Pub Date : 2016-05-20DOI: 10.1080/19369816.2016.1183103
Andrés Rodríguez
ABSTRACT This paper examines the role played by the missionary West China Union University Museum of Art, Archaeology and Ethnology in shaping notions of nationalism and internationalism in China's southwest. Located in Chengdu, a place of multiethnic and global encounters on China's borderlands, this paper argues that the West China Museum was at the forefront of global efforts surrounding the development of museums which sought to advance scholarly research and education for citizens of both China and the world. Although nationalism and internationalism converged in the museum's displays and exhibitions, such a process was not without tensions. As Christianity faced the challenge of rising Chinese nationalism during this period, the missionary museum and its curators played a pivotal role in mediating the demands of both sides by engaging with local communities and the extensive use of their transnational networks.
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Pub Date : 2016-05-18DOI: 10.1080/19369816.2016.1183101
Priti Joshi
ABSTRACT Who was responsible for assembling the India exhibit of the 1851 Great Exhibition in London? John Forbes Royle has typically been credited — or charged — with organizing the exhibit. This paper draws on the official Exhibition archive as well as the untapped resource of Bengal newspapers to examine the extent of Royle's role in the organization of the exhibit from London and to probe who, if any, his coadjutors in India were. The findings allow us to take a more accurate measure of the relations and interests that operated in assembling the display, as well as some of the ways in which the exhibit exceeded its planners' intentions.
{"title":"Miles apart: the India display at the Great Exhibition","authors":"Priti Joshi","doi":"10.1080/19369816.2016.1183101","DOIUrl":"https://doi.org/10.1080/19369816.2016.1183101","url":null,"abstract":"ABSTRACT Who was responsible for assembling the India exhibit of the 1851 Great Exhibition in London? John Forbes Royle has typically been credited — or charged — with organizing the exhibit. This paper draws on the official Exhibition archive as well as the untapped resource of Bengal newspapers to examine the extent of Royle's role in the organization of the exhibit from London and to probe who, if any, his coadjutors in India were. The findings allow us to take a more accurate measure of the relations and interests that operated in assembling the display, as well as some of the ways in which the exhibit exceeded its planners' intentions.","PeriodicalId":52057,"journal":{"name":"Museum History Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2016-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/19369816.2016.1183101","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59940800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2016-01-02DOI: 10.1080/19369816.2015.1118254
S. Cerávolo
The Instituto Geográfico e Histórico da Bahia (IGHB — Geographical and Historical Institute of Bahia), was founded in 1894 in the north-east of Brazil. Its collection was amassed through donations from members and other interested parties, and the museum was comprised of a regional fauna section and a natural products exhibit. The objective of this Institute was to become a research centre, equating Bahia with modernizing republican initiatives and ideals of civilization. This article evaluates the contribution of collective donation with analysis of the survey results from the donation lists published in the Institute's periodical from 1894 to 1927. Although the plans were to create a museum structured like a natural history museum similar to the Rio de Janeiro National Museum, the donation of objects established an eclectic collection that represented the history of Bahia in its specificities. The Institute's emergent acquisition strategy led to the museum becoming something like a centre of regional significance with regional heroes building the path to good citizenship. Natural history, in this civic environment, was relegated to second place.
