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The volume examines the mutually constitutive relationship between
the materiality of objects and their aesthetic meanings. Its
approach connects material culture with art history, curation,
technologies and practices of making. A central dimension of the
case studies collected here is the mobility of objects between
Europe and China and the transformations that unfold as a result of
their transcultural lives. Many of the objects studied here are
relatively unknown or understudied. The stories they recount
suggest new ways of thinking about space, cultural geographies and
the complex and often contradictory association of power and
culture. These studies of transcultural objects can suggest
pathways for museum experts by uncovering the multi-layered
identities and temporalities of objects that can no longer be
labelled as located in single regions. It is also addressed to
students of art history, of European and Chinese studies and
scholars of consumer culture. " This eagerly awaited volume offers
deep and extensive insights into the fast-growing field of material
culture studies. Its fresh approach to Eurasian objects and
materialities will serve as useful reading for all scholars
interested in transcultural and global studies. A very helpful
introductory essay. " Sabine du Crest, University of Bordeaux
Montaigne, Former Fellow, The Harvard University Center for Italian
Renaissance Studies.
This book investigates what has constituted notions of
"archaeological heritage" from colonial times to the present. It
includes case studies of sites in South and Southeast Asia with a
special focus on Angkor, Cambodia. The contributions, the subjects
of which range from architectural and intellectual history to
historic preservation and restoration, evaluate historical
processes spanning two centuries which saw the imagination and
production of "dead archaeological ruins" by often overlooking
living local, social, and ritual forms of usage on site. Case
studies from computational modelling in archaeology discuss a
comparable paradigmatic change from a mere simulation of supposedly
dead archaeological building material to an increasing appreciation
and scientific incorporation of the knowledge of local
stakeholders. This book seeks to bring these different approaches
from the humanities and engineering sciences into a
trans-disciplinary discussion.
The book responds to the challenge of the global turn in the
humanities from the perspective of art history. A global art
history, it argues, need not follow the logic of economic
globalization nor seek to bring the entire world into its fold.
Instead, it draws on a theory of transculturation to explore key
moments of an art history that can no longer be approached through
a facile globalism. How can art historical analysis theorize
relationships of connectivity that have characterized cultures and
regions across distances? How can it meaningfully handle issues of
commensurability or its absence among cultures? By shifting the
focus of enquiry to South Asia, the five meditations that make up
this book seek to translate intellectual insights of experiences
beyond Euro-America into globally intelligible analyses.
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