This present study provides a historical correction to a common misinformation on the nature of the Second Kongsi War in West Borneo, between 1850 and 1854. The Chinese settlement of West Borneo...Show moreThis present study provides a historical correction to a common misinformation on the nature of the Second Kongsi War in West Borneo, between 1850 and 1854. The Chinese settlement of West Borneo were recruited under the authority of Malay sultans to the mining sector in the mid-eighteenth century. Thereafter these immigrants established themselves in the island by building their communities, based on lineages and brotherhood in the vicinity of the mining fields. Gradually, they became independent economically, militarily, and culturally. Within the near one-hundred-and-thirty-year settlement, internal conflicts between the Chinese communities frequently turned into violent and bloody battles. Since the interests of everyone in the region of West Borneo were interrelated, those internal disputes between the Chinese communities, the Chinese and other groups, developed into regional conflicts, involving every party, from Malay sultans and Dayak tribesmen to Europeans and other Chinese counterparts who attempted to remain neutral during the wars. This study specifically centres on the Chinese experience of the Second Kongsi War, between 1850 and 1854, during which different ethnic and political parties in West Borneo were engaged. By employing a bulk of Chinese letters stored at Leiden University Library, I sorted out four strategies used by the Chinese kongsis in West Borneo to win the inter-Chinese war. As a result of these strategies, militarily and diplomatically, the inter-Chinese disputes developed into a regional conflict, with the Dutch colonialists, which were however not beneficial for the kongsis. The wars unfortunately, resulted in serious defeats of the Chinese in 1854, and hence, the decline of the Chinese political institutions of West Borneo by the turn of the mid-nineteenth century.Show less
This thesis examines displays of Chinese porcelain in Dutch museums and how they construct an image of China. Chinese commodities, especially porcelain, ended up in the Netherlands due to...Show moreThis thesis examines displays of Chinese porcelain in Dutch museums and how they construct an image of China. Chinese commodities, especially porcelain, ended up in the Netherlands due to increasing trade relations between Europe and China during the seventeenth century. Chinese porcelain was collected and put on display in Dutch interiors. This was mainly done to express the identity of the collector, thus reframing Chinese porcelain in a Dutch context. These porcelain collections eventually ended up in museum displays that framed Chinese porcelain within Western-centered and Orientalist frameworks. From the twenty-first century onwards, museum professionals have attempted to move beyond this Orientalist framework. This thesis aims to evaluate the narratives about Chinese porcelain and China that are being presented by twenty-first century displays of Chinese porcelain in Dutch museums. The analysis is performed through the observation of contemporary museum displays and focusses on the concept of framing. Attention is paid to aspects such as visual design, layout, and textual framing through object labels and wall panels. The analysis is used to evaluate the extent to which Dutch museums present Chinese porcelain as part of Western-centered and Orientalist narratives. The outcomes show that many museums still present a Western-centered narrative and use Orientalist modes of display which highlight the otherness of Chinese porcelain.Show less
This study explores the historical transformation and contemporary perception of the Taoyuan Shrine in Taiwan, shedding light on the complex interplay between heritage preservation and visitor...Show moreThis study explores the historical transformation and contemporary perception of the Taoyuan Shrine in Taiwan, shedding light on the complex interplay between heritage preservation and visitor experience. Beginning with the Dutch conquest in 1624, Taiwan's colonial history has been shaped by foreign powers, with Japanese rule (1895-1945) leaving a lasting impact. Amidst the transition from Shinto Shrines to Martyrs' Shrines under the martial regime of the Kuomintang (1949-1987), the Taoyuan Shrine stands as an exception, touted for retaining its original appearance. However, questions arise regarding the authenticity of this preservation effort, particularly within the context of a Cultural Park offering commodified experiences. Examining the intertwined notions of heritage preservation and visitor perception, this study seeks to address the question: To what extent does the Taoyuan Shrine remain authentic in the aftermath of structural changes and how is this authenticity perceived by contemporary visitors? This investigation spans two distinct research areas – an exploration of built environment authenticity through qualitative analysis and fieldwork, and an examination of visitor perceptions via a survey informed by key academic discussions. By delving into these dimensions, this study contributes to heritage studies and the discourse on authenticity.Show less
