LACMA

ShopMembershipMyLACMATickets
LACMA
Los Angeles County Museum of Art
5905 Wilshire Blvd.
Los Angeles, CA 90036
info@lacma.org
(323) 857-6000
Sign up to receive emails
Subscribe
© Museum Associates 2025
  • About LACMA
  • Jobs
  • Building LACMA
  • Host An Event
  • Unframed
  • Press
  • FAQs
  • Log in to MyLACMA
  • Privacy Policy
© Museum Associates 2025
Collections

Samuel Bourne
View in Zojji-La-Pass. Kashmir1864

Not on view
No image
Artist or Maker
Samuel Bourne
England, 1834-1912, active India, 1863-1870
Title
View in Zojji-La-Pass. Kashmir
Date Made
1864
Medium
Albumen silver print
Dimensions
Image: 11 3/16 × 9 in. (28.4 × 22.9 cm) Primary support: 11 3/16 × 9 in. (28.4 × 22.9 cm) Secondary support: 12 × 9 1/2 in. (30.5 × 24.1 cm) Mat: 20 × 16 in. (50.8 × 40.64 cm)
Credit Line
Gift of Gloria Katz and Willard Huyck
Accession Number
M.2012.149.44
Classification
Photographs
Collecting Area
Photography
Curatorial Notes

Zoji La is a high-altitude mountain pass—situated at 11,575 feet above sea level—that forms a gateway between the Kashmir Valley and the rugged landscapes of Ladakh. It is one of the most critical passes in the Indian Himalayas, known for its challenging terrain and strategic importance. Zoji La was part of the ancient trade routes connecting the Kashmir Valley to Central Asia via Ladakh. Travelers and traders carried goods like pashmina wool, tea, spices, and textiles through the pass, using caravans of ponies, yaks, or porters, since wheeled vehicles were not feasible on the rough and narrow pathways. Avalanches, landslides, and extreme weather conditions posed constant risks.

During the 1860s, when this photograph was made, Zoji La fell under the rule of the Dogra Maharaja of Jammu and Kashmir, who already had control over Ladakh. The British, who exercised suzerainty over the princely state of Jammu and Kashmir, considered the region strategically important for its proximity to Central Asia and as a buffer against Russian expansion. British photographer Samuel Bourne visited Kashmir several times during his travels in India in the mid-1860s, as part of his broader aim to document the Indian subcontinent. Bourne was a partner in the firm Bourne & Shepherd, one of the most prominent studios in British India. His photographs of Kashmir were highly marketable, catering to the Victorian fascination with India as a valued colonial possession. These images were sold as prints, postcards, and albums, popular among both British residents in India and audiences in Europe.

Britt Salvesen

2025