A Multidimensional Examination of Late Qing Illustrated Newspapers from the Perspective of Cultural Memory in the Past Two Decades

A Multidimensional Examination of Late Qing Illustrated Newspapers from the Perspective of Cultural Memory in the Past Two Decades

Liu Fangxin, PhD Candidate, Class of 2024
Field: Chinese Ancient Literature (Yuan, Ming, Qing Literature, Late Qing Modern Literature)

School of Chinese Language and Literature, Northwest Minzu University,

Lanzhou, Gansu, 730000, China

E-mail: 907834215@qq.com

Abstract
This paper focuses on the study of Late Qing illustrated newspapers from the perspective of cultural memory over the past two decades. It systematically reviews the process of the introduction and localization of cultural memory theory, while analyzing the development trajectory of Late Qing illustrated newspaper studies. The paper also points out the shortcomings of domestic illustrated newspapers, such as their short publication cycles and limited perspectives. In contrast, Western illustrated newspapers, such as <The Illustrated London News>, recorded China with an “other’s gaze,” complementing domestic newspapers in terms of historical materials and viewpoints. Furthermore, the paper reinterprets the historical value of Late Qing illustrated newspapers in areas such as image dissemination and power display, material consumption, ideological enlightenment, and gender narratives. It reflects on the existing issues in current research and explores feasible paths for expansion. The aim is to activate the contemporary significance of Late Qing illustrated newspapers in cultural inheritance and innovation, and to promote related studies to new heights.

Keywords: Late Qing Illustrated Newspapers; Cultural Memory; Visual Narrative; Interdisciplinary Research; Digital Humanities

Before the introduction of Western modern printmaking, traditional Chinese prints mainly consisted of illustrations in classical texts and New Year prints, with their artistic status lower than that of court paintings and literati paintings. After the Treaty of Tientsin and the opening of the five treaty ports, Western printing technologies such as copperplate and lithography, introduced through colonial trade, were brought to China. These new technologies, with their advantages of high efficiency, low cost, and good image reproduction, provided the technical support for the emergence of Late Qing illustrated newspapers. Meanwhile, political and cultural movements such as the Self-Strengthening Movement and the Reform Movement were flourishing, and the demand for information dissemination increased, further driving the development of the illustrated newspaper industry. By the end of the 19th century and the beginning of the 20th century, Late Qing illustrated newspapers entered their golden period of development, with numerous influential works emerging. Geographically, the Jiangsu-Zhejiang region, centered around Shanghai, became a major hub for illustrated newspaper publishing, giving birth to well-known publications such as <Dianshizhai Pictorial> and <Feiyingge Pictorial>; other regions like Guangzhou, Beijing, and Chengdu also launched illustrated newspapers with distinct regional characteristics, such as <Shishi Pictorial>, <Xinghua Pictorial>, and <Chengdu Popular Pictorial>. In terms of types, these included commercial pictorials, political pictorials, and regional pictorials. Among them, commercial pictorials were profit-driven and focused on entertainment and news; political pictorials aimed at spreading political ideas and enlightening the masses; and regional pictorials were more closely related to local culture and the daily lives of the people. Western pictorials, such as the <Illustrated London News >(launched in 1842) and <Le Petit Parisien> and <La Chronique Illustrée> (both launched in 1843), along with domestic pictorials, formed a diverse visual landscape during the Late Qing period. In the past two decades, with the rise of the “visual cultural turn” in academia, the study of Late Qing illustrated newspapers has gradually transcended the traditional frameworks of art history and the history of journalism, incorporating broader theoretical perspectives such as cultural memory, collective identity, and the construction of modernity.

1. The Evolution of Late Qing Illustrated Newspapers from the Perspective of Cultural Memory
   (1) Introduction of Cultural Memory Theory and Research Trajectory

Memory encompasses multiple layers of meaning, primarily referring to the ability to recall the past, as well as to the things being remembered. German scholars view culture as a three-dimensional framework consisting of society, material, and spirit, giving rise to two significant concepts: the “cultural memory” of the Assmanns and the “sites of memory” proposed by Pierre Nora . In his book <Cultural Memory>, Jan Assmann points out the connection between recollection (reference to the past), identity (political imagination), and the continuity of culture (the formation of tradition). Cultural memory emphasizes the cultural function of memory and the influence of various social factors in the process of memory formation .

