INTRODUCTION The doctrines and values of the 'new' archaeology are in the process of being broken down; for many they were never acceptable. ...

Archaeology's Visual Culture explores archaeology through the lens of visual culture theory. The insistent visuality of archaeology is a key stimulus for the imaginative and creative interpretation of our encounters with the past, acknowledging the multiplicity of meanings that cohere around artifacts, archaeological sites and museum displays. Archaeology's Visual Culture investigates the nature of this projection, revealing an embedded subjectivity in the imagery of archaeology. Using a wide range of case studies the book highlights the way archaeologists view objects (...) and the consequences that ensue from ways of seeing"--Provided by publisher. (shrink)

This article examines the question of how can museum professionals and the interested public resolve the competing claims of traditional ownership and continuing scientific research in relation to museum collections.

This collection of essays is based on the 2005 Society for American Archaeology symposium and presents research that epitomizes Richard I. Ford’s approach of engaged anthropology. This transdisciplinary approach integrates archaeological research with perspectives from ethnography, history, and ecology, and engages the anthropologist with Native partners and with socio-natural landscapes. Research papers largely focus on the U.S. Southwest, but also consider other areas of North America, issues related to museums collections, and indigenous approaches to materials research.

In this volume, Bilsel argues that the museum has produced a modern decor, an iconic image, which has replaced the lost antique originals, rather than creating an explicitly hypothetical representation of Antiquity.

Contesting Antiquity in Egypt: Archaeologies, Museums and the Struggle for Identities from World War I to Nasser. By Donald Malcolm Reid. Cairo: The American University in Cairo Press, 2015. Pp. xxii + 491, illus. $59.95.

This groundbreaking book is the first to provide a critical overview of the relationship between contemporary ceramics and curatorial practice in museum culture. Ceramic objects form a major part of museum collections, with connections to anthropology, archaeology and other disciplines that engage with the cultural and social history of humankind. In recent years museums have provided the impetus for cutting-edge artistic practice, either as a response to particular collections, or as part of exhibitions. But the question of (...) how museums have staged contemporary ceramics and how ceramic artists respond to museum collections has not been the subject of published research to date. This book examines how ceramic artists have, over the last decade, begun to animate museum collections in new ways, and reflects on the impact that these new initiatives have had in the broad context of visual culture. Ceramics in the Expanded Field is the culmination of a three-year AHRC funded project, and reflects its major findings. It brings together leading international voices in the field of ceramics, research undertaken throughout the project and papers delivered at the concluding conference. By examining the benefits and constraints of interventions and the dialogue between ceramics and museological practice, this book will bring focus to an area of museology that has not yet been theorized, and will contribute to policy debates and art practice. (shrink)

The protection of cultural relics has always been an important issue in the field of museums and archaeology. With the development of Internet of Things technology, the security system of the museum is more intelligent and integrated. In order for the museum display system to keep up with the intelligent age, this article mainly studies the research and realization of the museum showcase system based on the Internet of Things technology in a smart environment. Before the start of the (...) experiment, we developed the overall design of the system, including three functional modules: temperature module, illumination module, and monitoring module. The experiment is done mainly for system testing. The performance test of the sensor module needs to sample the temperature and humidity sensor to verify the accuracy of the temperature and humidity signal collected in the instrument circuit. The light information collection test uses the ADC sampling inside the CC2530 to obtain the required data and judges whether these temperature, humidity, and light intensity values exceed the preset values. The serial port needs to be initialized to carry out data communication and transmission normally. After the receiving end finishes receiving, the sending end will clear the data buffer to prepare for the next data transmission. The experimental data show that the error between the predicted value and measured value of the temperature system is about 3°C, which is within the allowable error range of the experiment. The results show that the system has perfect functions, is safe and reliable, meets the expected requirements, and has good practicability. (shrink)

Historians of archaeology have noted that prehistoric stone artefacts were first identified as such during the seventeenth century, and a great deal has been written about the formulation of the idea of a Stone Age in the nineteenth century. Much less attention has been devoted to the study of prehistoric artefacts during the eighteenth century. Yet it was during this time that researchers first began systematically to collect, classify and interpret the cultural and historical meaning of these objects as (...) class='Hi'>archaeological specimens rather than geological specimens. These investigations were conducted within the broader context of eighteenth-century antiquarianism and natural history. As a result, they offer an opportunity to trace the interrelationships that existed between the natural sciences and the science of prehistoric archaeology, which demonstrates that geological theories of the history of the earth, ethnographic observations of ‘savage peoples’ and natural history museums all played important roles in the interpretation of prehistoric stone implements during the eighteenth century. (shrink)

