기이한 근대 ― 『點石齋畫報』의 巨像 도상을 중심으로
Curious Modernity: Focusing on the Image of a Colossus in Dianshizhai Pictorial
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Dianshizhai Pictorial 點石齋畵報 launched in May 8th, 1884 in Shanghai, China, covered various subjects ranging from politics, society, diplomacy, new Western civilizations, popular culture to everyday life, folk religions and custom. So far, research on Dianshizhai Pictorial has evolved around these various subject topics. More importantly, previous studies on Dianshizhai Pictorial have tended to focus on the subjects primarily related to the Western civilizations and its modernity due to their strong interest in the issue of modernity. As the result, subjects which are considered strange and weird from the present point of view have been excluded from this branch of the Pictorial studies. My paper focuses on the two factors that have been overlooked by previous Pictorial studies: the form and the strangeness of its subject matters. More specifically, I analyze the peculiar characteristics of the Pictorial as a medium in terms of the strangeness of its topics. The main focus of analysis is an article titled “銅人跨海” (A Statue Standing across the Sea). Particularly, I examine how various European and Chinese traditions are overlaid in its illustration and the accompanied article intervening in its meaning and form. Seven Wonders of the World, especially Colossus of Rhodes, 17th century European cartography, Ferdinand Verbiest’s The Kunyu tushuo 坤輿圖說 in early Qing dynasty will be suggested and analyzed as the examples of such traditions multiply embedded in the article. Throughout the examination, I ultimately demonstrate how Dianshizhai Pictorial uses old forms to represent new knowledge on the things whose specific images are not accessible and therefore hard to imagine. The phenomenon of histrorical pseudomorphosis, a phenomenon by which old and familar forms are deployed to accomodate new knowledge and information is characteristic in the experience of Chinese modernity; the powerful and time-honored Chinese traditional culture played a crucial role in accommodating new knowledge and information from the Western civilization. And it is this phenomenon of historical pseudomorphosis that defines the peculiar characteristics of the Pictorial as a media. Unknown things represented by familar forms yield curious weirdness both in terms of the forms and the contents. And this curiosity was in fact one of the essential elements that constitute Chinese experience of the modernity.
Abstract
Dianshizhai Pictorial 點石齋畵報 launched in May 8th, 1884 in Shanghai, China, covered various subjects ranging from politics, society, diplomacy, new Western civilizations, popular culture to everyday life, folk religions and custom. So far, research on Dianshizhai Pictorial has evolved around these various subject topics. More importantly, previous studies on Dianshizhai Pictorial have tended to focus on the subjects primarily related to the Western civilizations and its modernity due to their strong interest in the issue of modernity. As the result, subjects which are considered strange and weird from the present point of view have been excluded from this branch of the Pictorial studies. My paper focuses on the two factors that have been overlooked by previous Pictorial studies: the form and the strangeness of its subject matters. More specifically, I analyze the peculiar characteristics of the Pictorial as a medium in terms of the strangeness of its topics. The main focus of analysis is an article titled “銅人跨海” (A Statue Standing across the Sea). Particularly, I examine how various European and Chinese traditions are overlaid in its illustration and the accompanied article intervening in its meaning and form. Seven Wonders of the World, especially Colossus of Rhodes, 17th century European cartography, Ferdinand Verbiest’s The Kunyu tushuo 坤輿圖說 in early Qing dynasty will be suggested and analyzed as the examples of such traditions multiply embedded in the article. Throughout the examination, I ultimately demonstrate how Dianshizhai Pictorial uses old forms to represent new knowledge on the things whose specific images are not accessible and therefore hard to imagine. The phenomenon of histrorical pseudomorphosis, a phenomenon by which old and familar forms are deployed to accomodate new knowledge and information is characteristic in the experience of Chinese modernity; the powerful and time-honored Chinese traditional culture played a crucial role in accommodating new knowledge and information from the Western civilization. And it is this phenomenon of historical pseudomorphosis that defines the peculiar characteristics of the Pictorial as a media. Unknown things represented by familar forms yield curious weirdness both in terms of the forms and the contents. And this curiosity was in fact one of the essential elements that constitute Chinese experience of the modernity.
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