The starting point for this study is that for a large part of their existence, the paintings belonging to this genre have primarily been seen as export articles without intrinsic artistic value.... Show moreThe starting point for this study is that for a large part of their existence, the paintings belonging to this genre have primarily been seen as export articles without intrinsic artistic value. This fact, and the fact that they cannot be unequivocally classified, explains why this genre has, for a long time, not received the attention it deserves. The label ‘exportware’, though, does not exclude that these paintings can also be approached as ‘art’. They have an historic, an artistic, and a material value, which, as a result of their representative and social functions, over time formed an artistic phenomenon in its own right, and a shared cultural visual repertoire with its own (Eurasian) character. In order to draw conclusions about the appreciation of the extensive and historically valuable eighteenth- and nineteenth-century Chinese export paintings in Dutch public collections, this multidisciplinary research follows the entire trajectory of this specific transcultural painting genre in sixteen museums, from the production two centuries ago to the current position. At work in this trajectory are mechanisms between people, institutions and the paintings, which increase or, indeed, diminish the appreciation of this time- and place-specific art. Show less
Beginning in 1992 when the category of world heritage cultural landscapes was adopted by the World Heritage Committee, scholarly debates have ensued on how they could best be managed. One approach... Show moreBeginning in 1992 when the category of world heritage cultural landscapes was adopted by the World Heritage Committee, scholarly debates have ensued on how they could best be managed. One approach, which appears to have gained significance over the past two decades or so, is to consider the use of traditional conservation practices and the involvement of local indigenous communities in the management of world heritage cultural landscapes. To examine the efficacy of the approach, this book explores the concept of indigenous communities, the nature of the traditional conservation practices in the Matobo Hills Cultural World Heritage Landscape in which the study was conducted as well as the management history of the area. Based on the perspectives of the indigenous people of the Matobo Hills, this study examines the extent to which traditional conservation practices and their involvement can be germane in the management of World Heritage Cultural Landscapes. Show less
