated to shoot, published in the Oct. and Nov. combined issue of PLA Pictorial in 1959 with three full-page.

In 1960, Mr. Lan married with a Tibetan woman cadres named Lhazom Drolma (also named He Guixian, a Tibetan from Dechen of Yunnan). Millennium’s Debt Was Abolished published in the fourth issue of Chinese Photography in 1960.

In 1961, Mr. Lan’s image A Woman Shepherd was selected into the Fifth National Photograph Exhibition and in Selected Collections of China Photographic Art; Tsepa Village’s Story published in the combined issue of May and June of PLA Pictorial in 1961 with two full-page; The World Changed published in the June issue of PLA Pictorial in 1961 with two full-page and won the first prize of photographic topics in the whole army. At the River of Dorje Lake published in the fifth issue of Chinese Photography in 1961.

In 1962, A Woman Shepherd published in the second issue of Chinese Photography; Picnic in the fourth issue; and On the Newly Distributed Land was selected in Selected Collections of PLA Photographic Art Exhibition. In this year, Mr. Lan entirely recorded a number of important battles of India-China border war as a military photographic correspondent, such as the Xishan Mountain mouth campaign, M4 Helicopter being burned and so on. There were three times that He almost sacrificed himself.

In 1963, hundreds of his images about the India-China border war were preserved as the military history of PLA and dozens of these pieces were exhibited in the Military Museum in Beijing. Meanwhile, he was invited to Beijing to join the Military Photography Conference. He introduced his field interview stories in the border war, met by the head of the Central Military Commission and granted a third class award by the General Political Department during the conference.

From Sep. 1 to 8, 1965, he photographed the founding meeting of the Tibet Autonomous Region and a series of rare historic images. On Sep. 19, he risked his life to take The Indian Soldiers Built Fortifications in the Zhola Mountain Mouth Which Is in Our Territory which was published to the world by the Xinhua News Agency on Sep. 22, 1965. His Serf & Revolutionary Fighter published in the Sep. issue of PLA Pictorial in 1965 with two full-page. His Fighting against Drought published the Aug. issue of National Pictorial, and All for a Bumper Harvest in the Feb. issue of PLA Pictorial in 1965.

In 1966, during the early period of the Cultural Revolution of Tibet, he took Tibetan Red Guards Assembly, Criticizing the Evils in Tibet and so on. He was granted a third class award by the Political Department of Tibet Military Region of PLA.

In 1967, he became one of the fourteen evildoers in Tibet Military Region because of his insisting on the Zhou Yang’s Black literature and art thoughts and sentenced into a counterrevolution, put into prison of No. 14 Corps of PLA from Lhasa. Half a year’s later, he was redressed and went to Beijing to interview and photograph the training class of Mao Zedong Thought.

In 1968, he worked in the Beijing office of Tibet Military Region, attended the study sessions of Mao Zedong Thought. After he came back to Tibet, he shot Tibetan Word Loyalty Dance, Tibetan People Created the Oil Painting “Chairman Mao Goes to Anyuan”, and The Founding of the Revolutionary Committee of Tibet Autonomous Region and other images about the Cultural Revolution in Tibet.

On Dec. 25, 1970, Lan Zhigui was sent to the Minjiang Machine Motor Factory in Chengdu of Sichuan as a Military Representative by the Tibet Military Region, then he had to hand over his beloved Leica and Rolleiflex cameras to the Political Department of Tibet Military Region. From July of 1951 to Dec. of 1970, Mr. Lan Zhigui took pictures of PLA marching into Tibet, building of Kham-Tibet highway, “Great Leap Forward” in Tibet, appeasing the Tibet rebellion, democratic reform, the India-China border war, founding of the Tibet Autonomous Region, “Cultural Revolution” in Tibet, and so on. He recorded almost every important historic event in Tibet in those years.

In 1971, Mr. Lan, as a Military Representative, was charged in production of Minjiang Machine Motor Factory. For “grasping revolution and promoting production”, he led more than thirty people to Shanghai to study. He bought a 120 camera by himself and took some pictures in Shanghai.

In 1972, he became the person responsible of the Minjiang Machine Motor Factory’s production as a Military Representative.

In 1973, he was appointed the section chief of Political work section of armed forces department of Pi County, Wenjiang Prefecture of Sichuan. He founded Militia Newspaper.

In 1975, his works were selected into the first major album Printings of Tibet Autonomous Region dedicated by Chairman Mao Zedong.

In 1978, he transferred from military service to the Southwest College for Nationalities and appointed deputy section chief of its visual education section.

In 1979, he was appointed as the full-time vice chairman of the union of the college.

In 1980, he transferred to do the mass work in the union of the college. During these times, he took a lot of pictures about students’ lives.

In 1981, the college held Tibetan Folk Photographic Exhibition by Lan Zhigui so as to celebrate its thirty anniversary of founding. Mr. Lan’s dozens of pictures enshrined by the National Institute of State Ethnic Affairs Commission and published in the relevant magazines sponsored by the commission. Experts said that Lan Zhigui was the participator and recorder of Tibetan discontinuity culture. Many of His works selected in Tibet in Transforming and Tibet No Longer Mediaeval and published by the Foreign Languages Press.

