Favourites: Robert Hart’s band

Sir Robert Hart’s Chinese band, directed by M. Encarnacao, Hart collection, (c) Queen’s University Belfast.

This is a personal favourite of mine, although there is plenty of competition. I love Warren Swire’s photograph of the old ‘Bridge of Ten Thousand Ages’ (万寿桥) in Fuzhou, his wonderful picture of the Bund and shipping at Jiujiang, and Fu Bingchang’s shot of Min Chin posing with a camera. But there is something very sweet about this photograph of Sir Robert Hart’s Chinese band rehearsing in, one assumes, the garden of his Peking residence in about 1907.

Hart, Inspector-General of the Imperial (late simply Chinese) Maritime Customs Service from 1863 until 1908, was perhaps the best known British figure in modern Chinese history. The activities of his Service went far beyond the simple assessment of customs revenue, as I show in my book The Scramble for China: Foreign devils in the Qing Empire. He once joked that he might as well be titled ‘Inspector General of Everything’. Hart lived in China almost without a break from 1866 onwards, having first arrived in 1854 as a young Vice-Consul. He was a lover of music, playing the violin and in the late 1880s first putting together a brass band of Chinese musicians, which played at his famous garden parties in Peking. These were mostly boys and young men, who first had to learn how to play their instruments.

The band nonetheless has a noteworthy place in the history of new Chinese music (that is European classic music in China) and of cultural exchange. It was the first (civilian) brass band composed of Chinese musicians. We have snatches of its history, and reports of how Hart’s young musicians were poached by leading Qing officials as a vogue grew for bands in the early years of the twentieth century.

This is actually my current screen-saver. It is not a particularly great photograph, in terms of composition, but the best ones often aren’t. I love the way the musicians are rehearsing oblivious to the camera, with the Portuguese bandmaster Encarnacao playing away amongst them. It scores highly on atmosphere and on charm.

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Taikoo ships and buildings

For readers interested in the photographs of shipping that can be found in the collections, notably those of G. Warren Swire, or the architectural history of the treaty ports, there are two new sites to investigate. John Swire & Sons (‘Taikoo’, 太古/Taigu) have recently launched WikiSwire, as a tool for building up and presenting historical information about the company’s various activities. They have started by posting to the site profiles and sketches of each of the company’s historic China Navigation Co. ships. As it is a wiki, of course, you are encouraged to augment and add to the site. Elsewhere online photographer Nicholas Kitto has added new special collections to his excellent website, profiling the surviving former buildings of Butterfield & Swire in China, and surviving Chinese Maritime Customs Service buildings. More survives than you might think, for now.

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Studio portrait of a Chinese woman

Studio portrait of a Chinese woman, Carstairs collection, JC-s037.

This striking photograph (JC-s037), with strong diagonals in the style of Alexander Rodchenko, may well be the work of an unidentified Chinese studio photographer working in the racy, cosmopolitan Shanghai of the 1930s.

The precise combination printing and the masterly control of light and shade, makes for a somewhat surreal and tipsy, triple view portrait – surrealist photography being very much about ‘evoking the union of dream and reality’ (as the Heilbrunn Timeline of Art History puts it, on the Metropolitan Museum website:  ‘The Surrealists did not rely on reasoned analysis or sober calculation; on the contrary, they saw the forces of reason blocking the access routes to the imagination’).

The original print is small (less than 2 by 3 inches).  The portrait sitter could look at this photo of herself gazing at herself – a witty, even post-modernist, at any rate modern, play on self-regard and on portrait photography itself.

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N is for Ningbo

Segment of photograph of the Anchorage, Ningbo, Bowra collection, bo01-097

The team has recently been corresponding with an informal group in the eastern Chinese city of Ningbo, who are researching the architectural heritage of this former treaty port. Opened under the first of the Sino-British treaties (Nanjing, 1842), Ningbo was never very successful commercially, and no substantial foreign population ever developed there. Although there was a small relatively informal foreign district, and a small foreign-run administration, it was too much in Shanghai’s shadow.

We have a very good collection of early photographs of the city in the Bowra collection, photographs in albums that belonged to E.C. Bowra, who served in the Chinese Maritine Customs. He was based at Ningbo between December 1867 and April 1870. ‘Nothing ever happened there’ he wrote, and the place was already ‘derelict, forlorn’ (as his son later put it), but that lack of business enabled him to pursue his studies of Chinese, and to amass an evocative and important collection of photographs.

Our Ningbo correspondents have been mining this for the evidence they contain of buildings no longer extant, the gates or temples which look up on the horizon in images such as the one above. An article about one of their explorations has just been published in the Ningbo wanbao (Ningbo Evening News). An example of how they have been using the collection to clarify understandings of Ningbo’s surviving built heritage comes in their identification of the subject of the photograph below, with a bridge that survives today. We have benefitted enormously from their knowledge, which has allowed us to refine the identifications we received with the album, and to further understand the value of the Bowra albums, which are held in the library of the Royal Society for Asian Affairs.

'Hyü family’s bridge, near Ning-Kǒng gyiao': Ningbo, Bowra Collection, bo02-090.

This is the 光溪桥 Guangxi Bridge at Yinjiangzhen 鄞江镇 at Ningbo:

Guangxi Bridge, Yinjiiangzhen, Ningbo, from Wikiimages.

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Amahs

Omnipresent in many of the portraits of foreign families, especially children, is the amah. Often unnamed, or simply captioned ‘Amah’ , these were the Chinese nannies and wet-nurses, servants who suckled or looked after children. They were indispensable additions to the foreign household, and often remembered with great affection by their charges, not least because, as elsewhere in the worlds of colonial settlement or back at home, they were simply a more immediate and tangible daily presence in the lives of foreign children than their mothers.