Pierre Nora suggests that memory relies on specific places for preservation and maintenance, where “places” can refer to physical buildings and locations or symbolic spaces [1]. He uses iconic French landmarks such as the Eiffel Tower and <La Marseillaise> to illustrate how the French, through fixed “sites of memory,” acquire a national memory of France [2]. Therefore, both “cultural memory” and “sites of memory” point to the dimensions of belonging and identity.

In terms of the research trajectory of “memory” in Chinese academia, scholars in Taiwan were early adopters of the “memory” paradigm. In 1992, Taiwanese scholar Zhu Yuanhong formally applied the concept of “collective memory” to historical research. In 1993, Wang Fansen began focusing on the relationship between collective memory and history, and Wang Mingke traced the various connections between collective memory and ethnic identity. The theory of “cultural memory” was formally introduced to Mainland China around the turn of the millennium, and due to its interdisciplinary nature, it quickly sparked academic interest. Literature scholars used it to analyze cultural emotions within texts, historians used it to reconstruct hidden social memories, sociologists and anthropologists focused on the construction function of memory within group identity, communication scholars explored the media characteristics of memory transmission, and cultural geography research highlighted the interaction between cultural memory and spatial landscapes. These disciplines deepened the practice of “cultural memory” theory in their interactions, promoting its shift from conceptual introduction to localized application.

The study of cultural memory theory itself is the cornerstone of cultural memory research, with an emphasis on the investigation of cultural memory and symbolic symbols. Kang Cheng , drawing on the cultural memory symbolism theory of the Tartu School and Lotman, explains the internal mechanisms of memory preservation, creation, and forgetting [3]. Zhao Jingrong argues that memory is represented and expressed through symbols and, as a statement about the past, it is inherently dynamic [4]. Yu Hongbing further points out that cultural memory achieves identity formation through external symbolic systems and internal symbolic activity mechanisms [5]. Establishing cultural memory and cultural identity is essential for the localization of “cultural memory” theory and is a core proposition for activating national cultural genes and enhancing cultural confidence. Jin Shoufu suggests that the goal of cultural memory is to strengthen collective members’ identity recognition, inevitably involving exclusivity [6]. Based on the textualization of memory, repeated enactment and habit formation are factors that aid in the construction of the national memory community. Liu Zhenyi reexamines the continuity of cultural identity and the normative mechanisms of its formation [7]. Min Xinhui argues that the identity provided by cultural memory is a collective awareness of the group’s overall and unique characteristics gained from knowledge storage [8]. Cultural memory is generated, transmitted, and continued through media; thus, the media itself is memory. Scholars have actively used carriers such as text, space, and museums to explain the important role of material cultural carriers in the construction and transmission of cultural memory.

Cultural memory is presented through diverse cultural images, with text and rituals serving as its primary carriers. Literary works such as poetry, novels, and folk tales serve as textual carriers of memory; traditional festivals, customs, marriage and funeral rites, as well as ethnic songs and dances, are ritual carriers; media such as film and television, news, and other communication channels employ more vivid technological methods to write memory; global practices in cultural heritage push forward the protection and inheritance of memory in different regions. As one of the mediums of memory, Late Qing illustrated newspapers are both carriers and embodiments of history and culture. Emerging from the development of new commercial ports, Late Qing illustrated newspapers, relying on the image reproduction advantages and low cost provided by mechanical printing technology, broke the class barriers of printmaking art, initiating China’s “image narrative of a great transformative era” [9]. They showcased the process of cultural memory and self-identity formation through visual media in China.

(2) The Path of Late Qing Illustrated Newspapers Research in the Past Two Decades

The intuitiveness and emotional impact of image transmission give it a unique value in information dissemination, one that is difficult for text to replace. Late Qing illustrated newspapers, through visual forms such as sketches and photography, materialized cultural landscapes like the changing urban scenery, the dynamic transformation of urban life, and the intense collision of Chinese and Western cultures. These images contain the values, cultural cognitions, and emotional attitudes of the creators, disseminators, and audiences.