This article reports on a historical investigation carried out on the conical object MIN000-3519 preserved in the mineralogy collections of the Muséum National d'Histoire Naturelle at Paris (France). The mineralogist René-Just Haüy (1743-1822) included this object, cut in a single pyrite (FeS2) crystal, in his working collection with the references ‘Sulphured iron, mirror of the Incas, of Peru, M. de Jussieu’. All of the research lines followed lead the author to Joseph de Jussieu (1704-1779) and his shipments of botanical (...) specimens and various other samples from South America. As a member of the Godin-La Condamine-Bouguer geodesic expedition on the equator (1735-1743), he returned to France only after 36 years (1771), ill, exhausted and dispossessed of the scientific product of his Andean collections. This pyrite mirror is important because, in addition to appearing to be the only archaeological object that can be linked to Joseph's peregrinations in America, it resembles other specimens found at sites of the Cañaris culture (500-1500 AD) in Ecuador. Preserved within the de Jussieu family, this object would presumably have been given to Haüy by Joseph's heirs, his nephews Antoine-Laurent (1748-1836) or Laurent-Pierre (1792-1866), with whom he had close ties. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 221 Seiten: 53-69.

This paper explores the use of new scientific techniques to examine collections of historic scientific apparatus and other technological artefacts. One project under discussion uses interferometry to examine the history of lens development, while another uses X-ray fluorescence to discover the kinds of materials used to make early mathematical and astronomical instruments. These methods lead to surprising findings: instruments turn out to be fake, and lens makers turn out to have been adept at solving the riddle of aperture. Although (...) exciting, in some ways this is neither novel nor particularly unusual. After all, lab techniques have been used in art and archaeological collections for a very long time. In fact, scientific instruments themselves have been examined in this way since at least the 1950s. What, then, is special about the use of new instruments to examine old instruments? We argue that the answer has less to do with measuring historical innovation or establishing priority, and more to do with networks of craft know-how that, typically, have left no other historical traces than those embodied in surviving instruments themselves. We show, in particular, how collections of objects can be mobilised within wider histories of knowledge, placing instruments within a dynamic interplay of craft knowledge, expertise, labour, commerce, and material exchange, over the longue durée. Finally, we suggest that these kinds of lab analyses can be given an extra dimension through the use of computational modelling, and we introduce the “Tools of Knowledge” project, which is designed to bring together XRF with techniques from the digital humanities, in order to tell a new story about the development of scientific instruments from the 16th to the 20th century. (shrink)

Many millions of geological specimens are contained in geological museums throughout the world. These collections, some of which date back to the sixteenth century, constitute a rich resource for historians of the geological sciences. The utilization of this resource has been uneven, due to a number of factors, including the background of the researcher, and the state of the collections. In the past two decades major strides have been made in the documentation of collections held in (...) British museums, and compendia, including those for collections in other countries, are now available. Geological collections provide quality primary source material, and can shed light on a range of interesting topics including the nature and scope of geological travels, the often complex relationships between geologists and collectors, and the rationale behind the formulation of geological theories by earlier geologists. (shrink)

Despite the growing body of excavation finds and the steady publication of museum collections, the numismatic evidence remains an underutilized historical source. Historians who study Late Antiquity rely on archaeological evidence but tend to ignore coin finds, partly because numismatics developed as an independent field with its own set of specialized tools and research questions. Insufficient dialogue between the disciplines has delayed a proper appreciation of Early Byzantine coins as historical source and the development of a clear methodology (...) for their use in conjunction with the literary and archaeological evidence. In order to overcome such disciplinary divides, this paper proposes several research directions by highlighting the main benefits of integrating the numismatic evidence more fully into the historical narrative. These research directions include a greater emphasis on bronze coinage, the study of the long-distance circulation of people and goods, and distinctions between urban, rural, and fortified contexts. This methodological discussion is followed by a case study from Byzantium’s Lower Danube frontier. (shrink)

Cultural Heritage, Ethics and Contemporary Migrations breaks new ground in our understanding of the challenges faced by heritage practitioners and researchers in the contemporary world of mass migration, where people encounter new cultural heritage and relocate their own. It focuses particularly on issues affecting archaeological heritage sites and artefacts, which help determine and maintain social identity, a role problematised when populations are in flux. This diverse and authoritative collection brings together international specialists to discuss socio-political and ethical implications for (...) the management of archaeological heritage in global society. With contributions by authors from a range of disciplinary backgrounds, including archaeologists, philosophers, cultural historians and custodians of cultural heritage, the volume explores a rich mix of contrasting, yet complementary, viewpoints and approaches. Among the topics discussed are the relations between culture and identity; the potentialities of museums and monuments to support or subvert a people's sense of who they are; and how cultural heritage has been used to bring together communities containing people of different origins and traditions, yet without erasing or blurring their distinctive cultural features. Cultural Heritage, Ethics and Contemporary Migrations is a crucial text for archaeologists, curators, policymakers and others working in the heritage field, as well as for philosophers, political scientists and other readers interested in the links between immigration and cultural heritage. (shrink)

