Oh, Father Fa Tutto, where am I? Where is Amabed? 1804

Curator: Let’s look at this print, “Oh, Father Fa Tutto, where am I? Where is Amabed?” The print, currently residing here at the Harvard Art Museums, is by Jean Baptiste Simonet. Editor: Right away, I’m struck by the palpable tension. There’s a sense of helplessness, underscored by the looming figures and the stark, almost theatrical lighting. Curator: The composition points to themes of power and vulnerability. Consider the positioning of the figures—the distressed woman, the armed guards, and the seated figures who seem to be in a position of authority. These visual cues are very telling. Editor: The crucifix hanging on the wall really adds another layer, doesn't it? It makes me wonder if this is a commentary on religious authority or perhaps the hypocrisy within those structures. Curator: It certainly opens up that line of inquiry. I'd also argue it represents the socio-political climate in which such displays of power were justified, reflecting the period’s complex relationship with faith and justice. Editor: Overall, the print leaves me with a strong sense of unease and injustice. It feels like a window into a moment of profound suffering and a question mark hanging over the whereabouts of Amabed.