From 2005 to 2010, research on Late Qing illustrated newspapers centered on <Dianshizhai Pictorial>, focusing on social history and cultural history. The research papers in this period were mainly concentrated on four aspects: First, the analysis of social and cultural changes and the spread of Western learning, with scholars like Pei Danqing and Chen Pingyuan analyzing the transformation of Late Qing society through the content of illustrated newspapers [10]. Second, the study of social phenomena and institutions. Scholars focused on specific issues such as folk legal concepts, the social guidance of anomalous events, and the phenomenon of secret societies, attempting to restore the complexity of Late Qing folk society. Third, the initial exploration of urban material culture and visuality, observing the relationship between Shanghai women’s fashion design and consumption, interior decoration, expatriate sports, and clothing and identity from the perspective of design history and material culture. Fourth, the introduction of gender narrative theory, examining gender power in images. This stage focused on historical material organization and basic research, aiming to restore Late Qing history. Although interdisciplinary perspectives such as design history and gender studies appeared, the semiotic mechanisms of images themselves had not yet become independent research objects, leaving room for further theoretical depth and methodological innovation.

From 2011 to 2015, significant breakthroughs were made in related research, which expanded beyond the single perspectives of social and cultural history and began to incorporate communication studies, iconology, and other methodologies. The focus shifted to the medium properties of illustrated newspapers and their visual content. Chen Yang proposed the idea of “writing the history of illustrated newspapers based on the ‘painting’,” treating illustrated newspapers as an independent media form [11]. This viewpoint gained broad recognition, and numerous scholars focused on the relationship between Late Qing illustrated newspapers and social history, examining how the image medium records historical events, urban life, and social culture. Meanwhile, scholars also began exploring the role of illustrated newspapers in scientific popularization. Their research focused on the dissemination of scientific knowledge, Western medicine, and science education. The study of gender narrative in illustrated newspapers concentrated on the female body, lifestyle, role changes, and fashion, exploring the interaction between women and culture, society, and space during the social transformation of the Late Qing period.

From 2016 to 2025, systematic integration of cultural memory, semiotics, narratology, and field theory became prominent. During this period, foundational research on illustrated newspapers and images continued to deepen. Scholars such as Shen Guandong, Li Yingju, and Liu Yang conducted in-depth analyses of the temporal and spatial narrative mechanisms in <Dianshizhai Pictorial> from the perspectives of linguistics, image narratology, and the relationship between images and text [12]. Influenced by postmodernism, research on material culture and daily life became the primary focus of this stage, with emphasis on leisure life, urban scenery, folk rituals, and Western imaginaries. In terms of leisure life, scholars like Gao Rong, Li Li, Liu Yun, and Zhao Sitong analyzed the relationship between clothing and social status, regional culture, educational reforms, gender expression, and cultural identity by studying folk clothing, special clothing symbols, and the collision between Chinese and Western fashion [13]. Shen Guandong, Sun Yifei, Tai Jie, and Li Qiaoling explored the aesthetics of everyday life behind technological objects such as furniture, architecture, and transportation, as well as Late Qing people’s perceptions of Western technology [14]. In terms of urban scenery, scholars analyzed the collision between modern knowledge dissemination and traditional beliefs from the perspectives of urban culture, advertising culture, and commercial promotion. On the subject of folk rituals, scholars conducted systematic research on the folk reports in <Dianshizhai Pictorial>, including festivals, weddings and funerals, and religious beliefs, analyzing the role of folk customs in maintaining social order. In the realm of Western imaginaries, Li Li analyzed the curiosity, misunderstanding, and adaptation to Western civilization from the perspective of the street view [15]; Hu Gengshen compared the Chinese image in Eastern and Western illustrated newspapers, revealing cognitive differences in cross-cultural communication [16].

However, existing research has notable limitations. On one hand, domestic illustrated newspapers generally had short publication cycles, often lasting only a few years to two decades, lacking continuity. On the other hand, much of the research has focused on domestic society, making it difficult to present a broader historical picture. Complementing this, Western illustrated newspapers such as <The Illustrated London News> and <Le Petit Parisien>, due to their longer publication cycles and international influence, recorded China from an “other’s perspective,” providing a unique observational viewpoint and rich material for restoring modern history. Only by combining these two can we construct a more comprehensive and multidimensional research framework. Since 2014, when research on modern Western illustrated newspapers emerged, related achievements have primarily focused on the comparison of <The Illustrated London News> with Chinese images, the comparison of Eastern and Western illustrated newspapers, domestic imagery, military and political historical events, and other topics.

