The Chinese art and antiques market is to a large extent influenced by nationalism. In contrast to other governments, the Chinese government is not very successful in the repatriation of Chinese...Show moreThe Chinese art and antiques market is to a large extent influenced by nationalism. In contrast to other governments, the Chinese government is not very successful in the repatriation of Chinese cultural heritage. Therefore, it supports individuals to do so by rewarding those who step in. Nationalism nowadays is a very important value in Chinese society encouraged by the government. Part of that is also to encourage people to show their nationalism by means of buying art. Donors are also encouraged by the rewards they get for their donations. When an object that has been stolen from China comes up for sale it always attracts a lot of attention in China. This is especially the case when it originates from the Yuanmingyuan, a place connected to the humiliation of China. Many think the sale of stolen objects should be forbidden and if the government does not succeed in stopping the sale, people will try to buy it in order to repatriate it to China. Which can result in a bidding war in which the price reaches unrealistic heights. Individuals outside of mainland have used antiques to construct their Chinese identity and to strengthen their ties with China by among others donating stolen art. This is a way for them to show they support Chinese nationalism. Something that has had an influence on the buying behaviour of the overseas on the Chinese art and antique market. Since the beginning of the 2000s buyers from mainland China with the same purpose have entered the market. This has had an enormous influence on the Chinese art and antiques market. Thus, the Chinese art and antique market is to a large extent influenced by nationalism.Show less
Thesis on the Singhasari statues from Java, which are present in the National Museum of Ethnology in Leiden. The thesis describes the restitution question of the statues.
This thesis is a comparative study of the works of two artists from the Low Countries, Frans Balthazar Solvyns and Jan Brandes, who worked in two different cities - Calcutta and Batavia - in the...Show moreThis thesis is a comparative study of the works of two artists from the Low Countries, Frans Balthazar Solvyns and Jan Brandes, who worked in two different cities - Calcutta and Batavia - in the late 18th century. In doing so, it identifies connections between the art produced and the existing discourses of ethnography, natural science and art. The thesis uses insights from these discourses to understand knowledge production in the period and the role played by art in this process. The cultural context of this art production is also explored through an examination of publications of the Asiatic Society and the Bataviaasch Genootschap - “learned societies” that were founded in the late 18th century in the two colonial cities. Thus, the thesis attempts: a) to describe the knowledge production activities of the late-18th century in the colonies, with art as the focus and point of departure, and b) to thereby analyse and understand the period in terms of the transition from rariteitenkabinets of the post-Renaissance period to the state sponsored knowledge creation of the 19th century. In doing so, the thesis addresses the links between knowledge and power and analyses essentialism as an effect of the application of scientific thought and illustration to ethnography.Show less
