Reinterpreting John Thomson’s photographic works of China and its People

“It is certainly true no photographer of his time could have made his images of China more authentic or immediate. Yet it remains part of European images of China,” concludes Grace Lau’s chapter on John Thomson in her book Picturing the Chinese Early Western Photographs and Postcards of China.[1] Her claim of Thomson’s works of China and its People published in 1873-1874 is an insight of a critical angle of Thomson’s work because authentic is the accurate word to describe this body of works. Accurate has been a troublesome adjective when applied to images that associate filming the other, the orient or more directly images taken in colonial times by colonists. The issues regarding these images surround mainly in the area when a subaltern backdrop and posing is ruled upon the person who is being photographed in the image. These images often constructed in studios become problematic due to “their generic commitment to a negotiated relationship between posing and verisimilitude, create a set of contexts for subalterns of all sorts who are rehearsing new public roles.” explained in the essay on The Colonial Backdrop written by Arjun Appadurai.[2] Indeed, the usage of props and a background to photograph people is structured and staged since the purpose of these images like Thomson’s is produced for a western audience. To fulfill the curiosity or ignorance of the audience taste becomes a factor when constructing these images and public roles is what viewers seek for categorizing the unknown or the exotic. It conveys a simplified understanding and comfort, for humans referring to Lau, have the tendency to form groups and differentiate between themselves the concept of “us” versus “them”.[3] Furthermore, positioning in the historical context during the second half of the nineteenth century taxonomic analysis, encyclopedia, concordances and compendia were a main interest in the western society and photography became a perfect tool to execute the findings and create knowledge of global facts.[4] Thomson, although facts on his earlier life are few according to Stephen White was educated in the west.[5] The influence of education and culture would, therefore, have a direct impact on his photography. Hence, Lau’s conclusion of the western gaze in his images of China and its People is unavoidable and correct. However, this essay would like to explore her former comment of authentic and immediate of Thomson’s China and its People. The possibility that under the social context of his time and a Scottish photographer, Thomson’s works in China and its People accompanied with text written by him has photographs and comments which portray images with an artistic, humanitarian and documentary vision rather than just the gaze of a typical colonist’s western photographer.  

　

　

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China and its People consist of four volumes with two hundred plates taken from China, Taiwan and Hong Kong covering a total of five thousand miles in the span of five years.[6] His works included street scenes, landscapes, the mundane, the wealthy and even the prince. Having the ability to accomplish such a mass amount and variety of work in a short period time in the nineteenth century where the convenience of transportation and communication, unlike today, seems a miracle. Furthermore, during the travels in China, he acted as an independent commercial photographer which was not commissioned or appointed by the government.[7] Under these circumstances, it appears impossible to have　collected such a wide range of subject matters in a short period of time but Thomson had the help of connections or in a sense his personality. In the essay by Nick Pearce, he provides in detail of all the connections that Thomson’s built during these five years and how it has provided him to access particular sites that were usually prohibited to foreigners.[8] Knowing fellow photographers, diplomatic personnel’s and missionaries provided him to see the Far East in depth and with a vision of an explorer with curiosity. Thomson even visited the Southern part of Taiwan, a small island near China which is often overlooked even in modern times to photograph the scenery such as Mountain pass on the island of Formosa. (Fig.1) He was introduced to Taiwan by Scottish Missionary doctor James Laidlaw Maxwell who he knew back in Edinburgh.[9] His connections often built from knowing a western and extending to locals who created opportunities to places and people that were unknown to general foreign visitors. His personality would then lead him to know an important person Mr. Yang who would offer him a chance to photograph one of his most well-known series the Manchu women. These connections led him to embark on a journey to different places and opened the breadth of images rather than constraining them to limited representations of these countries. Moreover, being an independent photographer he traveled alone during these trips and had no accompany of any foreign troops.[10]

