Reliëfs van de Borobudur, westzijde 1875 - 1890

Editor: So, this is a photograph by C. Dietrich titled "Reliefs of Borobudur, west side," dating from the late 19th century. It looks like a gelatin silver print of some stone carvings. There’s something so fascinating about seeing ancient craft documented through relatively new photographic technology. What do you see when you look at this image? Curator: Well, I immediately consider the layered processes at work here. We have the original carving, its cultural context within the Borobudur temple, and then its depiction through the industrial process of gelatin silver printing. The labour involved in each stage – from the carvers to the photographer and darkroom assistants - interests me. Think about the circulation of these images. What audience was this photographer trying to reach, and how might the photograph have influenced the Western perception and even appropriation of Eastern art? Editor: That's interesting. I was so focused on the image *of* the reliefs. But you're right, the photograph itself is a commodity, too, right? What’s revealed and concealed through this material process of documentation? Curator: Exactly. Consider also the perspective. This photograph presents a flattened, two-dimensional view of the reliefs, stripping away some of their sculptural depth and spatial context. Does that impact their meaning, their ritual power, or their reception in the West? How does this reproduction affect our understanding of the original craftsmanship? Editor: I hadn’t considered that before, the translation inherent in photography itself. This has definitely shifted my perception of both the artwork and the photograph as a material object. Curator: Precisely, it makes you question what labor and materials were involved in all the making. The cultural significance layered on these artistic choices shapes our appreciation.