Noordzijde van de Borobudur 1875 - 1890

Editor: This is a gelatin-silver print photograph titled "Noordzijde van de Borobudur" by C. Dietrich, taken sometime between 1875 and 1890. I'm immediately drawn to the complex layering of the structure, and how the textures play against each other. It feels massive and imposing, almost architectural in its scale. What do you see when you look at this image? Curator: Structurally, the image presents a clear division between horizontal planes and intricate vertical details. The rhythmic repetition of the carvings and the geometric forms suggest a deliberate attempt to impose order and harmony. Consider the way light and shadow interact with the stepped terraces. Do you find that creates a sense of depth, or perhaps something else? Editor: I think the shadows create a feeling of almost oppressive weight. The architecture looms, partly because the photograph’s vantage point is so low to the ground. It also feels… foreign, not necessarily in a negative way, but very distant. Curator: The notion of ‘foreignness’ you identify may arise from the strategic employment of visual othering. The stark tonal contrasts and detailed portrayal of unfamiliar architecture position it as separate, an ‘orientalist’ viewpoint through careful compositional choices. We must question whose gaze is being privileged. How does that framing shape your understanding? Editor: I see what you mean. It almost feels like it's setting Borobudur apart, making it seem almost inaccessible. Before, I only reacted to what I thought was beautiful, without considering its power dynamic and framing the photographer was implying. Curator: Precisely. By analyzing its forms, compositions, and visual language, the photograph's underlying messages come to the fore. The technical artistry becomes a window into complex issues.