Loongwa temple before 1908

Curator: This arresting image, held here at the Rijksmuseum, is entitled "Loongwa temple". It’s a print dating from before 1908 and is credited to Geldolph Adriaan Kessler. What are your initial thoughts? Editor: The mood strikes me as quite melancholic, almost stark. The architectural form itself is fascinating, but the leafless trees and muted tones give it a feeling of quiet contemplation, maybe even desolation. Curator: Let’s delve into that form. Note the composition, the play of horizontals in the tiered roofs against the verticals of the supporting columns. The three levels of the pagoda create a sense of ascension. Editor: Precisely. Pagodas, especially of this type, often symbolize stages of spiritual enlightenment. Each layer can represent a different plane of existence in Buddhist cosmology, a journey towards Nirvana. Notice also, at the roof’s edge, are small sculptures that represent divine protection. Curator: The artist's skillful use of light emphasizes the geometry and texture. Look at how the light catches the corners of the tiled roofs and creates defined edges. The texture contrasts beautifully with the sky. Editor: Observe the nesting birds on the bare branches. This could indicate themes of time, nature’s persistence, even resilience. The architecture interacts with its surrounding to signal the enduring power of life against a somber backdrop. Curator: I agree. Kessler masterfully balances representational accuracy with compositional ingenuity to capture this fascinating urban Asian vista. Editor: The fact it is captured by early photography also infuses the work with historic weight and adds another dimension of cultural memory, particularly considering photography's colonial implications. Curator: A valid point indeed. Ultimately, both formal elements and cultural symbols enrich our experience of Kessler's temple view. Editor: Agreed; I appreciate the opportunity to see the layered narratives woven into the photographic structure and symbolism, unveiling meaning.