The stage-like “exhibitionary space,” which members of the public visit, has received more scholarly scrutiny than the pedagogical and curatorial activities that take place in the back rooms of museums. This essay draws attention to the behind-the-scenes places in university museums as a pedagogic site where students learn through the close examination of artefacts. It addresses the social context of learning through the study of incomplete objects, which may involve handling them. This process of using artefacts to engage (...) with different groups of people (collectors, curators, teaching staff and students) contributes to the physical and intellectual development of academic disciplines. It enhances the museum's institutional mission and survival as an incorporated body that is embedded in a greater whole, the university itself. The Ashmolean Museum, in the University of Oxford, and the Balfourian and Sibbaldian Museums, in the University of Edinburgh, were founded in the seventeenth century. But whereas the Ashmolean survived as an institution, the first Edinburgh collections did not. These historical antecedents serve as a backdrop to a discussion of how one particular example, the Cambridge Museum of Archaeology and Anthropology (CUMAA), trains new generations of learners to evaluate empirical evidence and by working with different communities of users—students and the wider public—it ensures its survival. (shrink)

New technologies provide great opportunities for cultural heritage to become more widely accessible and for cultural experience to be more meaningful. The COVID-19 pandemic has highlighted the strengths and vulnerabilities of the cultural heritage sector and the need to accelerate its digital transformation to make the most of the opportunities it provides. The Commission Recommendation on the digitisation and online accessibility of cultural material and digital preservation (2011/711/EU) concluded that there is an urgent need to protect and preserve European cultural (...) heritage, and, in particular, endangered cultural heritage is still present. However, the diversity of legal approaches to cultural heritage by the Member States discourages the creation of a common European data space for cultural heritage as the European Commission recently proclaimed. In Greece, there have been significant efforts in recent decades to digitise and digitally preserve cultural heritage goods. However, the attention was not drew upon the accessibility and reuse of the digitized cultural heritage content. According to the relevant regulatory framework the existing rules on the use of digital technologies for the reproduction, use and preservation of cultural heritage content is obviously outdated. According to the paragraphs 4 and 5 of article 46 of the Greek Code for the protection of antiquities and cultural heritage in general (Law 4858/2021), a previous permission granted by the Ministry of Culture is required for the production, reproduction and dissemination to the public of impressions, copies or depictions of monuments belonging to the Public Sector, or immovable monuments that are located within archaeological sites and historical places or are isolated, or movable monuments that are kept in museums or public collections, in any way and by any means whatsoever, including Information Communication Technologies. Such permission is granted to natural or legal persons for a fee paid to the Hellenic Organization of Cultural Resources Development (HOCRED) upon the decision of the Minister of Culture, while the decision also specifies the temporal validity of the permission, the terms on which the permission is granted and the fee that must be paid. The production, reproduction and use of the aforementioned goods for other purposes, such as artistic, educational or scientific purposes, is again allowed for a fee paid to HOCRED, however, the fee can be waived upon the decision of the Minister of Culture. This Paper will examine the existing Greek legal framework and will attempt to propose an appropriate framework that will ensure open access to the digitized cultural heritage assets, enhance the recovery and transformation of the cultural heritage sector and support cultural heritage institutions in becoming more empowered and more resilient in the future. (shrink)

Museums and collecting is now a major area of cultural studies. This selected group of key texts opens the investigation and appreciation of museum history. Edward Edwards, chief pioneer of municipal public libraries, chronicles the founders and early donors to the British Museum. Greenwood and Murray provide informative pictures of the early history of the museum movement. Sir William Flower, Director of the British Museum (Natural History), takes a pioneering philosophical approach to the sphere of natural history in relation (...) to museums. Similarly, Acland and Ruskin discuss and explore the relationships of art and architecture to museums. (shrink)

In the Spring of 1944, an informal discussion took place in Cambridge between Mr. R. S. Whipple, Professor Allan Ferguson and Mr. F. H. C. Butler, concerning the formation of a national Society for the History of Science. This is the opening sentence of the inaugural issue of the Bulletin of the British Society for the History of Science, the Society's first official publication. Butler himself was the author of this outline account of the subsequent approach to the Royal Society, (...) the parallel moves to establish a National Committee of the International Academy of the History of Science, the formation of a provisional committee to prepare a draft constitution for a national society, and the proceedings of the first Annual General Meeting in May 1947. Whipple had been in Cambridge to discuss his offer to present his collection of old scientific instruments to the University and the possible foundation of a new museum, and Butler, as Secretary of the History of Science Committee in Cambridge, was the chief mover in both this development and an initiative coupled with it to establish a department of the history of science. (shrink)

