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Titel och upphov The museum on the roof of the world : art, politics, and the representation of Tibet
Utgivning, distribution etc. Chicago : The University of Chicago Press, 2014.
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Upplaga
Fysisk beskrivning xi, 314 pages, 16 unnumbered pages of plates : illustrations ; 26 cm.
Anmärkning: Bibliografi etc. Includes bibliographical references (pages 297-306) and index.
Anmärkning: Innehåll The Tibet museum in the West -- The Younghusband mission and Tibetan art -- Picturing Tibet for the imperial archive -- Photography and the politics of memory -- The Tibet museum in exile -- The Tibet museum in Lhasa -- The invention of Tibetan contemporary art -- The Buddha goes global.
Anmärkning: Innehållsbeskrivning, sammanfattning "For millions of people around the world, Tibet is a domain of undisturbed tradition, the Dalai Lama a spiritual guide. By contrast, the Tibet Museum opened in Lhasa by the Chinese in 1999 was designed to reclassify Tibetan objects as cultural relics and the Dalai Lama as obsolete. Suggesting that both these views are suspect, Clare E. Harris argues in The Museum on the Roof of the World that for the past one hundred and fifty years, British and Chinese collectors and curators have tried to convert Tibet itself into a museum, an image some Tibetans have begun to contest. This book is a powerful of the museums created by, for, or on behalf of Tibetans and the nationalist agendas that have played out in them. Harris begins with the British public's first encounter with Tibetan culture in 1854. She then examines the role of imperial collectors and photographers in representations of the region and visits competing museums of Tibet in India and Lhasa. Drawing on fieldwork in Tibetan communities, she also documents the activities of contemporary Tibetan artists as they try to displace the utopian visions of their country prevalent in the West, as well as the negative assessments of their heritage common in China. Illustrated with many previously unpublished images, this book addresses the pressing question of who has the right to represent Tibet in museums and beyond"--Provided by publisher.
Institutionsnamn Xizang bo wu guan History. Tibet Museum (Dharmsala, India) History.
Term Art, Tibetan Appreciation History. Tibetansk konst historia Art, Tibetan Museums History. Tibetansk konst museer historia Tantric-Buddhist art Appreciation History. Museums Social aspects. Museer sociala aspekter Intercultural communication. Interkulturell kommunikation
Geografiskt namn Tibet Region Museums History. Tibet museer historia
Seriebiuppslag under titel
ISBN
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*008151123s2014 iluaf b 001 0 eng c
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*1001 $aHarris, Clare.
*24514$aThe museum on the roof of the world :$bart, politics, and the representation of Tibet /$cClare E. Harris.
*250 $aPaperback edition.
*264 1$aChicago :$bThe University of Chicago Press,$c2014.
*300 $axi, 314 pages, 16 unnumbered pages of plates :$billustrations ;$c26 cm.
*336 $atext$btxt$2rdacontent
*337 $aunmediated$2rdamedia
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*504 $aIncludes bibliographical references (pages 297-306) and index.
*5050 $aThe Tibet museum in the West -- The Younghusband mission and Tibetan art -- Picturing Tibet for the imperial archive -- Photography and the politics of memory -- The Tibet museum in exile -- The Tibet museum in Lhasa -- The invention of Tibetan contemporary art -- The Buddha goes global.
*520 $a"For millions of people around the world, Tibet is a domain of undisturbed tradition, the Dalai Lama a spiritual guide. By contrast, the Tibet Museum opened in Lhasa by the Chinese in 1999 was designed to reclassify Tibetan objects as cultural relics and the Dalai Lama as obsolete. Suggesting that both these views are suspect, Clare E. Harris argues in The Museum on the Roof of the World that for the past one hundred and fifty years, British and Chinese collectors and curators have tried to convert Tibet itself into a museum, an image some Tibetans have begun to contest. This book is a powerful of the museums created by, for, or on behalf of Tibetans and the nationalist agendas that have played out in them. Harris begins with the British public's first encounter with Tibetan culture in 1854. She then examines the role of imperial collectors and photographers in representations of the region and visits competing museums of Tibet in India and Lhasa. Drawing on fieldwork in Tibetan communities, she also documents the activities of contemporary Tibetan artists as they try to displace the utopian visions of their country prevalent in the West, as well as the negative assessments of their heritage common in China. Illustrated with many previously unpublished images, this book addresses the pressing question of who has the right to represent Tibet in museums and beyond"--Provided by publisher.
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*61020$aXizang bo wu guan$xHistory.
*61020$aTibet Museum (Dharmsala, India)$xHistory.
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*650 0$aArt, Tibetan$xMuseums$xHistory.
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*650 0$aMuseums$xSocial aspects.
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*650 0$aIntercultural communication.
*650 7$aInterkulturell kommunikation$2sao$0https://id.kb.se/term/sao/Interkulturell%20kommunikation
*651 0$aTibet Region$xMuseums$xHistory.
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*830 0$aBuddhism and modernity.
*8528 $5Emb$bEmb$cMuseologi : Harris
^
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