Peeping into China: The Twofold Circulation of Georges Morache’s Photographs of Beijing (1865–2003)

IF 0.3 2区 艺术学 0 ART History of Photography Pub Date : 2021-01-02 DOI:10.1080/03087298.2021.1999073
Édouard de Saint-Ours
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Abstract

This article traces the circulation of photographs taken in Beijing in 1865 and 1866 by Georges Morache, a medical doctor stationed at the French legation. Including sights of the city, portraits and staged outdoor scenes depicting local trades, these pictures were disseminated from the mid-1870s in two directions simultaneously. While they were issued for about twenty-five years as wood-engraved reproductions in illustrated travel publications, they also circulated up until 2003 as prints and lantern slides within anthropological institutions. This article examines the diverse material and semiotic adaptations that these photographs were subjected to along their twofold circulation. Not only verifying the mutability of photographic meaning, this case also highlights affinities between the concerns of institutionalised anthropology, popular education and illustrated travel publications in the late nineteenth century. Ultimately, the dynamic circulation of these photographs in the West fulfilled a popular desire to scrutinise Chinese people and culture – a desire that was contingent on the informal empire upheld by western powers in China since the Opium Wars.
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窥视中国:乔治·莫拉奇北京摄影作品的双重流通(1865-2003)
本文追溯了1865年和1866年驻法公使馆医生乔治·莫拉奇在北京拍摄的照片。这些照片包括城市风景、肖像和描绘当地贸易的户外场景,从19世纪70年代中期开始同时向两个方向传播。虽然它们作为木刻复制品在插图旅游出版物中发行了大约25年,但直到2003年,它们还作为印刷品和幻灯片在人类学机构中流通。本文考察了这些照片在其双重循环中所受到的各种材料和符号学适应。这个案例不仅证实了摄影意义的可变性,还强调了19世纪后期制度化人类学、大众教育和插图旅游出版物之间的密切关系。最终,这些照片在西方的动态流通满足了审视中国人和中国文化的普遍愿望——这种愿望取决于西方列强自鸦片战争以来在中国维持的非正式帝国。
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
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