Een casestudy naar de invloed van nationalisme in de wetenschap en hoe dit de Nederlandse afdeling van het Rijksmuseum van Oudheden heeft beïnvloed. Er wordt een vergelijking gemaakt tussen de...Show moreEen casestudy naar de invloed van nationalisme in de wetenschap en hoe dit de Nederlandse afdeling van het Rijksmuseum van Oudheden heeft beïnvloed. Er wordt een vergelijking gemaakt tussen de vooroorlogse opstelling van de hand van Holwerda en de naoorlogse opstelling die eind jaren 1960 werd ingericht door Louwe Kooijmans.Show less
This research will address the influence of postcolonialism within the National Museum of Antiquities in Leiden, an archaeological museums. Postcolonialism is a frequently discussed topic in...Show moreThis research will address the influence of postcolonialism within the National Museum of Antiquities in Leiden, an archaeological museums. Postcolonialism is a frequently discussed topic in museology, however, the discussed museums are mainly ethnological. In this thesis I have explored different aspects of the National Museum of Antiquities on the basis of year reports and other archival material, and interviews. The permanent presentation, the temporary exhibitions, the field research, the collecting policies and the public attitude of the museum all seem to have made certain postcolonial changes. The strongest change made lies in the museum’s attitude towards its public. The National Museum of Antiquities is connecting past societies to the people of the present by making its collection open to visitors from different ages, nationalities and backgrounds. In doing so, the museum globalizes towards the public.Show less
Master thesis | Classics and Ancient Civilizations (MA)
open access
After the conquest of Egypt by the Roman Empire many political, cultural and social changes occurred. Egyptian society underwent a process of transformation that had already begun in the last few...Show moreAfter the conquest of Egypt by the Roman Empire many political, cultural and social changes occurred. Egyptian society underwent a process of transformation that had already begun in the last few centuries with the government of foreign rulers. These changes affected the identity of many individuals, both Egyptians and foreigners living in the country, and left their mark on the material culture. In this study is analysed for the first time the collection of Graeco-Roman stucco masks from the Rijksmuseum van Oudheden in Leiden. These funerary masks become an object that provides valuable information about the ethnicity and identity of their owners, belonging to the new elites. This analysis will be performed by an indirect observation of the objects, through photographs. Stylistic comparisons will be made with other masks from other collections. These comparisons may provide evidences that in some cases can lead to the proposal of relative dating. At the same time, this analysis will put forward interpretations about the possible identity of some of the masks’ owners.Show less
Analyzing the acquisition policies of museums is an important way to understand how the legal as well as ethical standards have evolved since 1970. Museums were influenced by these changing...Show moreAnalyzing the acquisition policies of museums is an important way to understand how the legal as well as ethical standards have evolved since 1970. Museums were influenced by these changing standards: What could be bought legally some years ago can no longer be bought legally today. This has to do with how the legal and ethical standards evolved. Furthermore, it is evident from the research that museums have understood that they can no longer buy unprovenanced antiquities and, for this reason, have published acquisition policies and declarations. The year 1970 can be seen as the turning point in the protection of antiquities. In this year, the first ethical codes were published by museums as well as the ICOM Code of Ethics; and in November 1970 the UNESCO Convention was put into effect. This thesis analyzes the acquisition policy of the Rijksmuseum van Oudheden and compares it with other major museums.Show less
The aim of this study is to shed more light on the Collection G.N.V. of the Dutch National Museum of Antiquities, in Leiden. To make this possible this thesis starts off with a global overview of...Show moreThe aim of this study is to shed more light on the Collection G.N.V. of the Dutch National Museum of Antiquities, in Leiden. To make this possible this thesis starts off with a global overview of the history of the collections of the Museum in Chapter 2. In Chapter 3 the Collection G.N.V. is briefly introduced to the reader, together with an overview of the people who played a main role within the formation of the Collection: the triangle Martinus Nijhoff, Johannes Verschoor and the Museum. One element the author wished to research is how this Collection came together between 1886 and 1896 and how it came into the hands of the museum, as is debated in Chapter 4. In this triangle the Museum bought the antiquities, through the guidance and mediations of Nijhoff, from the Dutchman Verschoor. Verschoor was a doctor who lived in Naples, where he purchased antiquities that came to his attention through individual collectors, art dealers and his customers. The antiques originate both from trade and direct from archaeological digs. Chapter 5 – in which the second element of the research will be accounted for – shows how the acquisition of the Collection G.N.V. would not be accepted into both the ethical framework, and the legislations, which Museums nowadays deal with. The biggest concern within the purchase of these objects, that would not be accepted today, is the lack of knowledge about the context and the ownership history of the objects. All of the above is considered in the last chapter, Chapter 6. An Appendix is added to illustrate the overview of the Collection G.N.V in a schematic way. Appendix I is a list of the 14 different acquisitions of the Collection, Appendix II serves to give a complete picture of the antiquities in the Collection G.N.V and Appendix III shows a list of the communication about the Collection in the Archive of the Museum.Show less
In the early twentieth century Luristan bronzes started to appear on the European art markets. In 1931-1932 the Rijksmuseum of Oudheden acquired fifty-five objects. In this thesis the provenance of...Show moreIn the early twentieth century Luristan bronzes started to appear on the European art markets. In 1931-1932 the Rijksmuseum of Oudheden acquired fifty-five objects. In this thesis the provenance of these objects is retraced. By focussing on museum objects with no known provenance it becomes evident that official archaeological excavations are important to understand these objects that are part of archaeological collections but were not acquired through legal excavations.Show less
