"Xie Gelan's Chinese Archaeological Photography Collection" was photographed by French sinologist Victor Segalen, who participated in many archaeological expeditions in China in 1909, 1914 and 1917, and his footprints traveled all over the country. It contains more than hundreds of photos, and the shooting locations are: the Thirteen Tombs of the Ming Dynasty, Sichuan, Shaanxi, Nanjing, Hangzhou and other places, and the themes are mostly grotto statues, mausoleum stone carvings, ancient monuments and Han Que. This series is now in the National Library of France.
Xie Gelan is not a professional photographer, and he owns a camera because in the era when he was born, photography technology had become simple and commonplace. However, under a specific opportunity, Xie Gelan also took on the heavy responsibility of a photographer tirelessly. This particular opportunity was his three expeditions to China from 1909 to 1910, 1914 and 1917. During these three expeditions, he took hundreds of photographs, most of which record his archaeological excavations and discoveries, but there are also some photos that record the human affairs of the expedition, such as in the photos we can see himself and his companions Lartigue and Gilbert de Voisins, the Chinese escorting him, horses, luggage, etc. In addition, there are photos of those things that impressed him on the way - mainly landscapes, but also tree houses. His two expeditions in 1914 and 1917 were well-deserved scientific expeditions, which were encouraged from the beginning by the archaeologist édouard Chavannes, who had been following up the entire expedition remotely in France. For exploration, photography is a technical auxiliary project, just like archaeological excavation, drawing, rubbing. There is nothing special about applying this technology to archaeological work; What is special is that this task was coincidentally handed over to Xie Gelan, a temporary archaeologist. From Xie Gelan's correspondence, we also learn about the photographic materials he used. In 1914, his expedition carried 1,000 9×12 cm negatives and 1,000 24×30 cm negatives provided by the Lumière Pavilion. As a result, these materials had problems and had to be replaced with a batch of 9×12 cm film and a Kodak soft negative camera on the way. The emergence of the technical problem of "thanks" also gives us an idea of Xie Gelan's excellent literacy in photography. For example, where he rested on the way, he would print the "24×30 Lumière" negatives that had gone out of order at night. Most of the negatives were sent to Shanghai in batches for development or printing. The printed photos that Xie Gelan did not see would be forwarded to him by his wife. Xie Gelan also sent some of the negatives he developed directly to Sha Wan and attached his annotations so that Sha Wan could follow up on the expedition's discoveries every day. His letter to his wife also included clear instructions on how to store these negative boxes - "wrap each wooden box like porcelain", as well as the latest time to develop the photos, and to use "semi-suede" for the photo paper to be printed. Links:https://pan.baidu.com/s/1B9Ak2zL3xnuDHa7q40eM1gExtraction code:Tourists, if you want to see the hidden content of this post, please Reply
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