1. A Historical Reinterpretation of Late Qing Illustrated Newspapers from the Perspective of Cultural Memory

Regardless of the specific cultural context or interpretive framework, the holistic and systematic characteristics of cultural landscapes are unquestionable. As a “complete system,” cultural landscape resources “should not be limited to those natural and historical environments with high aesthetic value that are available for sightseeing and recreation, but should also encompass the cultural and social contexts of a certain region, as well as the non-material space corresponding to the physical existence [17].”

(1) Image Transmission and Power Display

In the unique historical context of the Late Qing, images became a crucial tool for rulers to maintain power and reshape authority. On one hand, the Qing court continued traditional rituals, using court paintings, architectural carvings, and other mediums to reinforce the concept of “the divine right of kings” through symbols like the dragon motif and the Twelve Signs. On the other hand, facing the impact of Western technologies, emerging stone lithographs and photography were incorporated into political propaganda systems. Empress Dowager Cixi actively disseminated her portrait, attempting to display her supreme status both domestically and internationally as a form of political public relations. Western illustrated newspapers from the period frequently depicted Cixi, offering two distinct image representations: one set of images adhered to realism, faithfully depicting Cixi’s appearance and demeanor, such as the portrait painted by American artist Hubert Vos, which was published in the French <Le Petit Parisien> and became a key reference for the external world’s perception of Cixi’s true image. The other set was filled with artistic imagination and interpretation, such as the works “The Western Empress Dowager” and “Her Imperial Majesty the Empress Dowager of the Qing Dynasty” in <Le Petit Journal> and <Le Sourire>. These realistic or fictional portraits not only reflected Cixi’s desire to solidify her rule and reshape the image of the Qing court but also illustrated the Western media’s attempt to express cultural understanding and political stances through imagery [18].

The Illustrated London News, the most influential image-based news medium in 19th-century Britain, published three portraits of Late Qing emperors: the anxious Daoguang Emperor, the defeated Xianfeng Emperor, and the aging, declining dynasty symbolized by the Tongzhi Emperor. The newspaper reconstructed and utilized images from local satirical cartoons, Chinese export paintings, and popular European books on China to reinforce the image of China from Britain’s national standpoint [19].

Late Qing illustrated newspapers, aiming to “open up the atmosphere,” published a large number of illustrations on Western culture, science, society, and customs, providing readers who had never traveled abroad with visual representations of the West and constructing a space for the popular imagination of Western society. The Western images presented in illustrated newspapers became important references for early intellectual elites and the government in their efforts to “enlighten the people” and “create new citizens.” Among the more than 4,000 images published in <Dianshizhai Pictorial>, over 280 were themed around science and technology. The work <Image of Late Qing: A Compilation of Gezhihui> by Chen Pingyuan and Xia Xiaohong, published in 2006, systematically organized these scientific and technological images. This fact strongly supports the notion that the dissemination of new scientific knowledge was a core section of the illustrated newspapers, reflecting the domestic trend in the Late Qing towards actively learning Western advanced thought and scientific technologies. Chen Pingyuan noted that for writers of scientific novels, the ability to write requires a certain interest and ability, and reading translated foreign novels was not the primary means of acquiring knowledge [20]. Instead, the publication of foreign travel diaries, newspapers promoting Western thought, illustrated newspapers, and other resources likely played a more significant role in expanding writers’ knowledge, stimulating interest, and unleashing imagination.

Research on <Dianshizhai Pictorial> has been diverse, covering various perspectives, including the interpretation of scientific knowledge in images, particularly focusing on images related to cars and ships, especially “underwater vehicles,” exploring people’s attitudes toward underwater exploration and the fusion of “scientific novelty” and “visual imagination” in scientific knowledge images. It also involves comprehensive studies on the dissemination of Western science and technology, examining the paths of Western scientific dissemination in China during the Late Qing period, categorizing and summarizing the scientific knowledge presented in the illustrated newspapers, and analyzing the characteristics and limitations of its transmission. Additionally, studies on the content of new knowledge in the newspapers have categorized them into four types: objects, military affairs, entertainment, and technology, providing a clear presentation of the knowledge transmission system.