This article focuses on the trajectory of life of the three generations of the Jankowski family in Siberia, Primorski Krai and Korea in the years 1863– 1945 in terms of their economic, cultural and scientific achievements. The founder of the Far Eastern branch of the family was Michał Jankowski. Exiled to Siberia for participation in the January Uprising of 1863, as a man of indefatigable energy and collaborator of Benedykt Dybowski, he undertook many initiatives, including hunting, wild ginseng collecting and (...) a gold mining administration. In 1880 he settled on the Sidiemi Peninsula near Vladivostok, where he established a farm specializing in horse breeding and ginseng gardening. In addition to farming, he conducted natural history and archaeological research and sent the acquired specimens and artifacts to Russian and European museums. The tradition of his father was continued in the second generation by Jerzy Mikhailovich Jankowski. Endowed with similar character and talent, he studied agriculture and husbandry in Texas and at the agricultural faculty of St. Louis University in Missouri. He expanded the farm to include commercial fishing and rice cultivation. The occupation of the Far East by the Red Army in 1922 forced the family to emigrate to Korea and Manchuria. The new family seat called Novina was built on the Ompo River near the town of Ch’ŏngjin, about 200 kilometers south along the Korean coastline from the mouth of the Tuman River. It was not only a modern farm with specialized animal husbandry and fruit farming, but was also a recreational, cultural, and spiritual enclave, with a school for children, a summer theater, an Orthodox church, and a resort for holidaymakers. The third and the most famous representative of the family was Walery Jurewicz Jankowski. In 1945, he joined the Soviet Army, where, due to his knowledge of Korean and Japanese, he served as an interpreter for the military intelligence at the headquarters of the 25th Army in P’yŏngyang. At the beginning of 1946, both Walery and his fathers were arrested and sent to the labor camps. The family was scattered around the world, from Australia to the North and Latin Americas and the farm was nationalized. The Jankowsky family achieved spectacular success in the Russian Far East and in Korea because they were able to apply the traditional Polish gentry ethos based on the extended structure of family and servants, which they were able to combine with a chivalrous fortitude and openness to hard life in the frontiers populated by various ethnic groups. (shrink)

Purpose of the essay is to outline the theoretical roots of Ricci’s museum and publishing policies, inscribed within a visual disclosure plan of our archaeological artistic heritage identified as the pivot on which to build a collective identity of our nation at the dawn of its unification. These policies are closely linked to Ricci’s conception of art, recognized by himself as the formal expression of a – both individual and collective – historical feeling, finding its immediate grip on the (...) public in the optical vividness of its representational form. This conception, however, finds its aesthetic-anthropological foundation in a book belonging to Ricci’s early production: “The art of children”. (shrink)

This work is an attempt to explore both the increase in and the breadth of popular collecting in Britain. It does this by examining the contexts of social change over the past 20 years. This change, it is argued, has led to a culture of social and material insecurity, in which collecting is used for the creating and defence of identity. The social theory of Guy Debord is employed as an underlying philosophy in which contemporary popular collecting is interpreted as (...) an expression of a moral value system in a society driven by market forces. The social world and values of collectors are explored through their clubs. These, it is asserted, comprise an alternative society, one in which a legitimization of the collector's activities and preferences can be made and in which they develop a complementary reality. (shrink)

Photographing archaeological labor was routine on Egyptian and other Middle Eastern sites during the colonial period and interwar years. Yet why and how such photographs were taken is rarely discussed in literature concerned with the history of archaeology, which tends to take photography as given if it considers it at all. This paper uses photographs from the first two seasons of work at the tomb of Tutankhamun (1922–4) to show that photography contributed to discursive strategies that positioned archaeology as (...) a scientific practice – both in the public presentation of well-known sites and in the self-presentation of archaeologists to themselves and each other. Since the subjects of such photographs are often indigenous laborers working together or with foreign excavators, I argue that the representation of fieldwork through photography allows us to theorize colonial archaeology as a collective activity, albeit one inherently based on asymmetrical power relationships. Through photographs, we can access the affective and embodied experiences that collective effort in a colonial context involved, bringing into question standard narratives of the history and epistemology of archaeology. (shrink)