巴伊亚州地理和历史研究所Geográfico e Histórico da Bahia (IGHB -巴伊亚地理和历史研究所)成立于1894年，位于巴西东北部。它的藏品是通过会员和其他感兴趣的团体的捐赠积累起来的，博物馆由地区动物区和天然产品展览组成。该研究所的目标是成为一个研究中心，将巴伊亚与现代化共和国倡议和文明理想等同起来。本文通过对1894年至1927年发表于该院会刊的捐赠名单调查结果的分析，对集体捐赠的贡献进行了评价。虽然计划是创建一个类似于巴西巴西国家博物馆的自然历史博物馆，但捐赠的物品建立了一个折衷的收藏，代表了巴伊亚州的历史特点。该研究所的紧急收购策略使该博物馆成为一个具有区域意义的中心，地区英雄们建立了通往良好公民的道路。在这种市民环境中，自然史退居其次。
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Pub Date : 2016-01-02DOI: 10.1080/19369816.2015.1118260
Laura Malosetti Costa
Argentina's National Museum of History and the National Museum of Fine Arts were created almost at the same time in Buenos Aires, towards the end of the nineteenth century. Many of the artefacts collected in both museums are of the same kind: oil paintings, drawings, engravings, and sculptures, depicting battles, portraits, landscapes, and costumbrista scenes. However, the artefacts in each institution were understood differently: those in the Museum of Fine Arts were considered as ‘art’, while those in the other museum were seen as historical documents. This differentiation between the material of art history and that of history deserves critical examination. The creation of each museum may explain this distinction, as well as offering a point of departure for further reflections about the way in which those artefacts have been exhibited, studied, and preserved.
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Pub Date : 2016-01-02DOI: 10.1080/19369816.2015.1118257
Máximo Farro
Natural history museums in Argentina during the last third of the nineteenth century have usually been regarded as pivotal institutions in the survey and exhibition of the national territory and, by extension, as disseminators of cohesive civic representations in the context of ‘nation building’. Departing from the idea of museums as material spaces in which scientific, concrete practices around collections take place, in this essay we propose a more nuanced picture that shows labile and changing ties between natural history museums and the state during the period. To this end, we consider the crafting of collections, exhibitions, policies of access and use developed at the Museo Público de la Provincia de Buenos Aires (later Museo Nacional de Buenos Aires) and the Museo General de La Plata.
在19世纪的最后三分之一时期，阿根廷的自然历史博物馆通常被视为国家领土调查和展览的关键机构，并且在“国家建设”的背景下，作为具有凝聚力的公民代表的传播者。从博物馆作为围绕藏品进行科学、具体实践的物质空间的想法出发，在本文中，我们提出了一幅更细致的画面，展示了自然历史博物馆与国家之间在这一时期不稳定和不断变化的关系。为此，我们考虑了博物馆Público de la Provincia de Buenos Aires(后来的布宜诺斯艾利斯国家博物馆)和拉普拉塔总博物馆制定的收藏、展览、访问和使用政策。
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Pub Date : 2016-01-02DOI: 10.1080/19369816.2015.1118261
María Paola Rodríguez-Prada
The National Museum of Colombia was inaugurated on 4 July 1824. This museum was created along with a mining school in a post-revolutionary political context during the wars of independence. Museums in South America created in the early nineteenth century are seen as state formulations embedded in nationalist rhetoric conceived within the newborn states. This paper argues against such postulates through a global scientific-geopolitics perspective. It focuses on the analysis of a broad circulation of knowledge, scientific practices, and individuals between Europe and some of the young Latin American republics. Institutional material and immaterial traces that survive today, such as scientific study collections, suggest the relevance of both individual particulars and official purposes for a museum in which the private and the public spheres converge in a scientific agenda of global character.
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Pub Date : 2016-01-02DOI: 10.1080/19369816.2015.1118255
Oswaldo Chinchilla Mazariegos
This article traces a century of efforts to create a National Museum in Guatemala City. Political instability and natural disasters thwarted these efforts, which nevertheless formed a significant chapter in the country's museum history. The contents of the laws and decrees that ordered the formation of museums provide indications about their political context and aims, while travellers’ reports and museum publications provide a hint at the collections and exhibitions of the first and second national museums, which functioned at the Sociedad Económica de Amigos del País (1866–1881) and the Palacio de La Reforma (1898–1917). In addition to local politics, both the country's participation in international expositions and foreign involvement in archaeological research and collecting played a role in museum formation and demise. Special attention is given to the laws and initiatives of the 1920s, which led to the opening of a National Museum in 1930, with a critique of previous work on this important period of Guatemalan museum history.
