Aesthetics and Perception: Pastness in Charles Frederick Moore’s Xiyang Lou Imagery

Abstract

This article examines twelve photographs of the Xiyang Lou ruins in Yuanmingyuan, taken by Charles Frederick Moore between 1879 and 1885, arguing that they uniquely intertwine the aesthetics of pastness, the perception of the uncanny, and colonial narratives. By blending these elements, Moore’s photographs move beyond visual documentation, becoming instruments of imperialist ideology and meditations on memory and loss. The study situates these photographs within the context of Moore’s biography, highlighting his dual role as a colonial participant and an admirer of Chinese culture, which shaped a melancholic yet romanticized portrayal of the ruins. It further analyzes how Moore’s aesthetic strategies intersect with the labyrinthine design of Xiyang Lou, British-French imperialism, and his personal experiences during the late Qing. Through this lens, the article explores the uncanny tension in Moore’s images, where Western architectural elements within a Chinese imperial context evoke estrangement and familiarity. Lastly, the study reflects on how pastness in ruin photography influences the aesthetics and perception of architectural decay, framing these images as both historical artifacts and cultural commentaries.

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