The Images of John Thomson, the First Western Photographer to Travel Widely Through China (1870s)
In the mid-19th century, photography was still in its infancy, and images of distant lands were rare and inaccessible to most people. Few Westerners had ventured far into China, and those who had were among a privileged minority. It was during this time that John Thomson, a Scottish photographer, embarked on a journey that would not only capture the people and landscapes of China but also bring these images to Western audiences. His work, still admired today, provides an invaluable record of China in the 19th century, bridging cultural divides through the lens of a camera.
Early Beginnings: A Path to Photography
John Thomson was born in Edinburgh in 1837, the son of a tobacco spinner and shopkeeper. His modest upbringing did not hint at the extraordinary career that lay ahead of him. As a young man, Thomson apprenticed with an optical and scientific instrument manufacturer in Edinburgh, a job that introduced him to the technical aspects of photography. This early experience gave him the skills and knowledge to pursue photography as a profession. Unlike many of his wealthy contemporaries, such as Julia Margaret Cameron and Charles Dodgson (better known as Lewis Carroll), who focused on highly stylised portraits of their social circles in the safety of their homes, Thomson ventured into the unknown.
In 1862, at the age of 25, Thomson set sail from Leith, Scotland, with a camera and a portable darkroom, headed for Singapore. There, he established a studio before beginning his photographic explorations of Southeast Asia. Over the following years, Thomson travelled through modern-day Thailand (then Siam), Cambodia, and Vietnam. However, it was his travels through China in the late 1860s and early 1870s that would earn him lasting fame.
China Through Thomson’s Lens
By the time Thomson arrived in China, the country was in the midst of great political and social upheaval. The Qing dynasty, which had ruled China for over two centuries, was facing internal strife and external pressure from Western powers. However, much of China was still largely unknown to the Western world, making it a land of mystery and fascination for many.
Thomson’s travels through China were extensive and took him well beyond the treaty ports where most Westerners confined themselves. As Allen Hockley, a scholar of 19th-century visual culture, notes, Thomson was “the first Western photographer to travel widely through the length and breadth of China,” capturing images that ranged from grand scenic views to intimate portraits of the people. His journeys took him to regions that few foreigners had seen, let alone photographed. Travelling beyond the coastal areas, Thomson ventured into the interior of China, exploring cities, rural villages, and even remote regions.
His photographs fall into two broad categories: scenic views and types. The scenic views include both natural landscapes and built environments. These images could be panoramic, encompassing vast stretches of countryside, or they could focus on specific architectural marvels or natural phenomena. The types, on the other hand, were photographs that highlighted the customs, dress, and occupations of the Chinese people. Thomson’s keen interest in capturing the essence of different social classes, ethnicities, and occupations helped create a detailed visual record of 19th-century China.
The Importance of Illustrations of China and Its People
Thomson’s most famous work, Illustrations of China and Its People, was published in four volumes between 1873 and 1874. These volumes contained some of the earliest and richest photographic records of Chinese landscapes, cityscapes, and society. They offered a visual journey into a world that was largely unknown to the Western audience at the time. The books, published lavishly, were not accessible to everyone due to their high cost, but they provided a window into a distant world for those who could afford them.
In addition to the photographs themselves, Thomson included detailed commentary on his subjects. While he often expressed sympathy towards the Chinese people, his views were not without the biases of his time. Scholar Andrew Hiller, in Visualizing China, notes that Thomson’s attitude towards China was ambivalent. While he was critical of the corruption and bureaucracy of the Qing government, he also saw the potential in China’s people and culture. His commentary reflected the complex relationship between Britain and China in the 19th century, a time when Western imperialism was expanding across Asia.
Thomson’s Legacy
A century and a half after Thomson’s travels, his images remain invaluable to scholars and historians. His work provides a detailed visual record of a China that no longer exists, offering insights into the country’s social and cultural landscape during a time of great change. His photographs are more than just historical documents; they are works of art that capture the beauty, complexity, and diversity of 19th-century China.
Today, many of Thomson’s photographs are available online, allowing a much wider audience to appreciate his work. Institutions like the Yale University Library and the Wellcome Collection have made his images freely accessible, ensuring that his legacy continues to inspire and inform. The world Thomson photographed has changed dramatically, and China today is vastly different from the country he captured through his lens. Yet, his images continue to offer a glimpse into a time and place that is now distant, both geographically and temporally.
On his return to London, between 1876 and 1877 Thomson worked with Adolphe Smith, a socialist journalist, on a series of illustrated articles documenting the street life London and the urban poor.
Hear a lecture on Thomson’s photography in China from the University of London here.
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