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M-582. Rectangular copper tablet showing a horned human figure(hunter) with bow and arrow in hands and having pictographic inscription on other side. Mohenjodaro, Indus valley civilization, 2500-2000 BCE, National Museum, New Delhi, India. Field symbol. Sign 28. kāmaṭhiyo a bowman; an archer rebus: कामठा kāmaṭhā 'workshop’ (Konkani) He has a bovine tail. Dhangar ‘bull’ rebus: dhanga, thakur ‘blacksmith’. He is zebu horned. khũt ‘zebu’ (Kathiawar) rebus: khũt ‘community, guild’. Thus blacksmith guild workshop
In public discussions, cultural artefacts, such as those kept and trafficked between art dealers, private collectors and museums, have increasingly become localised in the Bermuda triangle of colonialism, looting and the art (black) market as well as ownership and claims for return. In this triangle, antiquities and ethnographic artefacts disappear from the find-spot or original cultural setting and resurface sometime later, often under " mysterious " circumstances, in other cultural, mostly transnational, locations. This triangle of displaced artefacts, the various methods and routes of their travel, and the way these artefacts are claimed in order to be returned constitutes the framework of this book. 1 These contexts – colonialism, looting and contested ownership – are, of course, not identical with each other. Moreover, public ethnographic and antiquity museums cannot be equated with the art (black) market, dealers and private collectors. They share some commonalities, but many differences also exist, the major being the time factor. Artefacts that came to museums during colonialism refer to a different, hegemonic, world order that had its own regulations; these have to be acknowledged in their historical setting. Anton emphasised that the determination whether cultural goods have been transferred legally or illegally needs to take into account the conditions of time and place (2010:66). Nevertheless, this still allows one to critically assess these former acquisitions and their circumstances from today's perspective. The chapters are written by scholars from different disciplines (anthropology, law, cultural studies, art history and archaeology). They explore various aspects of how highly valued cultural goods – sacred heirlooms for some actors, mere material remains, commodities or much sought-after works of art for others – are traded and negotiated among diverging parties and their interests. The starting point of these investigations was the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. Subsequent questions arose: how has this Convention been implemented since its coming into force? How has it raised awareness about cultural property and ownership? How has such cultural property, first and foremost ethnographic artefacts and antiquities from non-European countries, mostly located in museums in the North, become contested and claimed by " source nations " that had suffered colonisation or other forms of oppression.
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