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Copyright © and Moral Rights for This Phd Thesis Are Retained by the Author And/Or Other Copyright Owners View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SOAS Research Online Cabos, Marine (2017) Seeing through landscape : French photographic archives of China (1840s - 1930s). SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/24337 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. SEEING THROUGH LANDSCAPE: FRENCH PHOTOGRAPHIC ARCHIVES OF CHINA (1840s-1930s) MARINE CABOS Thesis submitted for the degree of PhD 2016 Department of the History of Art and Archaeology SOAS, University of London 2 DECLARATION FOR PHD THESIS I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: Marine Cabos Date: 16 / 03 / 2017 3 ABSTRACT This thesis addresses the development of the genre of landscape photography in China between the 1840s and the 1930s. Largely unstudied, this genre significantly impacted on a larger socio-cultural context. Due to the current fragmented and disorderly state of photographic archives, I have adopted an object oriented-approach by bringing together hitherto isolated bodies of material held in different institutions across several countries. The connection between this widely dispersed material is related to what I have framed as a French awareness in photographic activity in China. In other words, it concerns not only the production of French operators themselves but also any type of Chinese landscape photographs disseminated in France. The threefold thesis structure unfolds chronologically and through a selection of case studies regarded as pivotal landmarks that marked the first century of photography in China. Enquiries into how shifting ways of seeing and methods for constructing archives were shaped through the materiality of the photographs are threads that run throughout the sections. In Section I, I retrace the early production and consumption of Chinese landscape photography during the second half of the nineteenth century both in France and China. Section II concerns the ways in which photographic records created during campaigns of exploration represented new technological and expressive options for depicting Chinese landscape. Finally, Section III suggests that during the early part of the twentieth century both indigenous and international operators became increasingly inclined to represent landscape according to pre-established local conceptions. The aim of this study is to assess the role of photography in transmitting and transforming perceptions of Chinese landscapes, and the extent to which they relate to changes in sociocultural, economical and political life during the transition from the mid-nineteenth century to early twentieth centuries. 4 ACKNOWLEDGEMENTS It is a great pleasure to express my deep gratitude to my supervisor, Dr Shane McCausland, not only for his teaching and supervision but also for his unceasing support and encouragements. I am also particularly grateful to Dr Charlotte Horlyck and Dr Andrea Janku who gave steadfast and advice throughout the years of my study. In addition, I would like to thank Dr Tania Tribe and Dr Charles Gore who took the time to meet with me and provide most valuable suggestions during the early stages of my research. I also wish to express my gratitude to the many people in libraries, archives and other institutions, who helped me access valuable materials, in particular Han-yun Chang and Huang Wende from the National Central Library in Taipei; Jérôme Ghesquière and Cristina Cramerotti from the Musée Guimet in Paris; Wai Hing Tse and Jiyeon Wood from SOAS Library; Serge Fouchard, Anne Sigaud and Nathalie Clet-Bonnet from the Musée Albert-Kahn in Boulogne-Billancourt; Charlotte Lanciot and Nathalie Frémaux from the Musée Cernuschi in Paris; Muriel Chagny from the Musée du Quai Branly in Paris; and also Terry Bennett, Dr Régine Thiriez among many other persons who participated in the completion of this study. A very special thanks goes to Tong Bingxue, who kindly supplied images of his rich collection as well as insightful comments on early Chinese photography. I acknowledge the support of the Sir Percival David Foundation Academic and Research Fund, the École Française d’Extrême Orient (EFEO), the Universities' China Committee in London (UCCL), as well as SOAS who awarded me several research grants that allowed me to undertake fieldwork in China, Taiwan, and France. A heartfelt tribute goes to my dear doctoral fellows and friends, Tianshuang Liang, Malcolm McNeill, Yin Hwang, Daphne Ang and Chris Kavanagh whose help and encouragement were fundamental to the accomplishment of my research. Pour finir, merci avant tout à ma famille (Maman, Papa, Mimi) et mes amis proches, ce projet n’aurait jamais vu le jour sans votre aide éternelle et votre amour inconditionnel. 5 TABLE OF CONTENTS ABSTRACT ...................................................................................................... 3 INTRODUCTION .............................................................................................. 8 Research objectives ......................................................................................... 8 Writing the history of photography in China .................................................... 10 Methodology: on the difficulties of approaching photographic material of China ........................................................................................................................ 25 Thesis structure .............................................................................................. 38 SECTION I – SEEING LANDSCAPE (1840S-1890S) CHAPTER ONE - TRACING THE IMAGERY ON CHINESE LANDSCAPE IN NINETEENTH CENTURY FRANCE ............................................................... 41 Introduction ..................................................................................................... 41 The visual continuum of diplomatic relations .................................................. 42 Circulating a particular type of Chinese landscape ......................................... 63 Conclusion ...................................................................................................... 85 CHAPTER TWO – THE GENESIS OF LANDSCAPE PHOTOGRAPHY IN CHINA ............................................................................................................ 88 Introduction ..................................................................................................... 88 Port cities as catalysts for the emergence of a commerce of photography .... 88 In between souvenir image and document: assembling photo-essays ........ 116 Conclusion: an empirical look at Chinese landscape ................................... 128 6 SECTION II – EXPLORING LANDSCAPE (1890S-1910S) CHAPTER THREE – THE ENCOUNTER OF LANDSCAPE PHOTOGRAPHY WITH ACADEMIC DISCIPLINES ................................................................. 132 Introduction ................................................................................................... 132 Recording ancient monuments of China ....................................................... 132 Photography in the discourses on natural and social sciences .................... 146 Conclusion .................................................................................................... 161 CHAPTER FOUR – CREATING HERITAGE: PHOTOGRAPHS OF ARCHAEOLOGICAL SITES IN CHINA HINTERLANDS ............................ 164 Introduction ................................................................................................... 164 The making of a place: Dunhuang through the lens ..................................... 165 The shifting trajectories of Dunhuang photographic archives ....................... 195 Conclusion .................................................................................................... 209 SECTION III – READING LANDSCAPE (1910S-1930S) CHAPTER FIVE – THE CRAZE FOR ‘FAMOUS SIGHTS’ PHOTOGRAPHY ...................................................................................................................... 212 Introduction ................................................................................................... 212 Serving the democratization of sightseeing in China .................................... 214 Apprehending Taishan scenic attractions ..................................................... 224 Conclusion ...................................................................................................
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