The present study proposes a new reconstruction and a new interpretation of a quite singular piece of sculpture with relief decoration, discovered on Melos at the beginning of the last century. It belongs to the permanent collection of Roman sculpture of the National Archaeological Museum of Athens. After a detailed presentation and iconographical analysis of its relief decoration, we proceed to a new interpretation of its function, always in connection with the social, historical and artistic context of the Cyclades (...) in Late Antiquity. (shrink)

This two‐part article examines the very limited engagement by philosophers with museums, and proposes analysis under six headings: cultural variety, taxonomy, and epistemology in Part I, and teleology, ethics, and therapeutics and aesthetics in Part II. The article establishes that fundamental categories of museums established in the 19th century – of art, of anthropology, of history, of natural history, of science and technology – still persist. Among them, it distinguishes between hegemonic (predominantly Western) and subaltern (minority or Indigenous) (...) museums worldwide. It argues that relations between hegemonic and subaltern museums are often agonistic, and are compromised by claims of universalism on the part of proponents of the former. The article observes that most discussion of museums focuses exclusively and misleadingly on their public exhibition function, and contends that scholarship – not exhibition – is central to all museums. However, that predominantly taxonomic scholarship, while innovative and central to a dominant epistemology based on the observation of tangible things in the 19th century, was compromised by the epistemic shift to abstraction and experimentation in the 20th, which resulted in a loss of initiative and authority. Although epistemological changes currently in progress favor a renewed attention to tangible things as complex matrices to which museums ought to contribute significantly, the fundamental taxonomy of museums by collection type is a clog on the ability of museum scholars to engage with and themselves produce big ideas. In order to function well as sites of scholarship in the future, museums will have to be far more adaptable and attentive to a wider range of things and ideas (including Indigenous ideas incompatible with Western assumptions) than their existing collection divisions permit. (shrink)

Man has always been a collector and presumably always will be one. In the dim ages of his beginnings, he collected food, shellfish, berries and nuts and in his tropical and sub-tropical haunts lived fairly securely through the little changing seasons. When he invaded the temperate regions, with their seasonal variations, he learned to his cost the rise and fall of the tides of food supply and, dreading winters’ want, practised a variety of methods to hoard his food gatherings until (...) the season of food a-plenty came round again. It was the same with the hunters, who, whatever their feasting at the close of a successful hunt, could not consume everything and, experiencing shortages and failures, began to put aside food to be kept. Extra supplies probably in time gave rise to barter of one thing for another more desired—the furrier skin, the sharper antler pick, the more beautifully finished hand-axe or adze. He who had reserves could face a famine, a lost pelt and a broken tool, and doubtless gained in stature and status among his fellows. What he had, he had to hold by strength or guile— or both in combination in himself, his family or his tribe. Hunting no doubt led to the elimination of competitors, who would lower the food supplies, and to the proclamation of hunting rights, just as, later on, occupation of land good for grazing or cultivation, would give rise to tribal or chieftain ownership—and to the unending battle for ownership, over other claimants. This is again collecting, though in another form. (shrink)

Most of the on-going debate is about “how” to protect archaeological ruins, whilst at the same time allowing the general public to enjoy them. Today it is clear how important it is, from the actual planning stages of excavations, to interact with experts from other disciplines, who are working on their own findings and offering them up for collective enjoyment. Whatever might be feasible for an indoor museum is not always feasible with an architectonic ruin, as regards both presenting (...) objects with explicative apparatus that determines their significance, and exploring them in a new way when interpretations change or new ideologies are introduced. First of all, conserving excavations is the not the same as conserving a transportable object. In the past many countries in Europe preferred to “present” Roman remains simply as “gardens of ruins”, often endeavouring to stand them in sharp contrast with a more recurrent evocation of the original contexts of local life. Recently, with regard to the Roman tradition, there has been a noticeable inversion of trend in musealization operations, according to which the mere “contemplation of ruins” should be replaced by emotional contact with history. The main consequence of these new tendencies is the replacement of an informatics-based and didactic approach to musealization, in favour of a more authentically interpretative approach. Back-up resulting from experimentation in the fields of restoration and conservation becomes indispensible in implementing these new strategies for the musealization of archaeology. Continuous research and the progressive advance of conservation techniques have meant that the need to transfer archaeological remains has been avoided and an improved in situ “presentation” of these remains, both movable and immovable, can now be guaranteed. (shrink)