(2) Material Consumption, Ideological Enlightenment, and Gender Narrative

Research from a gender cultural perspective has also been a focal point. Existing studies have analyzed the ways in which illustrated newspapers constructed Late Qing women as “moving landscapes” and objectified them as desire objects to cater to male readers’ needs, revealing the gendered cultural consumption within Shanghai’s modernity process. These studies also focus on domestic and social life, examining women’s views on marriage, family status, various kinship relationships, as well as their professional development and leisure activities, presenting a broader picture of women’s existence.

Focusing on specific female groups, research has analyzed the portrayal of prostitutes in different texts, revealing the authors’ potential moral criticism and cognitive biases. It also explores the transformation of the image of geishas, particularly in their spatial settings and clothing, tracing their evolutionary trajectory within the social changes of the modern era. Additionally, research examines the changing roles of women over time, noting that their spheres of activity expanded from rural areas to cities, from home to society, reflecting the loosening of traditional gender divisions and the opportunities for women to assert self-identity and gender equality. The studies highlight the role of the “new woman” image in the illustrated newspapers in the intellectual enlightenment of the women’s liberation movement and the promotion of social gender concept reforms. In the context of the Late Qing reforms, related studies also explore how women’s frequent appearances in public spaces challenged the traditional male-dominated social culture and analyze how modern media constructed female images in accordance with the expectations of male elites to regulate their public behaviors and speech.

From the exhibition of court power to the dissemination of popular culture, from imagining the West to embracing it, from gender gazing to ideological enlightenment, illustrated newspapers continuously recorded the changes of the times. They were not only a continuation of the traditional literati “image-based historiography” concept but also a new narrative medium spawned by modern media technologies. The historical reinterpretive value of Late Qing illustrated newspapers lies in the cultural mechanisms behind their image production: the Qing court attempted to maintain authority through the dissemination of “imperial portraits,” yet political dilemmas were exposed in their portrayal by Western media; intellectuals sought to enlighten the masses with scientific images, but their imaginations about science were constrained by traditional cognition, creating a disjunction between scientific imagination and visual reality; female images, on the other hand, revealed the complexity of modern gender narratives through consumerism and enlightenment discourse. Late Qing illustrated newspapers, positioned in the gap between tradition and modernity, wrote the visual intellectual history of China’s journey toward the world.

III. Reflections on Issues in Late Qing Illustrated Newspaper Research from the Perspective of Cultural Memory, Expansion Pathways, and Contemporary Value

After the mid-1990s, many scholars began to recognize the important role of image-based historical materials in literature and social studies, leading to the gradual publication of works on the intertextuality between images and texts. Recently, I conducted an initial search on the theme of “images,” including titles and keywords, within the scope of “Philosophy and Humanities” in the <China National Knowledge Infrastructure (CNKI)> database. A rough statistical analysis shows that existing image research is mainly categorized into four areas: first, those based on art history; second, those based on literature and art theory; third, those grounded in philosophy and aesthetics; and fourth, those situated within cultural studies, in combination with anthropology, sociology, communication studies, and other interdisciplinary fields. Additionally, Western translation of iconology is also included.

Overall, current image research exhibits several key characteristics: First, the research community has expanded significantly, and research institutions and organizations are placing greater emphasis on it. Many universities and research institutes, including Fudan University and Nanjing Normal University, have established visual culture research centers, highlighting the growing importance of image studies. Second, the depth of research has increased. What started as basic translation and introduction has evolved into a more academically rigorous theoretical exploration, with interdisciplinary research expanding in scope. Due to its interdisciplinary nature, image studies have increasingly integrated with literature, anthropology, sociology, communication studies, political science, and other disciplines, becoming a cutting-edge field of research. Third, there is a stronger push to construct a local disciplinary framework for image studies. Some scholars have explicitly proposed the construction of systems such as “Literary Iconology” and “Studies on Illustrations in the Ming and Qing Periods,” and significant achievements have been made. From its initial involvement in literature, philosophy, visual culture, and art to its widespread integration with various disciplines, the term “image” has expanded from historical studies to literature, then from literature to philosophy and sociology, and has become a hot topic in contemporary academic discussions.