A group of foreigners will ultimately attract much more attention than a single photographer which may suggest why his photographs have immediacy quality and characteristics of street photography. An image like Enamellers (Fig.2: See left) which judging from the plate the enamellers do not fill up the frame but rather appears to be at a distance. According to the text in the book of China Through the lens of John Thomson these artists wanted privacy for techniques of making the enamelware was a rare skill and did not allow him to take close up shots of the process.[11] This is often what photographers face upon when trying to document a scene and in Thomson’s case the notion may have little to do with an imperial gaze but more out of curiosity of what was happening before of his eyes. The freedom of not working under commission of the government also provided him more versatility of what images to photograph which may indicate that these images were accurate because they were not formed for a specific purpose. In addition, to this freedom he did not only focus on commercial success, according to the essay by Tong Bingxue, Thomson often shared photographic techniques with local artists.[12] His constant communicating and sharing information with locals demonstrated his passion for the people in that Asia.   Moreover, his character and personality are also reflected in his decision to settle in Singapore in1863. Thomson’s brother established himself working in the ship chandlery business before Thomson arrived and Thomson married his wife and both decided to live in Asia.[13] Having a family and deciding to set roots in Asia may imply his attraction for this part of the region of the world and has a significant impact on how he views the people which may mirror on his works. His educational and cultural background from the west should not be ignored but simultaneously his decision to spend his life in Asia connotes his intention to assimilate into the people and culture of this region which could be argued that his western or colonial gaze is slightly transformed in the process of understanding and living among the people that he was photographing.

        
　The historical context is also relevant when examining the works created in the nineteenth century. The colonial gaze is unavoidable as this essay has explained earlier but China may prove as an interesting paradigm. China was not part of the colonized countries like India for example.[14] Although during the second half of the nineteenth century the country was going through the process of hoping to become more modernized and educated in the western standards. In ways, the west holds no absolute power over the country. Therefore, it becomes a factor when considering how Thomson acquired his photos of the people in this area. The people who were being photographed had no obligation to obey his orders if they did not agree with Thomson. Exploring from this angle his images have the possibility of an authenticity that the countries that were colonized may not enjoy. Moreover, the concept of photography was relatively new in this region. Many citizens during that time have never seen a camera and there was a common belief that the having your images taken by the camera would result in the extraction of part of one’s spirit. In the introduction of volume one, Thomson himself states that although he was treated both with hospitality and hostility, “the forerunner of death” was a phrase that would often surround him during his time there.[15] The reluctance to have photographs taken was often solved through either endless communicating with people or bribing them with money.[16] Notwithstanding the fact that the bribing and communication is a distinct sign that the photographs were somewhat staged, the unwillingness to be photographed due to beliefs of that period was an inescapable barrier regardless of race. If there was an Asian photographer for example, without a colonial gaze at that period of time and wanted to film the people they would have been faced with the same issue regarding the superstition that the partial soul would be extracted. Therefore, communicating and bribing may also have been a practice required for taking the pictures. Thomson’s photographs authenticity portrayal of the people becomes plausible under the circumstances that he was faced upon with.

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(Left: Fig.3/ Right: Fig.4)