Olfactory heritage is an aspect of cultural heritage concerning the smells that are meaningful to a community due to their connections with significant places, practices, objects or traditions. Knowledge in this field is produced at the intersection of history, heritage science, chemistry, archaeology, anthropology, art history, sensory science, olfactory museology, sensory geography and other domains. Drawing on perspectives from system dynamics, an approach which focuses on how parts of a system and their relationships result in the collective behaviours of the (...) system, we will outline a series of practices relevant to this field and identify the elements, materials and competences involved, as well as the connections and interactions. While research in olfactory heritage is currently growing, much of the knowledge that could advance our understanding of this field is still being developed within disciplinary boundaries, leading to little integration of the knowledge and methods and limited interdisciplinary interpretation of findings. In the first part, we review the methodologies for identifying, researching and preserving olfactory heritage, highlighting methodological opportunities and challenges from diverse perspectives like smellscape research, odour nuisance management or heritage science. In the second part, we review the presentation and communication of olfactory heritage in museums and other heritage spaces, outlining the value of presenting scents to wide audiences for interpretation and engagement purposes. Finally, we discuss challenges associated with historical scent reconstruction, and discuss future directions for the field, such as the potential of mining large digital collections for olfactory data. (shrink)

This paper argues that any museum's collecting policy must face up to the problem of vulnerability. Taking as a starting point an item in the collections of the United States Holocaust Memorial Museum, I argue that the basic responsibility of museums to collect ‘things’, and to communicate information about them in a truthful way brings their collecting practice into the epistemological domain of testimony and into the normative domain of ethics. Museums are public spaces of memory, testimony, (...) representation and interpretation that at once enable humanity to hold to account those who transgress while at the same time holding to account those who witness these transgressions. By virtue of this, museums can be considered spaces of ethics wherein testimonial and hermeneutic injustice can be confronted and challenged. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bones, Stones, and Buddhist Monks: Collected Papers on the Archaeology, Epigraphy, and Texts of Monastic Buddhism in IndiaDan ArnoldBones, Stones, and Buddhist Monks: Collected Papers on the Archaeology, Epigraphy, and Texts of Monastic Buddhism in India. By Gregory Schopen. Honolulu: University of Hawai'i Press, 1997. Pp. xvii + 298.For over twenty years now, Gregory Schopen has prolifically been producing articles on the archaeology, epigraphy, and texts that pertain (...) to Indian Buddhist monasticism. Schopen's treatment of this material has been extremely insightful and original, and his work has been instrumental in overturning many of the cherished convictions that had long constituted the "received wisdom" of Buddhist studies. In particular, his articles have prompted significant revision in thought regarding the development of Mahāyāna and regarding the role of the monastic religious in Buddhist cultic life.With the publication of this collection of Schopen's essays, Bones, Stones, and Buddhist Monks: Collected Papers on the Archaeology, Epigraphy, and Texts of Monastic Buddhism in India (the first of two such volumes, according to the Preface by Donald Lopez), Schopen's work stands to receive a wider hearing, and so to extend its already significant influence in the field of Buddhist studies. This is as it should be; for all scholars in the field are very much in Schopen's debt for the illuminating interpretations and conclusions that he has distilled from monumental amounts of epigraphical data. While Schopen has devoted care to the edition, translation, and interpretation of manuscript remains from Gilgit (chiefly, the Vinaya of the Mūlasarvāstivādins), his most characteristic and original interpretations have been of the kind of "donative inscriptions" attached to the material remains of Indian Buddhist cultic life—a task that requires, among other things, a rare expertise across the range of Middle Indic dialects. In deploying such expertise, Schopen has presented compelling evidence, for example, that it was in fact monks and nuns who sponsored the kinds of practices typically associated with the rise of Mahāyāna—a conclusion that counters the long-unchallenged view that it was Buddhist laypeople who initiated this movement. It would be good indeed if such conclusions, as well as the exemplary scholarship that warrants them, were to have influence in proportion to their originality and importance.Still, it must be said that the presentation of the essays collected in this volume also reveals one important problem, and it is to be hoped that this feature does not become entrenched as part of Schopen's influence. For particularly when reading these essays all at once, one is struck by the recurrent statement of a specious dichotomy between what religious people "actually did," and what canonical texts say they should have done. Overcorrecting the biases of his philological predecessors, Schopen insists on this dichotomy in a way, it seems to me, that reflects a problematic view of how canonical texts must have been used—a view according to [End Page 620] which, if attested behavior contradicts such texts, they must simply not have been used.The influential essay "Two Problems in the History of Indian Buddhism: The Layman/Monk Distinction and the Doctrines of the Transference of Merit" (reprinted as chapter 2 of this volume) clearly exemplifies the pattern of Schopen's work. He starts by arguing (contra the presupposition of many of his predecessors) that there is little basis for taking the Pāli canon as reflecting anything like the state of practice at an early point in history. He then goes on to show (on the basis of donative inscriptions that are much more reliably datable indicators of what was happening on the ground) that, contrary to what the "canon" would lead us to expect, it was in fact chiefly monks and nuns who sponsored the production of cultic images. This evidence calls for the recognition that "from its first appearance in inscriptions, the Mahāyāna was a monk-dominated movement" (p. 32); that "not only was the image cult overwhelmingly a monastic concern, it was also, on the basis of the available information, a monastically initiated cult" (p. 32); and that, "All of... [the] monks [involved] were doctrinal specialists... (shrink)