The Japanese Mingei (Folk craft) theory has played a prominent role in the realm of crafts, drawing parallels to the Arts and Crafts movement that emerged in Great Britain during the late 19th and...Show moreThe Japanese Mingei (Folk craft) theory has played a prominent role in the realm of crafts, drawing parallels to the Arts and Crafts movement that emerged in Great Britain during the late 19th and early 20th centuries. Mingei, as a counter-movement, aimed to revive traditional crafts in response to the perceived decline of fine arts. Influenced by pioneers of the Arts and Crafts movement, Yanagi Sōetsu (1889-1961) began developing Mingei theory in the early 20th century after exploring Korean crafts. Yanagi's theory centered on appreciating objects crafted by the people (min) and aimed to highlight the significance of these creations. Even today, Mingei continues to be applied to various objects, endowing them with an air of "authenticity" and "naturalness." Objects classified as Mingei are often perceived as traditional, reflecting regional techniques and shapes. The link to "nature" arises from the production process, where craftsmen prefer using locally available materials, operating in a state of mushin (no mind) – a concept derived from Zen Buddhism. According to Yanagi Sōetsu, this non-conscious state enables craftsmen to channel "nature" or a higher power, resulting in objects that embody a spiritual connection to the natural world. This research explores the evolution of Mingei theory in the context of Japanese ceramics and its reciprocal influence on ceramicists. Focusing predominantly on Yanagi's original theories, this study investigates how ceramicists have adapted and applied these ideas. Notably, Mingei theory has been instrumental in differentiating Japanese ceramics from non-Japanese works, imbuing them with a sense of "authenticity" associated with "folk art." While certain elements may not inherently qualify as "folk," they still carry Mingei attributes, reflecting national and possibly essentialist notions. Through comparative analysis, this study examines the work and comments of two prominent figures in Japanese ceramics – Hamada Shōji (1894-1978) and contemporary ceramicist Matsuo Haruka (b. 1974). Hamada Shōji, renowned for his association with Yanagi Sōetsu and the Mingei movement, serves as a compelling case study. His influence on Yanagi and vice versa sheds light on the essence of being a Mingei artist. In contrast, Matsuo Haruka, a ceramicist active in the Netherlands, offers a contemporary perspective, adhering to traditional "folk" techniques while receiving formal education in fine arts and textiles. Her experience and familial connections to Yanagi Sōri, Sōetsu's son, present a unique opportunity to explore the intersection of tradition and modernity in Mingei theory. Ultimately, this research aims to illuminate the dynamic relationship between Mingei theory and Japanese ceramics, uncovering the ways in which this influential movement has shaped the world of crafts. By examining the insights of Yanagi Sōetsu, Hamada Shōji, and Matsuo Haruka, this study contributes to a deeper understanding of Mingei's impact on the appreciation of Japanese ceramics and its continued relevance in contemporary artistic practice.Show less
The thesis has translated the whole work of Weishi Sanshi Lun Zhijie (Ch. 唯識三十論直解) which is Ouyi’s exegesis of Triṃśikā from classical Chinese to English based on the version of the Chinese...Show moreThe thesis has translated the whole work of Weishi Sanshi Lun Zhijie (Ch. 唯識三十論直解) which is Ouyi’s exegesis of Triṃśikā from classical Chinese to English based on the version of the Chinese Buddhist Electronic Text Association (CBETA). Zhijie was written in 1647 by Ouyi and has the length of 7066 characters in CBETA version. Secondly, when possible and especially interesting, I compared Zhijie to the work of Cheng weishi lun（Ch. 成唯識論）, which is another exegesis of Triṃśikā written by Xuanzang (Ch. 玄奘, 602-664) during the Tang dynasty. In addition to this, my thesis also critically reviews Dan Lusthaus’s English translation of Xuanzang’s Triṃśikā .Show less
This thesis identifies the ideals of risshin shusse ("Rising in the world") as portrayed within Meiji period sugoroku boardgames targeted at elementary school students. It compares the actual...Show moreThis thesis identifies the ideals of risshin shusse ("Rising in the world") as portrayed within Meiji period sugoroku boardgames targeted at elementary school students. It compares the actual realities of children at the time to that which is portrayed in the sugoroku and places the primary sources in their historical context.Show less
Documentaries have a history of being the mouthpiece of the Chinese government; an important medium to present a good image of the country. The Party knows that at the same time a critical...Show moreDocumentaries have a history of being the mouthpiece of the Chinese government; an important medium to present a good image of the country. The Party knows that at the same time a critical documentary can do harm. Nevertheless, especially economic reasons have made the government less rigid on documentary making—the times that the only documentaries in the country were pure Party propaganda is over. Internet has been another influence that weakened Party control. Crowdfunding gives the crowd the possibility to gather together, share ideas and financially support the creation of products. Although through crowdfunding of documentaries a different voice can be heard, the existence of these websites does of course not mean the disappearance of censorship. Therefore we cannot expect a big shift in the democratic potential of documentaries just because of the better possibilities for active audience participation through crowdfunding. Research on recent prohibited documentaries showed most of the banned documentaries regard suppression by the government of citizen rights: the government wants to prevent an upsurge of social tensions. The fact that the documentaries of the case study that address social issues are allowed to be shown across the country backs this. Crowdfunding in China thus does offer more people the opportunity to voice their opinion through documentaries, also critical opinions, but it does not increase the democratic potential in Chinese documentary art.Show less
