Pekin-car 1867

Editor: Here we have William Thomas Saunders’s “Pekin-car,” taken in 1867. It's a photograph capturing a horse-drawn carriage and its driver. There's a sense of quiet stillness here. What historical narratives do you see emerging from this image? Curator: This image operates within a complex historical context. Saunders was part of a wave of Western photographers documenting China in the 19th century. We need to examine this through the lens of Orientalism and colonialism. How might his gaze have shaped the way the West perceived Chinese culture and individuals? Editor: So, it's not just a simple snapshot, but a loaded perspective? The framing of the driver feels…staged, almost. Curator: Precisely. Think about the power dynamics at play. Saunders, a Western photographer, is choosing what to show, how to show it, and for whom. What is absent from this image? Who benefits from this representation? These questions are crucial to dissecting the Orientalist narrative. It reinforces the idea of the ‘exotic’ East, catering to a Western audience’s desire for the ‘other.’ Editor: I see. By focusing on the aesthetic and the 'foreign', Saunders may have reinforced existing power imbalances and simplified a complex society. Curator: Exactly! It encourages critical thinking about representation, and challenges us to consider the socio-political implications inherent in image-making. It invites discussion of class, labor and Western perceptions of the "East." Editor: Thank you, this makes me reflect on the photographer's influence and the complexities involved in understanding the past. I'll consider the photograph as a social and political artifact rather than a neutral observation. Curator: I'm glad you are able to broaden your perspective. Photography, and any artwork for that matter, is a tool and a medium. With that understanding, we are better able to consider all aspects and impact.