This article presents the unpublished Byzantine lead seals from the archaeological collection of Mystras which now are stored in the depots of the Museum of Mystras.The first seal names a Michael Barys . Probably he was bishop of Helos, known from another seal with metrical inscription which has not been fully read until now. – The second is a seal of an imperial protospatharios and tourmarches Spartaron Ioannes . This military unit is attested by this seal and other three (...) parallel pieces from the collection of Dumbarton Oaks. The name Spartaron and the fact that this seal was found in Sparta can be taken as evidence for the existence of a military unit which recalls the capabilities and fighting prowess of the Ancient Spartans. – The third lead seal mentions a vestarches and judge of the Velum, of Peloponnesos and Hellas Petros Serblias. It describes an unknown stadium of the career of Petros Serblias, a person already known from other sources.At the end four metallic plates are presented, found near to the Upper Gate of the castle of Mystras, which are caps for bottles of theriaca, a well known antiseptic medicine from the apothecary of Due Mori in Venice .Two of the seals were found in a recently unearthed Byzantine olive-press in a quarter of Byzantine Sparta where the city was expanded in the time between the tenth and twelfth century. (shrink)

This volume is a collection which includes the text of papers presented at the September 2008 Cambridge Symposium on Archaeology and Linguistics in the Andes. The Cambridge symposium sought to bring together the disciplines of linguistics and archaeology, in order to dispel a number of popular myths about the language history of the Andes. This introductory chapter first sets out the structure of the book and introduces its component chapters. Thereafter it clarifies briefly a number of principles from historical linguistics (...) that are indispensable to an understanding of how language data can inform us about prehistory at all, as a general methodological background to the chapters that follow. Next, it reviews the traditional model for associating the linguistic and archaeological records in the Andes, and the problems that attend it. Finally, it looks at one particular cross-disciplinary proposal that has commanded much attention worldwide, but precious little hitherto in the Andes: the ‘farming/language dispersal’ hypothesis. (shrink)

