Zhenmushou (鎮墓獸) are ritual protective tomb sculptures which can be found in multiple notable European museums that house Chinese art. The function, presentation and the impact of these sculptures ...Show moreZhenmushou (鎮墓獸) are ritual protective tomb sculptures which can be found in multiple notable European museums that house Chinese art. The function, presentation and the impact of these sculptures – and that of pre-modern Chinese mortuary objects – on viewer’s perception of China as an object in the 21st century within European museums has, however, not been previously studied in Western scholarship. This study therefore aims to do so by examining the changing functions of zhenmushou over time and place. Firstly, sources and theories on zhenmushou within the context of the Chu state (楚国; 702-221 B.C.E) during the Warring State Period (戰國時期; 481 -221 B.C.E.) were analyzed. The original role of zhenmushou was afterwards put in perspective with its current function within four French and British museums by studying the museums’ display and narrative. Subsequently, critical heritage theory regarding decolonisation, orientalism and provenance theory was applied to deconstruct the narrative and display, and reveal underlying power mechanisms within the discussed museums. Lastly, possible alternative ways of display are briefly discussed. Overall, this study shows that despite the seemingly static materiality, objects displayed in museums do not have a permanent meaning, but are shaped by their context. The function of zhenmushou varied substantially over context and time, and continues to change in museums through new encounters, the juxtapositions with other objects, changed descriptions and other modifications in their environment.Show less
This thesis critically evaluates Google Arts & Culture 'Korean Heritage' and the platform's claims of 'democratizing' heritage and 'blurring the lines between experts and users'. Within...Show moreThis thesis critically evaluates Google Arts & Culture 'Korean Heritage' and the platform's claims of 'democratizing' heritage and 'blurring the lines between experts and users'. Within scholarship, Digital Heritage has often been characterized as a force of democratization as well as a possible threat to traditional authority by enabling more active engagement. However, while GA&C's presentation of content capitalizes on digital technologies' strengths, it remains dialogically closed. As a result, projects such as 'Korean Heritage' actually reinforce the authority of state-sponsored heritage institutions and help reproduce a state-authorized view of heritage. Additionally, through collaboration with heritage institutions, Google is able to strengthen its business image as benevolent tech-giant, while simultaneously collecting data on user activity on the platform.Show less
Seoul has continuously been reshaped by nation-building strategies that project the image of the nation through urban space. From the 1970s onwards, this image has drastically changed by rapid...Show moreSeoul has continuously been reshaped by nation-building strategies that project the image of the nation through urban space. From the 1970s onwards, this image has drastically changed by rapid industrialization and the creation of a ‘national heritage’ canon under the Park Chung Hee government. Subsequent governments have invested in the 'politics of memory' to strengthen their regimes: complete urban compounds were demolished and replaced by monuments, museums, public plazas, and impressive urban projects that have recently turned Seoul into a 'soft’, playful and global city. However, current Seoul Mayor Park Won Soon has shifted his focus on urban revitalization instead of demolition. His ‘Seoul Future Heritage Program’, in which ‘Industrial Heritage’ plays a crucial role, reflects the approach of ‘heritagization’, the creation of heritage, to revitalize decaying structures in the city. Seoullo 7017, a deteriorating traffic overpass turned into a green walkway, and Again Sewoon, an old arcade ‘revived’ by inviting startups and creative events, were elevated as ‘Industrial Heritage’ and imagined alongside the nation’s ‘traditional’ heritage in a naturalized narrative portraying the nation’s culture and progress. Both projects were designed to attract daily citizen activity and engagement with their heritage value through information signs, public campaigns, and pedestrian accessibility. Altogether, Mayor Park’s policy shows a crucial shift in attention towards experiential heritage, in which industrial architecture is firmly placed within the national heritage narrative.Show less
