Mandarin Dwelling 1869

Editor: Here we have John Thomson’s "Mandarin Dwelling," an albumen print from 1869. The scene feels so tranquil, almost staged, in this courtyard view. What stands out to you when you look at this photograph? Curator: Well, seeing this through a historical lens, it's essential to acknowledge the colonial context in which it was produced. Thomson, a Scottish photographer, documented China during a period of significant Western influence. Does that influence the way you see it? Editor: I hadn’t really considered it from that angle, actually. I was mainly looking at the composition – the architecture, the light. Curator: Consider that the camera, at this time, was very much a Western instrument, often used to create visual records reinforcing certain power dynamics. Think about the idea of "Orientalism" – how did Western artists and photographers, like Thomson, portray the East? Did it challenge stereotypes, or reinforce them? The placement of people, or lack thereof, what kind of “story” does this “dwelling” suggest about China to its Western audience? Editor: I suppose by showing an ordered, serene space, it could be perpetuating a simplified image of Chinese life, focusing only on the aesthetic without delving into the complexities. The emptiness itself maybe suggests something? Curator: Precisely! The very act of selecting and framing this scene speaks volumes about the photographer’s perspective and the intended audience. How the image would be consumed and understood in the West becomes a critical part of its history, and that ultimately impacts our interpretations of it today. Editor: That’s given me a lot to consider. I was initially drawn in by the peacefulness of the photograph, but now I’m thinking more about its historical and political implications. Curator: Seeing the power relations embedded within even seemingly tranquil images really changes our perspective, doesn’t it?