When contemporary Chinese art first attracted international attention in the 1990s, it was assumed that the violent crackdown of the student protests at Tiananmen Square in 1989 influenced the...Show moreWhen contemporary Chinese art first attracted international attention in the 1990s, it was assumed that the violent crackdown of the student protests at Tiananmen Square in 1989 influenced the development of Chinese art. However, the history of June Fourth remains a blind spot in official Chinese history and only exists in the memories of its witnesses. Although research has been done on the practical restrictions and ideological consequences on art, June Fourth has not yet been analyzed as a subject in contemporary Chinese art. Of course obvious artistic references to the protests are rare; however I propose to research the inclusion of June Fourth in contemporary Chinese art through an analysis of the relation between art and memory. Starting with the relation between art and cultural memory in the People's Republic of China, the essay will continue with the analysis of icons of memory and the relation between the index and memory. Gradually, the thesis will shift into a more abstract analysis of the possible connection between memory and art, through the notion of the post-memory. The influence of June Fourth on contemporary art is complex and exists at multiple levels simultaneously. Ultimately, the thesis intends provide an analysis of contemporary Chinese art through memory, as complementing force to what is acknowledged as (official) history.Show less
This paper explores the history of Chinese Shuaijiao (wrestling). The sport has a history that is connected to the development of Chinese nationalism during the transformation of Qing China into...Show moreThis paper explores the history of Chinese Shuaijiao (wrestling). The sport has a history that is connected to the development of Chinese nationalism during the transformation of Qing China into the Chinese Republic. Shuaijiao morphed from an activity which occupied an important position in the Manchu Qing empire into an instrument to promote Republican nationalism.Show less
The diverse and intense usage of the Ganga has caused a big pollution problem to the river. Because the local communities interact with the river on a daily basis, they should be able to reduce the...Show moreThe diverse and intense usage of the Ganga has caused a big pollution problem to the river. Because the local communities interact with the river on a daily basis, they should be able to reduce the pollution.Show less
This thesis considers Indisch-ness (a state of Indisch belongingness) as a phenomenon of cultural consciousness that is exhibited and communicated through word of mouth. Eurocentric...Show moreThis thesis considers Indisch-ness (a state of Indisch belongingness) as a phenomenon of cultural consciousness that is exhibited and communicated through word of mouth. Eurocentric historiographies, the silencing by the first-generation, and misperceptions of cultural definitions are a few reasons why defining Indisch-ness will remain problematic and incomplete. After identifying the gaps in the literature on Indo-European identity, the investigation draws attention to the experimental nature of combining oral-photographic interviewing with photographic poetry research. The aim is to demonstrate how the (artistic) narrative transmissions of second and third-generation descendants can portray the individual experience of Indisch-ness. Narratives can be thought of as world recreations, a tool for revisiting the inaccessible past. As Indisch-ness is generally understood as a feeling of belongingness, the photographs involved rather became mnemonic pieces of evidence of their interpreted cultural unity. Therefore, this paper further explores the semiotics of sign recognition in common cultural representations as well. Although Indisch-ness remains largely indefinable, this study suggests a method to capture the narrative environment of the Indisch world in Dutch society.Show less
On the 21st June 2014, a Shintō shrine was inaugurated in the independent Republic of San Marino, as the second shrine outside the soil of Japan. The San Marino Jinja サンマリノ 神社 has been officially...Show moreOn the 21st June 2014, a Shintō shrine was inaugurated in the independent Republic of San Marino, as the second shrine outside the soil of Japan. The San Marino Jinja サンマリノ 神社 has been officially supported and recognised by Jinja Honchō 神社本庁, the administrative organisation that oversees about 80,000 Shintō shrines in Japan. However, what is mainly told about Shintō, still nowadays, is that it is the most antique and purely indigenous religion of Japan, a polytheism of immanent deities, defined as kami, strongly connected with the Japanese soil and centred around the sun goddess Amaterasu Omikami, and the imperial family descending directly from her. But, if Shintō is actually such a not inclusive religion, is it possible to define this foreign shrine legitimately and consistently Shintō, on a theoretical and practical perspective? In other words, if the claims of Shintō are the ones of a Japanese religion for Japanese people only, why the San Marino Jinja has been officially inaugurated and how does a Shintō shrine operate in a different country and cultural context? Actually, as it will be possible to discover through this research, most of the pillars on which Shintō is based are not historically consistent or accurate. It will be also possible to demonstrate how historically inaccurate it is to consider Shintō an indigenous religion in the first place. Therefore to deconstruct these claims, which could obstruct a legit globalisation of it, in this research Shintō will be discussed first from a theoretical point of view. Firstly by deconstructing the general held idea of Shinto itself, following the academical debate of the last fifty years. Secondly, by presenting the new rhetoric promoted by Jinja Honcho about Shinto as the “World's new religion of ecology”, in order to increase its national and international popularity. With this theoretical background it will be then possible to analyse the phenomenon on a practical perspective. In order to do so a comparative analysis will be featured: the Ise Jingu, the oldest model reference of jinja, will be compared to the San Marino site. The result will demonstrate whether the European shrine presents the same operating patterns as the native one, and therefore whether is a legit instance of a successful Shinto globalisation.Show less