这篇文章追溯了一个世纪以来在危地马拉城创建国家博物馆的努力。政治不稳定和自然灾害阻碍了这些努力，尽管如此，这些努力在该国的博物馆历史上留下了重要的一章。命令成立博物馆的法律和法令的内容提供了它们的政治背景和目的的迹象，而旅行者的报告和博物馆出版物提供了第一和第二国家博物馆的收藏和展览的暗示，这些博物馆在Sociedad Económica de Amigos del País(1866-1881)和Palacio de La Reforma(1898-1917)运作。除了当地的政治因素，国家对国际博览会的参与以及外国对考古研究和收藏的参与都在博物馆的形成和消亡中发挥了作用。特别关注20世纪20年代的法律和倡议，这些法律和倡议导致1930年开设了国家博物馆，并对危地马拉博物馆历史上这一重要时期的先前工作进行了批评。
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Pub Date : 2016-01-02DOI: 10.1080/19369816.2015.1118252
Miruna Achim
The history of the National Museum of Mexico during the first half century after its foundation in 1825 has been largely ignored. This is partly because at that time the museum failed to meet contemporary ideals of national museums as repositories of a nation's most representative objects and as forgers of meanings about these objects. This essay argues against reading intrinsic values into the early National Museum of Mexico and proposes paths for reconstructing its history as an emerging entity. Focusing on the Museum's strategies for collecting, exhibiting, and studying objects, I suggest that, rather than following pre-established protocols, the Museum took shape in practice, in the context of volatile national politics, material limitations, and international competition for collections.
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Pub Date : 2016-01-02DOI: 10.1080/19369816.2015.1118253
Diego Amorim Grola, Paula Carolina de Andrade Carvalho, Heloisa Barbuy
Established in 1893 in the city of São Paulo, the Paulista Museum was the first public museum in the state of São Paulo, and Brazil's fourth museum. It was created as a governmental initiative amidst the growing participation of São Paulo in the international trade market through coffee exports. This article analyses the establishment of the Paulista Museum as an important agent in national and international networks of hunters, collectors, and merchants of natural history specimens in the first decades of its existence.
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Pub Date : 2016-01-02DOI: 10.1080/19369816.2015.1118259
Maria Margaret Lopes, Magali Romero Sá
The Amazon Botanical Museum — Museu Botânico do Amazonas — opened in 1883 and closed in 1890. Despite its brief life, the Museum was the first scientific institution in the Amazon Province of Brazil. Directed by the Brazilian botanist João Barbosa Rodrigues, the Museum aimed to be a modern institution similar to natural history museums in Europe and the United States. In addition to taxonomic studies of botanical and ethnographic collections collected in the Amazon region, the Museum also intended to develop studies in applied botany in medicine and industry. This article explores some aspects of the history of the Botanical Museum and examines the importance of Barbosa Rodrigues’ individual agency in the Museum's organization and studies of the Brazilian Amazon. It also demonstrates that the Museum was fundamental to improving Barbosa Rodrigues’ career as a botanist and ethnographer in the context of emerging Brazilian scientific communities of the period.
亚马逊植物博物馆(Museu bot nico do Amazonas)于1883年开放，1890年关闭。尽管成立时间很短，但该博物馆是巴西亚马逊省的第一个科学机构。该博物馆由巴西植物学家jo奥·巴博萨·罗德里格斯(jo o Barbosa Rodrigues)领导，旨在成为一个类似于欧洲和美国自然历史博物馆的现代机构。除了对在亚马逊地区收集的植物和人种学收藏品进行分类研究外，博物馆还打算发展在医学和工业中应用植物学的研究。本文探讨了植物博物馆历史的某些方面，并考察了Barbosa Rodrigues个人机构在博物馆组织和巴西亚马逊研究中的重要性。它还表明，在当时新兴的巴西科学界背景下，博物馆对改善Barbosa Rodrigues作为植物学家和民族志学家的职业生涯至关重要。
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