(1) Reflection on Issues and Expansion Pathways

The use of image-based historical materials in literature and sociology research has become increasingly common, but the misuse and pitfalls in this process warrant caution. Some researchers tend to rely on a singular or excessive approach to selecting and arranging image materials, failing to achieve an organic intertextuality between images and texts based on the research theme and textual logic. Other researchers have not given sufficient attention to the collection of rare images, leading to the repeated use of identical or highly similar images. This not only weakens the novelty of the research but also limits the potential for exploring the diverse values of image materials. Furthermore, some studies neglect the deep connection between images and texts, resulting in loose relationships between images and texts and fragmented contexts, making it difficult to form a complete interpretative system. These issues have prevented the full academic value of image materials from being realized, also affecting the depth and credibility of the research outcomes.

Although current research on Late Qing illustrated newspapers is largely based on Assmann’s cultural memory theory, there is a clear lack of systematic theoretical depth. According to a search on <China National Knowledge Infrastructure (CNKI)>, the number of research studies that directly combine Late Qing illustrated newspapers with cultural memory theory is limited, and a theoretical analysis framework with Chinese characteristics has yet to be formed. The loose connection between theory and practice makes it difficult to fully consider the complexities of the collision between Chinese and Western cultures, as well as old and new cultural influences, during the Late Qing period. Current research largely remains at the level of conceptual transplantation of cultural memory theory, failing to integrate the traditional Chinese logic of “image-based historiography” deeply, and thereby not providing a comprehensive and objective interpretation of the historical and cultural significance of Late Qing illustrated newspapers. Furthermore, the singularity of the theoretical framework has led to the neglect of multiple forms of memory. For example, images of “coolies and street vendors” in <Feiyingge Pictorial> and <Chengdu Popular Pictorial> were originally important carriers of urban cultural memory, but studies often categorize them merely as folk material, without exploring the interaction between popular memory and elite narratives, or the curatorial purpose behind the arrangement of these images in the illustrated newspapers. <Dianshizhai Pictorial>, with its early establishment, innovative image narrative, and rich historical material value, has long occupied the core position in research. This overemphasis has led to academic stagnation, making it difficult to discover and organize other types of illustrated newspapers, while also neglecting the memory cultures carried by illustrated newspapers from different regions. Illustrated newspapers from North China often reflect the conflict and integration between traditional urban culture and modern industrial civilization; those from South China, due to their proximity to Hong Kong and Macau, present a strong maritime cultural influence and traces of foreign ideologies; those from Hong Kong, Macau, and Taiwan serve as important windows to observe colonial culture, local consciousness, and the wave of globalization in a unique historical context. However, due to the lack of systematic research, these rich research materials have not been fully explored, preventing the formation of a complete academic picture. Therefore, it is imperative to break the monopoly of <Dianshizhai Pictorial> research and strengthen attention to other types of illustrated newspapers and those from different regions.

Cultural memory theory offers a fresh analytical framework for Late Qing illustrated newspaper research. Future studies can further deepen and broaden interdisciplinary integration. Building upon existing intersections with communication studies, iconology, and sociology, new research methods from cognitive science and neuroscience could be introduced to explore the impact of Late Qing illustrated newspaper images on audience cognitive patterns and collective psychology. For example, by analyzing the recurring visual symbols of industrial civilization in illustrated newspapers, combined with schema theory from cognitive psychology, researchers can examine how images shaped contemporary perceptions of modernity. In addition to focusing on domestic illustrated newspapers, researchers should also break free from the limitations of a singular perspective. On the one hand, horizontal comparisons should be made, contrasting how Late Qing illustrated newspapers presented the “exoticism” of Western things and how Western illustrated newspapers constructed the “otherness” of China. On the other hand, vertical comparisons of illustrated newspapers from different periods should be conducted, such as comparing Late Qing illustrated newspapers with those from the Republican period, in terms of image styles, thematic content, and cultural memory expression, to reveal the impact of social changes on the development of illustrated newspapers.