In 1982, he was transferred to People’s Publishing House of Sichuan as for the photographer and photographic editor of Travel in Tianfu, Tourism in Southwest Region. He took a lot of pictures.

In 1985, he won “the honor certification for peacefully librating Tibet, building Tibet and contribution for the border stability of Country” issued by the government of Tibet Autonomous Region.

In 1986, dozens of his works selected into the major photo album of Fighting in the Roof of the World and published by the Great Wall Publishing House in Oct. of 1986.

In 1987, he was appointed to Deputy Professor by the People’s Publishing House of Sichuan.

In 1989, his work, The Happy Festival of Lhasa got the “Excellent Award” and a Golden Cup in the Exhibition of Photography Art from 1949 to 1989 held by the China Association of Photographer, and published in the Selected Works of Chinese Photography Art from 1949 to 1989.

In 1990, Lan’s image Scenery of the Napa Lake in Yunnan won the golden award by the Chinese Photographic Society of Taiwan, China. He became a member of the Chinese Photographic Society of Taiwan, China. The Three Gorges of Yangtze River, shot and edited by Mr. Lan, published in Chinese, English and Japanese edition.

In 1991, to celebrate the peaceful liberation of Tibet for forty years, Tibet Association of Literature and Art Circles and Tibet Association of Photographers held the Photographic Exhibition of Yuan Kezhong, Lin Anbo, Lan Zhigui, Chen Jun and Chen Zonglie, and was spoken highly of the regional leaders and the public. Lan Zhigui went to Lhasa and attended the opening ceremony, and took some pictures.

In 1993, he retired from the People’s Publishing House of Sichuan and handed over the Nikon FM3 to the house, and bought a Nikon FM2.

From 1950 to 1994, he published more than two thousands of pictures and hundreds of photo reportages. Since 1978, he took lots of black & white pictures of folks of southwest region.

In 1995, he locked his Nikon FM2 and halted his photographic career.

Since 1996, he had just been doing stock business.

Since Dec. of 2007, Mr. Lan, organizing by some international museums and galleries, agreed to select some of his negatives to magnify on silver-based papers, and signed in these works. He insisted that there would not be even one of his monochrome works kept by museums and collectors in digital form. What museums and collectors keep will only be his substantial photos. For his early chromotypes, he agreed parts of them to be output in digital form, and only sign by him and the executive producer, these together constitute the No. of the original.

In March of 2008, Mr. Lan Zhigui agreed to produce parts of his negatives with his assistant. In the fourth issue of China Photographer in 2008, it introduced Lan Zhigui, the Photographer, in thirty seven pages. His works, Wiping out the invaders, High Mountain and Lack of Oxygen in the War Zone and Soldiers Marching on difficultly, was chosen into the major photo album Photography in China in 50 Years.

In the second issue of Tibet Geographic, it published an article Lan Zhigui, An Outstanding Photographer of Tibet during the 1950s-1970s by Huang Jianpeng.

From March 21-31, 2009, Lan Zhigui’s images were exhibited in the China Artistic Museum, entitled Eyewitness of the Democratic Reform of Tibet — Lan Zhigui’s Photographic Exhibition from 1950-1970, and the exhibition attracted massive numbers of photographic fans from both home and abroad, more than 100 Chinese and foreign media, such as CCTV, Xinhua News Agency, People Daily, China Youth Daily, Guangming Daily, Phoenix Satellite TV, AP, Reuters, AFP, and so on, interviewed and reported Mr. Lan and his works’ exhibition.

China Artistic Museum magazine in its third issue (Vol. 51) published Huang Jianpeng’s Lan Zhigui, An Outstanding Photographer of Tibet during the 1950s-1970s.

From May 18 to July 19, 2009, his series works entitled Eyewitness of the Potala Palace were exhibited in the Guangdong Museum.

From August 15-22, 2009, Chen Zonglie and Lan Zhigui Photography on the Serfs Were liberated on the Potala Palace Square, Lhasa of Tibet.

In Sep. 2009, 41 works of Lan Zhigui from 1950-1970 were taken on Across Time and Space, Past Images of Tibet and published by the China Association of Photographer.

On Oct.9, 2009, Chinese Photography Newspaper did a special column named Images, My 1949 to celebrate the 60 anniversary of the PRC, and published Lan Zhigui, a 17-year-old boy Standing in the Turning Point in His Life in its third page. This column totally reported 19 photographers.

From May 10 to 20, 2010, Reviewing the Masterworks: a Selection of Ethnic Tibetan Related Photographic Artworks by Master Photographers Lan Zhigui and Zhuang Xueben was exhibited in Nanjing Museum. The curator is Huang Jianpeng. In this exhibition, all the old black and white photographs were developed and magnified on silver-based papers. Mr. Lan Zhigui’s works are the limited originals signed by himself.