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[[image - decorative line drawing, in yellow ink]] suau que resulta la perdua de to. Aquest equilibri no s'observa solament a les figures. Per a cobrir els espais iliures que aital compisocio deix als triangles superior i inferior de la diagonal selecciodad, fixeu-vos amb quin art ha procedit l'autor, A la part baixa d les ombres dels sacerdots animen la monotonia del terra, conseryant senipre entre elles, la propoccionalitat del to amb la distancia, mentre que la figura 2 d'un espectador o espectadora - aquesta figura has estat deltberadament tractad am inprccisio - contrlbueix a donr-nos l idea de desfilada inherent al tema escollit, A la part superior, l'ombrab, serveix per a impdir l fugia e l vista per aquella banda, condunintla vers el punt de fuga scollit (3). Imagineu-vos aquesta ombra com no existent i la superficie c total en to clar i comprendreu la necessitat de la dita ombra, puix la prova no quedria acabada i l'ull divagaria cercant una sortida concreta que aixf resultaria ambigua i desconcertant. Notafinal, - La provaes, dones, definitiva dins el seugenere i d'una atraccio irrestible, i si algun defecte cal imputar - li. es una Ileugera manca de contraxt pel que al tiratge del bromur es refereix. Hom ens dira, tal regarda, quetol l'assenyalat act, no pot haver estat tinguit en compte al moment de prendre la fotogrfia, pero tampoe nosaltres no hem dit aixo. Sigui quan sigui, l'hora l'esperit de l'artista interve, la serva presencia es palesa a l'obra acabada i hom no pot negar que el tallat d'aquesta prova so sigui un model en el seu genere - [following ins italic] Per criseius. from Critica de les obres fotografigures. Agrupacio Fotografica de Catalunya, BUTLLETI, Barcelona, Juliol del 1935. [stop italic] 91. An Old Pavilion [bolded] This beautiful photograph, reminiscent of some painting of the Sung Dynasty, was made by Ching-san Long at Huang-shan (Yellow Mountain) in Ahwei. Many photographers who have hitherto attempted to reproduce scenes of the Yellow Mountains have failed to capture the true spirit of the place and it was thought that the reason for these failures lay in the fact that Huang-shan is so completely ancient in very aspect that no modern invention like the camera was fitting to express its spirit. Anybody can take a snapshot of anything; there is no law against it - in unFascist countries. But that does not go to say that the resulting picture will give a fair idea of the original. The ordinary hard, glazed film reproduction of these strange misty mountain-shapes are meaningless. Now and then a skilled photographer, by turning his attention to the clouds that collect around some of the high peak, has produced a pleasing picture, but the temples and pagodas of the lowlands, the pine-trees and bridges of the valleys, have hitherto defied the lens. Mr. Long has here photographed a scent which one would naturally consider most resistant and difficult. This Chinese pavilion is one of the first sights along the road that leads to the -21- [[image - decorative line drawing, in yellow ink]]