        Realizing Thomson’s personality, connections, life and historical background for both the east and west aids the comprehension of the mind of the photographer which reflects feasibility that his images accompanied with text have multi layers of meaning such as documentary, artistic and humanitarian values. Among the two hundred photographs a photograph The Bound and abound Feet of two Amoy Women (Fig.3) is accompanied with the text by Thomson which comments,” We despise so ridiculous a usage as this, but the following extract out of a native work will serve to show that the Chinese return us the compliment, and criticize us for deformities……The English females before marriage bind their waist, being desirous to look slender.”[17] Foot binding which has always had the connotation of a barbaric practice would definitely be a fascinating image to present for the western audience. His reaction, however, adopts a more mutual stance instead of looking down upon the practices that were different from his culture he shows an objective perception of a cultural practice by comparing the knowledge that he was accustomed to. Corresponding to a critique made by Lau that unlike Felice Beato, Thomson was not after newsworthy subjects but seemed more interested in “photographing ordinary people going about their ordinary business.”[18] Foot binding may not appear ordinary for countries outside of China but at that period of time it was a norm for the people and documenting the norm may have been Thomson’s intention. Among the plates in the four volumes various images appear to be random street scenes, rather than only filming in a studio or creating backdrops for all of his subjects, images depicted ranged from merchants, chiropodists, women, and children. Whilst backdrop arises in his books they often appear blank and the exploitation of hierarchy or props are seldom visible. These images of blank backdrops do not consist the majority of the plates in the volumes. An image like A Roadside Shrine (Fig.4) for example, pictures a man looking afar while sitting beneath a tree that has incorporated the shrine within its trunk and branches. The branches occupy the frame by flourishing through both sides and the man appears relaxed and does not meet the photographer’s gaze. This portrayal arguably is more artistic and shows aesthetic intentions rather than a gaze from an inferior. Furthermore, landscapes emerge frequently in these volumes and appear artistically beautiful. Instead of only presenting panoramic views of landscapes that appear unoccupied by people he films a great amount of images that include people in the landscapes. In colonial times, the practice of presenting landscapes without any human had connotations that the piece of land is open to exploitation or could be obtained.

Image A junk (Fig.5: See Right) for example in the foreground two people are clearly in view looking towards the waters and frame a pleasing scene with a comfortable composition. Thomson himself expressed that he found the cities that he traveled in China “highly picturesque and interesting “and people has what formed the charm.[19] As for the humanitarian aspect of his works, two set of works is good examples to illustrate this aspect. In volume one under plate XI, named Four Heads, Types of the Laboring Class is a photograph of An Old Cantonese Women.(Fig.6) Without question, the word type is thorny because it definitely draws out the issues regarding the colonial gaze where humans have become types and categories. The incentive to collect knowledge of global facts is notable .Having pointed this out Thomson’s writings on describing the Old Cantonese Woman is however very delicate. “The old women still busies herself in the lighter domestic duties; she is skillful with her needle, ……Her hair has grown thin and white, but she still dresses it with neatness and care”[20] The description is quite detailed with a hint of sensitiveness. Looking at the actual picture portrayed from the side of the woman, her figure is beautifully posed and her hair is certainly tidy and this angle shows off the style and little adornments on her mid-high bun. The sensitivity of the image and the descriptions that follow present a subtle admiration and caring attitude towards the old woman. Another image titled A Manchu Bride(Fig.7), which is under the series Manchu Ladies and a Manchu Marriage is also an adequate example. Mr. Yang which was one of an important connection for Thomson was extremely fascinated with anything foreign and collected photographic equipment.[21] He offered the chance for Thomson to photograph A Manchu Bride which was very rare encounter since during that period of time women, especially the ones who belonged in well-off families were not allowed to see men other than intimate family members. They were usually confined to their homes and did not see much of the world outside.[22] Thomson which goes in length to describe the course of the marriage seems to connote a sense of worry and sadness for the bride, for he writes the bride “is even liable to be beaten by her mother-in-law, and husband too if she neglects to discharge her duties as general domestic drudge.”[23] The bride in the image wears an elaborate headdress and is dressed in fine clothes with intricate embroidery, indicating her status and wealth also that she is about to be married. Her gaze looking slightly to her right not gazing directly at the camera and with lips unsmiling hints a gloomy and complicated expression. Around the age of fourteen or fifteen, she is about to be married to a man whom she has never met and only heard through the matchmaker. Likewise, how her future family is going to treat her is unknown it is understandable how the uncertainty could have caused her distress and putting on a bright smile may have been the last thing on her mind. Rather portraying a happy and delighted bride the in-depth understanding of the culture enable’s Thomson to have a more accurate presentation of an image. His description is both understanding and caring at the same time, which in ways reveals his humanitarian side as a photographer. Humanitarian values extend beyond countries and races for Thomson, for he also photographed a body of works titled Street Life in London indicating his interest in people and the mundane.      

