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Hwang, Yin (2014) Victory Pictures in a Time of Defeat: Depicting War in the Print and Visual Culture of Late Qing China 1884 ‐ 1901

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Hwang, Yin (2014) Victory Pictures in a Time of Defeat: Depicting War in the Print and Visual Culture of Late Qing China 1884 ‐ 1901 Hwang, Yin (2014) Victory pictures in a time of defeat: depicting war in the print and visual culture of late Qing China 1884 ‐ 1901. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/18449 Copyright © and Moral Rights for this 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 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 thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. VICTORY PICTURES IN A TIME OF DEFEAT Depicting War in the Print and Visual Culture of Late Qing China 1884-1901 Yin Hwang Thesis submitted for the degree of Doctor of Philosophy in the History of Art 2014 Department of the History of Art and Archaeology School of Oriental and African Studies, 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 I also undertake that any quotation or paraphrase from published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: Date: 18/9/2013 3 ABSTRACT This thesis addresses the development of the pictorial genre known as the ‘victory picture’ (Ch. desheng tu 得勝圖, zhangong tu 戰功圖) in 19th century China. Largely associated with production under the patronage of the Qianlong emperor (r. 1736-95), victory pictures were thought to have been confined to the imperial milieu. However, my research has revealed that such pictures found expression in late Qing popular culture through the medium of sheet-prints (often erroneously referred to as ‘New Year Pictures, nianhua 年畫). An analytical framework has been established by bringing together hitherto isolated bodies of material in different institutions in several countries. The woodblock prints that form the primary basis of this thesis have mostly come from the Bibliothèque Nationale in Paris; the British Library, the British Museum and SOAS in London, and the Shanghai Library and Shanghai History Museum. This thesis focuses on popular prints depicting scenes from the Sino-French War (1884-85), the Sino-Japanese War (1895) and the Boxer Rebellion (1899- 1901), in particular, those from the urbanized Jiangnan-Shanghai region and its publishing and distribution networks in South China. This locates them vis-à-vis the contexts of modernity, the development of news reportage and mass media and the treaty-port environment. It examines why the victory picture was so prevalent at a time when the Qing armies faced constant defeat. With the rise of naval power, and the theatre of war shifting to the sea, I also examine how a new iconography for war was developed through these popular prints, as maritime art was largely unfamiliar in China. As the prints were widely circulated and copied, the phenomenon of their seriality over time and space is also examined. The victory print is thus not only understood as a picture but as an object, specific to its period and medium. Finally, the print itself serves as a primary source: its rubric yields valuable information for a new understanding of the popular print market. 4 ACKNOWLEDGEMENTS This is a thesis that had two lives. For its revival and completion, I am deeply grateful to my supervisor Dr Shane McCausland for his practical assistance, pragmatic advice, generosity and enlightening observations. I would also like to thank Professor Timon Screech and Dr Stacey Pierson, the other members of my thesis committee. They patiently read through numerous drafts and gave many helpful suggestions and constructive comments. Two people, in particular, have been instrumental encouraging me to pursue research in Chinese art history: Professor Roderick Whitfield, my very first teacher in the field and Dr Anne Farrer, my mentor during an internship at the British Museum, who taught me a lot of what I know about Chinese prints, printmaking and print culture. Their continued support and sustained interest in my work over the years have meant a lot to me. Fieldwork and research on primary resources would not have been possible without scholarships, grants and fellowships from various institutions. Thanks to the Irwin Trust, University of London and the Center for Chinese Studies, National Central Library, Taipei, for their research grants; to the Institute of Philology and History, Academia Sinica, Taipei and the Royal Asiatic Society, London for visiting fellowships. Since much of the material upon which this thesis is based was assembled