This article concerns the conflict between copyright and museums’ digitisation and online sharing of collections. This issue has recently become particularly important in connection with the COVID-19 pandemic. The authors outline the concept of a virtual museum and present the most important copyright provisions in EU law that may create obstacles for cultural institutions in realising virtual counterparts. To perceive copyright as the main obstacle in the process of digitisation and online sharing of collections is not unusual. (...) Hence, the article briefly presents legal framework of the European copyright applicable to such situations. The authors argue that although copyright offers a range of possibilities for museums interested in digitising their collections, at the same time it is responsible for a _chilling effect_, resulting in fear of potential infringement and liability. The authors conclude that the EU’s development of new legislation, coinciding with the need for digitisation and online sharing of cultural heritage caused by the pandemic, has favoured public interest at the expense of creators’ rights, but still lacks satisfactory legal tools for effectively allowing cultural institutions to digitise and share their collections. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt and Collections of His Art in America: An NEH Curriculum ProjectJoseph M. Piro (bio)IntroductionI have asked myself whether the short time given us would be better used in an attempt to understand the whole of the universe or to assimilate what is within our reach.—Paul CézanneThis issue of the Journal of Aesthetic Education features an arts education curriculum project that was designed to use the oeuvre of (...) Rembrandt van Rijn—seventeenth-century Dutch painter, etcher, and draftsman extraordinaire—as a teaching resource. A partnership of scholars, university professors, museum educators, and classroom teachers designed the project, which uses Rembrandt as the prism through which to diversify teaching of the core content areas of social studies and visual art. Members of this team attempted to expand the boundaries of themes traditionally found in art and other humanities disciplines by linking these with the social sciences, thereby forming what might be called “humanistic social studies.” The final product is a Web site to which teachers and those interested in using this type of instructional approach in their classroom teaching will have access. Funding for this project derived from a National Endowment for the Humanities (NEH) Curriculum Materials Development grant designed to promote the teaching of the humanities and support projects that can serve as national models.1In the eyes of many, Rembrandt is viewed primarily as a “European” artist. Although it is true that many of his major works are found in museums across Europe, he is generously represented in the holdings of collections across America. Yet for many teachers in the United States he remains an enigmatic figure; knowledge about his art is limited, and the U.S. museum collections of his work remain untapped for classroom application. To broaden the appeal and teaching potential of his work, the project team [End Page 1] mined this collection of “American” Rembrandts. Specifically, the project, targeted at secondary art and social studies teachers (grades 6 through 12), is committed to building and increasing the capacities of teachers to network knowledge of Rembrandt’s art with their classroom practice. Further, with its grounding in aesthetic education theory within a humanities framework, the project endeavors to promote instructional innovation and encourage teachers to break new ground in high-impact classroom pedagogy. The timing of the project and its ongoing development was not accidental. They converged with events held in 2006 to commemorate the four hundredth anniversary of Rembrandt’s birth. These events ranged from worldwide museum exhibitions to publications of books containing new insights on Rembrandt, all of this aimed at celebrating an artist whose achievements many consider to be a zenith of world culture.Why Rembrandt: The Rationale for the ProjectWhy is Rembrandt the artist at the center of this project? There are any number of good reasons, but the project’s rationale centers around three in particular. First, to borrow a term from Peter Kivy, Rembrandt is the ultimate “aesthetic symbol,”2 an indisputably blue-chip figure who produced some of the greatest masterworks of world art, many of which students find both intellectually engaging and psychologically insightful. Traditionally, teachers have striven to enrich the aesthetic lives of their students with exemplars of the human mind, and the genius of Rembrandt provides a potent opportunity to do so.3 By studying an artist of such stature teachers can develop students’ cultural intelligence and visual literacy and present opportunities to observe and decode substantive, challenging masterworks of art. In this context, Rudolf Arnheim describes a painting by Rembrandt as containing a network of “visual arrows” that communicate multiple experiences about the human condition, including love, tenderness, and desire, among others. Arnheim speaks of the additive nature of the experience, how the viewer—almost like a mathematician—needs to learn how to add up the clues and arrive at a solution. He does not intend, of course, for the viewer to have an impersonal, “clinical” experience. Rather, he writes, “art... is one of the most powerful instruments available to us for the fulfillment of life. To withhold this benefit from human beings is to deprive them indeed.”4Second, there is a cognitive complexity embedded in... (shrink)

Two different kinds of collections have been used to anticipate influenza pandemics: viral strains and bird specimens. These collections have been organized in museums and data banks to fill the gaps when specimens were decaying or when viral strains were missing. This article asks how collecting practices changed when such collections integrated specimens from China, considered a reservoir of influenza viruses and bird species, following a recurrent critical trope that Chinese specimens were missing. The article shows (...) that techniques for hunting viruses and birds were used to accumulate information so as to mitigate the global threat of species extinction. It suggests that in sentinel territories, museums transform samples and specimens into signs and images of future catastrophic events. (shrink)

Bones, Stones, and Buddhist Monks. Collected Papers on the Archaeology, Epigraphy, and Texts of Monastic Buddhism in India. Gregory Schopen. University of Hawai'i Press, Honolulu 1997, xvii, 298 pp. Cloth $58.00, pbk $31.95. ISBN 0-8248-1748-6/1870-9.

It has been commonly claimed that prehistoric warfare in Japan began in the Yayoi period. Population increases due to the introduction of agriculture from the Korean Peninsula to Japan resulted in the lack of land for cultivation and resources for the population, eventually triggering competition over land. This hypothesis has been supported by the demographic data inferred from historical changes in Kamekan, a burial system used especially in the Kyushu area in the Yayoi period. The present study aims to examine (...) the previous claim by using an expanded dataset of human skeletal remains and Kamekan. First, in order to quantify the intensity of warfare, we developed a database of injured individuals found in the middle phase of the Yayoi period in two large populations in the northern Kyushu area, the Fukuoka plain and the upperand middle-stream of the Homan River. Second, we collected Kamekan data from site reports published after 1990 and constructed a comprehensive database to infer the demography in these areas. Finally, we compared the frequency of injured individuals and the inferred demography. The results suggest that the frequency of injured individuals and the population increase tended to be higher at the upper- and middle-stream of the Homan River than on the Fukuoka plain. Different assumptions of the lifetime of each type of Kamekan can produce mixed results on the relationship between demography and the frequency of injured individuals. They were positively correlated under the traditional assumption of constant time intervals, while there was no correlation using time intervals based on carbon dating by the National Museum of Japanese History. Thus, our results are partially consistent with the previous claim that the population increase and the lack of land and resources due to the introduction of agriculture were causes of warfare in the northern Kyushu area in the middle phase of the Yayoi period. (shrink)