Abstract
Geographical knowledge not only preceded but it also motivated, regulated, and dominated all other modern knowledge China had to acquire during it’s struggle to transform itself into a youthful modern nation. ‘Daluzhi jingwu’(大陸之景物; Scenery of the World) section of the Tuhuaribao(圖畵日報, 1909?1910) might well be seen as visual practice related to ‘geographical imagination’ of the times. Pictures of world’s renowned places ‘Daluzhi jingwu’ section presents are most likely reproductions of photographic images produced in the West, which will also apply to most of those that show Chinese places and landscapes. Images of spots in Shanghai or places worth noticing nearby the modern city seem to have been produced based on original sketches since the media was Shanghai based, but nevertheless the mode of representation was oriented towards modern-western photographic representation. Thus the mode of visual representation adopted by the ‘Daluzhi jingwu’ section in itself suggests inevitable pre
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