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(Left: Fig.6/ Right: Fig.7)

        Understanding the historical context of nineteenth century in both the East and the West while contemplating Thomson’s personality and decisions in life provides insight of the possibilities of how a western gaze may have an alternative vision. The notion of a colonial gaze will always therefore accompany Thomson’s work since he was born under that era and is a Scottish. His gaze however, is not as single and straightforward as it appears when factors such as those mentioned above are considered when analyzing his work China and its People. The documentary style, artistic, and humanitarian implications should not be overlooked because the images accompanied with the text written by Thomson clearly expect viewers to search for deeper implications and trigger resonation. It is not as simple as a western country looking at a country that resembles a counterpart or inferior. In this essay the figures and examples that were given hopes to provide a different understanding and interpretation of Thomson’s image. Authentic portrayal of China under the circumstances provided is arguably precise. Thomson himself concludes in his last volume in China and its People with the image of the Great wall accompanied with text: “by expressing the hope that the work will convey a faithful impression of the places over which my journeys extended and of the people as I found them”, he desires readers to view China with the criticality and passion that he conveys through his images of the people in China.[24]

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[1] Grace Lau, Picturing the Chinese Early Western Photographs and Postcards of China (South San Francisco, CA: Long River Press, 2008),67.

[2] Arjun Appadurai, The Colonial Backdrop(In Afterimage: The Journal of Media Arts and Cultural Criticism, vol. 24, no. 5, March-April 1997),4.

[3] Lau, Picturing the Chinese Early Western Photographs and Postcards of China,1-3.

[4] Stephen White and John Thomson, John Thomson: Life and Photographs (London:Thames and Hudson, 1985), 7.

[5] Ibid,9.

[6] John Thomson ,China Through the Lens of John Thomson (1868-1872 = Wan Qing Sui Ying: Tangmuxun Yan Zhong De Zhongguo. Bangkok: River Books, 2010),9.

[7] Ibid,11.

[8] Ibid,6-7.

[9] Ibid,9.

[10] Ibid,11.

[11] Ibid,46.

[12] Ibid,13.

[13] White and Thomson, John Thomson: Life and Photographs,9.

[14] Lau, Picturing the Chinese Early Western Photographs and Postcards of China ,2-3.

[15] John Thomson , China and Its People in Early Photographs: An Unabridged Reprint of the Classic 1873/4 Work (New York: Dover Publications, 1982),2.

[16] Thomson ,China Through the Lens of John Thomson,13.

[17] Lau, Picturing the Chinese Early Western Photographs and Postcards of China,55.

[18] Ibid,53.

[19] Thomson, China and Its People in Early Photographs: An Unabridged Reprint of the Classic 1873/4 Work.

[20] Ibid.

[21] Thomson ,China Through the Lens of John Thomson,31.

[22] Ibid,31.

[23] Thomson, China and Its People in Early Photographs: An Unabridged Reprint of the Classic 1873/4 Work.

[24] Ibid.

Bibliography

Appadurai, Arjun. “The Colonial Backdrop”. In Afterimage: The Journal of Media Arts and  Cultural Criticism, vol. 24, no. 5, March-1111111April 1997

"John Thomson Photographs." Wellcome Library. Accessed May 10, 2016. https://wellcomelibrary.org/collections/digital-collections/john-thomson-photographs/.

Lau, Grace. Picturing the Chinese: Early Western Photographs and Postcards of China. South San Francisco, CA: Long River Press, 2008.

Thomson, J. China and Its People in Early Photographs: An Unabridged Reprint of the Classic 1873/4 Work. New York: Dover Publications, 1982.

Thomson, J. China: Through the Lens of John Thomson, 1868-1872 = Wan Qing Sui Ying: Tangmuxun Yan Zhong De Zhongguo. Bangkok: River Books, 2010.

White, Stephen, and J. Thomson. John Thomson: Life and Photographs. London: Thames and Hudson, 1985.