before many institutional collections were digitized, the task of framing the research questions would not have been possible but for encounters, planned and serendipitous, and the kindness of both strangers and friends. It was Yoshiko Yasamura, art librarian and a SOAS institution until her retirement in 2011, who first showed me the prints that piqued my interest in the school’s collection. She put me in touch with a network of people who had come to study the prints before me. In London, the collections from the British Library, the British Museum and the Muban Educational Trust have proved invaluable. My thanks to Beth McKillop, Hamish Todd and Frances Wood; Anne Farrer, Clarissa von Spee and 5 Mary Ginsberg; Christer von der Burg and Professor David Barker for their help in accessing these collections and their invaluable comments on the material. In Paris, Danielle Eliasberg helped me to track down the crucial album of prints from the Sino-French War in the Bibliothèque Nationale. In the US, access to the archives of Berthold Laufer at the American Museum of Natural History, New York and the Field Museum, Chicago provided insight to early scholarship on popular prints in the West; Laurel Kendall, Bennet Bronson and Chuimei Ho generously shared their views with me, as did Professors David Johnson, Ellen Johnston Laing and Soren Edgren. Fieldwork in China would have been impossible but for the help of Zhang Hongxing, who provided many of my early contacts. My thanks to Yu Hui and his colleagues at the Palace Museum, Beijing, for arranging the viewing of all the sets of imperial ‘victory pictures’ in the museum’s collection; to Ling Lizhong for arranging viewings of works by Wu Youru in the Shanghai Museum; to Bao Lihua and Qiu Zhenpin, who at various times arranged for access to popular prints and the Dianshizhai drawings at the Shanghai History Museum; Wang Shucun and Zhang Daoyi, doyens in nianhua field, who shared their collections and their scholarship; the staff in the Rare Books and Picture Departments of the National Library of China, National Museum of China and the Shanghai Library who patiently endured my requests for books and reproductions. In Hong Kong, my former colleagues at Orientations have always been and continue to be supportive: Elizabeth Knight, who opens many doors; Louisa Chu, who makes things happen and Frances McDonald, who provided a vital contact. My thanks to Anthony Hardy, Dr Stephen Davies and the Hong Kong Maritime Museum for sharing with me their extensive knowledge and collections on paintings and depictions of ships and naval battles along the China Coast; and the very obliging librarians at the University of Hong Kong. In Taipei, the Center for Chinese Studies were incredible in anticipating the needs of scholars on their programme, arranging for passes to the National Palace Museum and introductions to other institutions; and the Academia Sinica for generously allowing graduate students to share their facilities and participate in its very rich life. Wang Cheng-hua, Ma Meng-ching, Lai Yu-chih, Lai Imann, Ma Ya-chen, Cheng Yu-chia and Cheng Shufang have commented on or assisted in my research in various ways. 6 Some issues covered in this thesis have been presented at seminars and conferences. Valuable feedback was received from seminars within SOAS and at the Academia Sinica; lectures at the Royal Asiatic Society student lecture series and Christie’s Education; and papers delivered at the ‘Chinese Art History: A Global Field’ conference at the National Taiwan University during a SOAS-NTU Academic Exchange and the ‘Woodblock Print in East Asia’ study day organized by Sothebys Institute. My thanks to Elizabeth Moore, Lai Yu-chih, Li Hsiao-t’i, Tullio Lobetti, Nixi Cura, Lu Huiwen and Anne Farrer for their kind invitations. Research is not the work of one person but the sum of all things. I am grateful for the friendships of people who have helped to shape this thesis in one way or another: Professor Youngsook Pak; Drs Meri Arichi and Monika Hinkel provided invaluable help with Japanese texts and sources; Tsai Lung for his help in interpreting Chinese texts and proofreading; Selina and Albert Miao, Janice and Peter Whale, Vivian Wong and Lily Chu for moral and technical support; and my fellow students and friends, Lee Hee Jung, Phoebe Hirsch, Preeti Khosla, Tanja Tolar, Katherine Hughes, Yi-hsin Lin, Carola di Pauli, Tianshuang Liang, Marine Cabos, Malcolm McNeill, Fong Fong Chen, Hanako Otake and Jane Ellen Trimby for tea, sympathy and many things more. Most of all, I would like to thank my family.
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