Détails
CollectionSouth & Southeast Asian Collection
N° d'objetS1970-0052-061-0
TitreThe Town and the Roadstead from Government Hill
CréateurCharles Dyce
Description“Besides the port, the survey of the colonies often included a view of the town from a high point. In Singapore, a favourite destination for such a purpose was Government Hill. ‘The Town and the Roadstead from Government Hill’ shows Dyce’ survey of Singapore town. It is a well-balanced composition showing clearly the town, with its buildings, bridges, roads and the harbor laid out according to the dictates of British design and technology (Savage, 1984: 214).
On closer examination, the painting can be interpreted as a report on the development of a colony. The impression is of a town in progress “where for all its faults was something to be celebrated, and celebrated it was in the municipal buildings, bridges, railway stations, galleries, roads and harbour’ (Short, 1991:87). The painting shows the growth of the Singapore town merely two decades after its establishment as a British trading post. Its status as a Freeport attracted high volumes of trade as can be seen in the heavy traffic in the roadstead. The booming commerce also saw traders and merchants arriving in Singapore, and Dyce recorded the census population in 1845 as 60,924. As a result, the town rapidly expanded outwards from the river mouth, with a dense build-up of warehouses on both sides of the river, which are connected by Coleman Bridge (in the foreground) and Elgin Bridge (in the middle ground). The painting conveys British ownership and possession of the land indirectly through the imagery of survey (Paulson, 1982:8). A high vantage point can be seen as a metaphor for a position of power and thus provides the viewer with a sense of security. The achievement of physical height was also an indication of human conquest over natural obstacles (Andrews, 1989: 63; McAlpin, 1997:21). More importantly, elevated views enabled “kind of abstracting, comprehensive mental action held necessary and only possible for landed men whose education and leisure fitted them to act for the public good, that is, to be national subjects in the fullest sense’ (Helsinger, 2002: 18). Indeed, such is the impression given by Dyce’s representation of the party on Government Hill. The shadows cast indicate that it is late in the day. The party of three appears to have ascended the hill on a leisurely afternoon for the purpose of surveying the growth of the town. Their attires indicates that they are Europeans, with two dressed in the frock suit and top hat typical of a gentleman and one in a sailor’s suit. Their postures are easy and casual. Viewing the town from a distance, the party does not appear to be part of the landscape below. One sits to sketch and the other two appear to be in conversation about the view before them rather than around them. These two are aided by a telescope to “access” the landscape; as one uses it, the other awaits his turn, taking in what he can of the view ahead.” Sketches in the Straits, pg 35 – 36.
“While he may not have depicted many local people in his paintings, he seems to have included himself in some. It was common for artists to place themselves in some of their own drawings, either symbolically or directly – but often with face turned away – and engaged in activity. Dyce shows himself busily sketching the scene before him in both ‘The town and the Roadstead from Government Hill’ and ‘New Harbour from the Proposed Site of the Dry Docks’. In the former work, he is seen sitting on the ground a little distance down the slope from the two gentlemen; and in the latter work, seated on a chair extremely near the coastline.” ( Sketches in the Straits, Nineteenth - century watercolours and manuscript of Singapore, Malacca, Penang and Batavia by Charles Dyce, Page 39)
Lieu de créationSingapore
Date 1842 - 1847
Catégorie d'objetPainting
MatérielWatercolour & ink on paper
Dimensions
H: 35.3 cm
L: 51.4 cm
H: 47.1 cm
L: 55.5 cm
L: 51.4 cm
H: 47.1 cm
L: 55.5 cm