Mrs Peck, child and Amah, Peck collection, pe01-084.

This gave rise to some anxiety, which was vented in the pages of the English-language press in China. Young foreign children, it was feared with good reason in many cases, might have a better grasp of their nanny’s dialect than their native English. Boys especially were at risk of being spoilt, of being too mollycoddled by their carers. There were also darker urban legends, for example that servants would use opium to make children sleep, or that wet-nurses might pass on disease. On such generally unfounded anxieties was the foreign encounter with China grounded.

As a result many foreign children were eventuially wrenched from their homes and packed off to boarding schools, if families could afford it, to the Chefoo School run by the China Inland Mission in Yantai, or to Britain.

Life for most foreigners in China — though certainly not all — was usually a privileged one, more privileged than life back in Britain would have been, even when domestic service was a norm (my paternal grandmother’s first employment was as a housemaid). But that life also had its costs: the emotional cost of the separation of parents and children, and of the separation of children from their Amahs.

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Large pots at a pottery, c.1870

Large pots at a pottery, c.1870

Large pots at a pottery, c.1870, Bowra collection, Bo02-049

Mass production is nothing new to China, which has always been the world’s most populous country.  Here (Bo02-049) large pots and blocks are being made, apparently in the thatched workshops.  It looks like the large pots were made in two parts (as in the foreground), and later joined to make a barrel shape.

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Moving a block of ice over frozen water

Moving a block of ice over frozen water

Moving a block of ice over frozen water, Ruxton collection, Ru02-34

Ice was cut during the winter in North China from ponds and rivers, and then stored in ice houses for cooling uses over the summer months.

This photo (Ru02-34), with its curiously stagey composition (note that man peeping from behind a tree), is indicative of the amount of work involved in this pre-electric refrigeration technique.

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Colonel Robert Ruxton, MBE OBE

Colonel Robert M. C. Ruxton, Ruxton collection, ru01-001.

Robert Minturn Clarges Ruxton 1876-1946, son of a Admiral William FitzHerbert Ruxton, joined the Essex Regiment in 1897, and began his association with China in 1900 when he was seconded to the First Chinese, or Weihaiwei, Regiment. This was the only unit of Chinese solders the British army ever raised, and was based in the Leased Territory of Weihaiwei in Shandong. It saw action in the 1900 Boxer War, and some of its men marched in the Coronation parade in London in 1902, but was disbanded in 1906. Ruxton then seems to have been in South Africa, but he returned to China working for the Chinese government’s Salt Inspectorate, between 1914-27, and again as a financial advisor to the National Government on Prevention Affairs from 1931 until at least 1937. During the First World War, like many Britons working in China who had experience of working in Shandong, he served in the Chinese Labour Corps on the Western Front.

The photographs in the collection are an eclectic mix of photographs that he seems to have taken himself, especially those showing people and scenes in Weihaiwei, and the men of the Weihaiwei Regiment, and others taken, collected or purchased elsewhere. Ruxton served in Peking and Shanghai in his later posts, and also made inspection trips into the Chinese countryside. His step-daughter married a British consular official, who later joined the Hongkong and Shanghai Bank, and who was himself the son of Bishop Cassels, one of the China Inland Mission’s ‘Cambridge Seven’. There are photographs a’plenty of the life and leisure of expatriates, but the records of Weihaiwei and rural China show that Ruxton had an inquisitive and open mind about the land and its peoples.

 

Soldiers performing acrobatics, Weihaiwei, c.1902, Ruxton collection, ru01-103.

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The Great Wall of China at Badaling

One of the world’s most famous structures, the Great Wall of China has been much photographed.  Surprisingly though for such a massive and extensive landmark, many visitors, including John Thomson in 1871, photographed the same section – around Badaling.  Here are two similar views, by Thomas Child in 1877 (Na01-88) and Warren Swire in 1911 (Sw16-027):

The Great Wall of China at Badaling, 1877

The Great Wall of China at Badaling, 1877, National Archives (London), NA01-88

 

The Great Wall of China at Badaling, c.1911

The Great Wall of China at Badaling, c.1911, Swire collection, Sw16-027

The author-photographer William Lindesay in his superb book The Great Wall Revisited – From the Jade Gate to Old Dragon’s Head (Frances Lincoln, 2007), most effectively uses old photographs of the wall, as well as his own.  Photography here is in its element, documenting changes and providing evidence for preservation projects.  William Lindesay’s site is The Great Wall Revisited (See also International Friends of the Great Wall).

Recently, the Chinese have opened new sections of the wall to tourists.

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A game of two halves

Football can also bring photograph collections together.  In 2008, an enigmatic album of photos collected by Harold Edwards Peck, a policeman in the Shanghai Municipal Police, was lent to the Historical Photographs of China project and digitised.   Two years later, we happened to be lent a collection of photographs once owned by another policeman in the Shanghai Municipal Police, John Sullivan.

It became apparent that Peck and Sullivan were certainly contemporaneous colleagues, and may even have been friends: some of the prints in both collections were off the same negatives, and some were images of outings – hunting or houseboat trips from Shanghai – seemingly undertaken together.  Satisfyingly, these remarkable coincidents included images of the same game of football (Pe01-065 and Su01-64), now reunited after about a hundred years:

Game of football

Game of football, Peck collection, Pe01-065

Game of football

Game of football, Sullivan collection, Su01-64

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