With the rapid development of digital humanities technologies, there is an urgent need for the integration of Late Qing illustrated newspaper research with new technologies to promote innovative breakthroughs in research methods. Michael J. Kramer proposed the method of digital image sonification as a synesthetic auditory approach in digital humanities, converting visual characteristics of images such as pixels and shapes into sound, creating new artifacts linked to original data to assist in the close reading and interpretation of visual materials from an auditory dimension [21]. Scholars like Qian Zhiyong have used standards such as image metadata, resource description frameworks, and international image interoperability frameworks to study classic images and develop models and methods for their utilization [22].

Currently, the digitization of Late Qing illustrated newspapers faces a dual dilemma: On one hand, many unpublished newspapers and illustrated materials remain scattered in various libraries and private collections, making resource access difficult. On the other hand, already digitized resources often lack strong informational correlations. For example, databases such as “The Dagangbao: 1902-1949,” “The Dongfang Magazine Full Text Search Database,” and “The Beijing Memory Database” provide only basic text searches without semantic image annotations or cross-database connections, limiting deep research possibilities. We should establish a national resource aggregation platform, collaborating with universities and museums to create a comprehensive digital resource database for Late Qing illustrated newspapers. This would involve high-definition scanning to resolve image blurring issues and adhering to metadata standards (such as DC, CDWA) to annotate titles, creation dates, theme categories, and more, forming standardized datasets. Additionally, a semantic vocabulary for Late Qing illustrated newspapers, including terms related to people, events, and objects, should be constructed, linking images with external knowledge bases such as Qing dynasty biography databases and historical event timelines, enabling cross-resource knowledge discovery. Furthermore, the “digital image sonification” technology could be applied to convert visual information into sound, allowing the exploration of hidden socio-cultural information in images and revealing the discursive strategies employed by illustrators and writers when expressing cultural memory.

(2) Activating the Contemporary Value of Late Qing Illustrated Newspapers

The primary premise for researching Late Qing illustrated newspapers is to break free from the “presentism” trap, viewing both images and texts within their historical context. As visual carriers of modern social thought, illustrated newspapers reflect the intense pursuit of Western learning by people of the time while retaining the mental imprints of feudal culture. If we criticize the depiction of women in the newspapers based on contemporary notions of gender equality or use modern scientific standards to critique the distortion of details in the images, we risk falling into the trap of historical nihilism. Moreover, in cross-cultural and cross-perspective studies, we must conduct rational analysis while respecting the original historical materials. Research should not easily devalue or deny the value of publications due to differences in position or discourse—such confrontations of differing viewpoints are opportunities to deepen research, rather than reasons for mutual dismissal.

The most valuable cultural heritage of Late Qing illustrated newspapers is the innovative spirit demonstrated by the people of the time in a period of change, a spirit that serves as a wellspring for contemporary cultural confidence. As an important cultural heritage, Late Qing illustrated newspapers should not be confined to academic research alone but should also focus on realizing their social value. In terms of cultural inheritance, public exhibitions and educational activities can be organized to spread the cultural memory embodied in the illustrated newspapers, such as the “Dianshizhai Pictorial: Time and Knowledge in the Illustrated Papers” exhibition curated by the Art and Literature Museum of the East Branch of Shanghai Library. Through selected newspaper images and multimedia displays, modern audiences can experience the social changes of modern China. In terms of cultural innovation, the visual elements and narrative methods of the illustrated newspapers can be integrated into contemporary cultural creations, achieving a blend of tradition and modernity. For instance, in film and television production, the image and painting techniques of Late Qing illustrated newspapers can be adopted to present historical themes with a unique visual style, imbuing traditional cultural elements with new, contemporary meanings.

In conclusion, research on Late Qing illustrated newspapers from the perspective of cultural memory has vast developmental prospects. By deepening interdisciplinary studies, expanding research subjects, innovating research methods, and activating cultural memory in the contemporary context, the historical value and cultural significance of Late Qing illustrated newspapers can be further explored. This will provide crucial academic support and social resources for understanding the transformation of modern Chinese society and constructing cultural identity. Throughout this process, researchers should maintain critical thinking, continuously reflecting on the theoretical frameworks and methodologies, and pushing the research on Late Qing illustrated newspapers to higher levels.

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