Borobudur, gezien vanuit het zuiden 1875 - 1890

Editor: Here we have C. Dietrich’s gelatin silver print, “Borobudur, gezien vanuit het zuiden,” taken sometime between 1875 and 1890. The sheer scale of Borobudur is striking, especially in contrast to the relative flatness of the surrounding landscape captured by the photographer. What stands out to you in this composition? Curator: The photograph's value lies precisely in its formal representation of Borobudur. Observe the rigorous geometrical structure. The terraced platforms ascend towards the central stupa, creating a pyramidal form. Consider how light and shadow delineate these forms, accentuating the monument's complex architecture and inherent monumentality. Editor: So, you’re focusing on how the photographer used light and form to highlight the architecture? Curator: Precisely. The photograph employs a stark contrast between light and shadow, which emphasizes the different planes and textures of the stone. Note the placement of the structure itself relative to the vertical picture plane; and also note the formal repetition of geometric elements within a visually unified whole. The composition reveals the monument’s symmetrical order. Editor: I see. The strict structure contrasts nicely with the organic trees that border the sides of the photo, making the temple feel even more massive and artificial. Curator: An astute observation! These organic elements serve to define the composition, to draw one's eyes back into the rigid form of the temple; as if creating an organic parenthesis. The placement, the tonality, creates depth within the shallow picture plane, providing spatial recession. It’s the relationship between these opposing aspects which make this photograph so very compelling. Editor: I never thought about photography having a language of its own. Thanks, I learned a lot! Curator: Indeed. Close looking allows us a different type of vision; unlocking the complexities within its formal architecture; creating its own visual and art historical dialogue.