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"More Than Aesthetics' : = A Historical Trajectory of Tibetan Art Acquisition, Exhibition Narratives, and Artistic Partnerships in Anglo-Western Museums Since 1904.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	"More Than Aesthetics' :/
Reminder of title:	A Historical Trajectory of Tibetan Art Acquisition, Exhibition Narratives, and Artistic Partnerships in Anglo-Western Museums Since 1904.
Author:	Gormley, Margaret Rose.
Description:	1 online resource (207 pages)
Notes:	Source: Masters Abstracts International, Volume: 85-11.
Contained By:	Masters Abstracts International85-11.
Subject:	History. -
Online resource:	click for full text (PQDT)
ISBN:	9798382741505

"More Than Aesthetics' : = A Historical Trajectory of Tibetan Art Acquisition, Exhibition Narratives, and Artistic Partnerships in Anglo-Western Museums Since 1904.
Gormley, Margaret Rose.

"More Than Aesthetics' :A Historical Trajectory of Tibetan Art Acquisition, Exhibition Narratives, and Artistic Partnerships in Anglo-Western Museums Since 1904. - 1 online resource (207 pages)

Source: Masters Abstracts International, Volume: 85-11.

Thesis (M.A.)--University of Wyoming, 2024.

Includes bibliographical references

This project argues that the historical trajectory of Tibetan cultural heritage presented in Western museums has favored varying aesthetic styles and narratives over including histories of Tibetan resistance, a significant component of Tibetan identity. Chronologically, it begins in the early 20th century, when European agents returned to the West with thousands of Tibetan art objects and ritual items and arranged them for display within early national museums. Typologically-driven object displays provided little authenticated representation of the Tibetan people or Tibetan Buddhism, and instead aimed to emphasize the political and cultural dominance of the 'West' over all other subjected regions. Progressive cultural strides during the 20th century changed the way museums and their staff interacted with their object collections, and over time transformed how museums represented other cultures to their widening audiences.In the case of Tibetan objects, the museum transitions and partnerships positively broadened the public understanding of Tibet. Critical additions to this process included forging partnerships with Tibetan artists and visitors themselves, and these collaborations resulted in much more accessible and dynamic presentations of Tibetan heritage within Western museums. Ultimately, it argues that while the Tibetan presence within Western museums has positively transformed, the narrative omission of the current reality faced by millions of diasporic Tibetans is quite alarming. To continue to omit the political and societal conditions of Tibet, like the Tibetan Independence movement, is doing a disservice to the audiences visiting modern museums, the museums themselves who provide nuanced 'truth', and critically, the members of the Tibetan diaspora.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798382741505Subjects--Topical Terms:

669538
History.
Subjects--Index Terms:

ColonialismIndex Terms--Genre/Form:

554714
Electronic books.

"More Than Aesthetics' : = A Historical Trajectory of Tibetan Art Acquisition, Exhibition Narratives, and Artistic Partnerships in Anglo-Western Museums Since 1904.
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520 $a This project argues that the historical trajectory of Tibetan cultural heritage presented in Western museums has favored varying aesthetic styles and narratives over including histories of Tibetan resistance, a significant component of Tibetan identity. Chronologically, it begins in the early 20th century, when European agents returned to the West with thousands of Tibetan art objects and ritual items and arranged them for display within early national museums. Typologically-driven object displays provided little authenticated representation of the Tibetan people or Tibetan Buddhism, and instead aimed to emphasize the political and cultural dominance of the 'West' over all other subjected regions. Progressive cultural strides during the 20th century changed the way museums and their staff interacted with their object collections, and over time transformed how museums represented other cultures to their widening audiences.In the case of Tibetan objects, the museum transitions and partnerships positively broadened the public understanding of Tibet. Critical additions to this process included forging partnerships with Tibetan artists and visitors themselves, and these collaborations resulted in much more accessible and dynamic presentations of Tibetan heritage within Western museums. Ultimately, it argues that while the Tibetan presence within Western museums has positively transformed, the narrative omission of the current reality faced by millions of diasporic Tibetans is quite alarming. To continue to omit the political and societal conditions of Tibet, like the Tibetan Independence movement, is doing a disservice to the audiences visiting modern museums, the museums themselves who provide nuanced 'truth', and critically, the members of the Tibetan diaspora.
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653 $a Tibetan Studies
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