CAJ | 학술논문

19世纪，随着清帝国逐渐的被迫对外开放，西方各国人员被允许在清帝国境内游历、传教、交流和记录。西方人本来有机会可以了解一个东方的文明，但是当话语权被西方完全掌握的时候，图像的内容却不可逆转的朝向了几乎与中国无关的方向，中国人不是可以自我发言的自由主体，中国被简单的标签化和符号化了。无论是画笔还是相机，两者都作为一种符号的承载工具，被运用于对殖民中国的图像构建中。
19세기，수착청제국축점적피박대외개방，서방각국인원피윤허재청제국경내유력、전교、교류화기록。서방인본래유궤회가이료해일개동방적문명，단시당화어권피서방완전장악적시후，도상적내용각불가역전적조향료궤호여중국무관적방향，중국인불시가이자아발언적자유주체，중국피간단적표첨화화부호화료。무론시화필환시상궤，량자도작위일충부호적승재공구，피운용우대식민중국적도상구건중。
In nineteenth Century, with the gradual opening up of the Qing Empire, western countries were allowed to travel, to preach, to exchange and record in the territory of the Qing empire. Westerners might have had a chance to understand an oriental civilization, but when the discourse power was completely mastered by the west, the content of the image went to a direction which are not relevant to China, while the Chinese people can not speak for themselves. The painting brush and the camera, both as a symbol of the selection tool, are applied to the construction of the image of the colony in china.