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초록· 키워드
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In this essay I have discussed how Dianshizhai huabao(點石齋畵報), a pictorial newspaper published in Shanghai from 1884 to 1898, visually represents Taiwan and it’s indigenous people in midst of political turmoil and power struggle in East Asia.
Since the coming of western powers and mass immigration from the continent(Fujian province mostly), the natives of the island had no choice but to be degraded to “primitive”, “savage” minority. China boasts a long tradition of visually depicting it’s neighbours as the inferior “Other” in the context of Hua-yi (華夷) discourse, which influence is evident in Qing ethnographical drawings depicting Taiwan natives, especially in the case of raw-savages(生番) whom the drawers likely have never encountered but all the same gave fierce under-human forms similar to the imaginary beings of far away places found in Shanhaijing(山海經) drawings.
The Dianshizhai huabao in part shared the same customs of representation, and this consolidated stereotype images the late Qing Chinese adopted in the modern context of their “inferior” neighbors in the new world order. Taiwan is usually represented as a place where powers collide, and it’s aborigines are in most part depicted as the passive and surrendering party. Sometimes they are shown as a party of less importance in the process of power struggle. In the very few pictures where Taiwan natives are the main subject, they are shown as tree climbing or man eating savages. Overall, the Taiwan natives, just as they had no authority over naming the island or over literal representation for themselves, they had but to be visually represented by the powerful others in the modern context. They were objects of domestication in the eyes of the Chinese in pre-modern times, and became the Other of the new world order dominated by the Western civilization. At least in the visual world of Dianshizhai huabao, they seem to have no place in the civilized modern world.
Since the coming of western powers and mass immigration from the continent(Fujian province mostly), the natives of the island had no choice but to be degraded to “primitive”, “savage” minority. China boasts a long tradition of visually depicting it’s neighbours as the inferior “Other” in the context of Hua-yi (華夷) discourse, which influence is evident in Qing ethnographical drawings depicting Taiwan natives, especially in the case of raw-savages(生番) whom the drawers likely have never encountered but all the same gave fierce under-human forms similar to the imaginary beings of far away places found in Shanhaijing(山海經) drawings.
The Dianshizhai huabao in part shared the same customs of representation, and this consolidated stereotype images the late Qing Chinese adopted in the modern context of their “inferior” neighbors in the new world order. Taiwan is usually represented as a place where powers collide, and it’s aborigines are in most part depicted as the passive and surrendering party. Sometimes they are shown as a party of less importance in the process of power struggle. In the very few pictures where Taiwan natives are the main subject, they are shown as tree climbing or man eating savages. Overall, the Taiwan natives, just as they had no authority over naming the island or over literal representation for themselves, they had but to be visually represented by the powerful others in the modern context. They were objects of domestication in the eyes of the Chinese in pre-modern times, and became the Other of the new world order dominated by the Western civilization. At least in the visual world of Dianshizhai huabao, they seem to have no place in the civilized modern world.
목차
Ⅰ. 들어가며
Ⅱ. 『점석재화보(點石齋畵報)』 이전, 대만에 대한 시각적 재현
Ⅲ. 『점석재화보(點石齋畵報)』가 재현한 대만 원주민 － ‘번(番)’에서 근대문명의 타자로
Ⅳ. 나오며
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2012-300-004011138