5th asian national museums association meeting and conference

25—27 November 2015, Singapore i Foreword ii Editor’s Note iii List of Countries that are represented in ANMA and their representative institutions as of 2015 v Programme for the 5th ANMA Meeting and Conference, 25—27 November 2015, Singapore

Country Reports About anma Editors: Thangamma Karthigesu and Kathleen Ditzig 10 Design: Studio Vanessa Ban CAMBODIA: national museum of cambodia The Asian National Museums Association (ANMA) ANMA Organising Committee: Pei Jun Chia, Balancing Political History, Ethnography, and Art: The Role of a National Museum. The Case of the National Museum of Cambodia was established as a network to promote exchange Kathleen Ditzig, David Alan Henkel, By Mr. Kong Vireak, Director, National Museum of Cambodia and co-operation among national museums in Asia. Vaisshnavi Jayasambok 16 Initiated by the National Museum of China, Tokyo Printer: Allegro Print China: National Museum of China National Museum and the National Museum Distribution: Distributed by the National Heritage A Speech on Balancing Political History, Ethnography and Art: The Role of a National Museum of Korea in 2007, its membership covers major Board, Singapore By Mr. Huang Zhen Chun, Deputy Director, National Museum of China national museums in Asia or their agencies. 20 Published on November 2015 by National Heritage INDIA: NATIONAL MUSEUM NEW DELHI About the ANMA Logo Board, 61 Stamford Road #03-01, Stamford Court Shifting Priorities of a National Museum: The Journey of National Museum New Delhi Singapore 178892 By Ms. Joyoti Roy, Outreach Consultant & Dr. R.K Tewari, Deputy Curator, Numismatics, National Museum New Delhi The predominant feature of the ANMA logo is a 30 lattice pattern, which has modern and traditional © 2015 Indonesia: the national museum of indonesia connotations. A traditional design in most Asian The National Heritage Board/ Balancing Political History, Ethnography, and Art: The role of The National Museum. Implementation at Museum Nasional Indonesia cultures linked to weaving traditions and window Authors all rights reserved. By Mrs. Intan Mardiana, Director, Museum Nasional Indonesia frames, the lattice pattern also represents the 34 multi-dimensional and networked connections that The National Heritage Board shall not be Japan: Tokyo National Museum underline the knowledge exchange that define the held liable for any damages, disputes, loss, The Roles of National Museums in Japanese Society work of the Asian National Museums Association. injury or inconvenience arising in connection By Mr Masami Zeniya, Executive Director, Tokyo National Museum As a grid, it defines the coordinated work of the with the contents of this publication. 40 association which aspires to lay the foundation Korea: National Museum of Korea for the growing international influence of Asian No part of this publication may be reproduced, Balancing Research on Ancient Korean Cultures National Museums regionally and globally. stored in a retrieval system, or transmitted in any By Dr. Kim Youngna, Director, National Museum of Korea form or by any means, electronic, mechanical, 46 Notes photocopying, recording or otherwise, without the Lao: Lao National Museum prior permission of the publisher. For all copyright Lao National Museum: Balancing Political History, Ethnography and Art: The Role of a National Museum This e-publication is a second consolidated and matters please contact the National Heritage Board. By Mrs. Phetmalayvanh Keobounma, General Director, Lao National Museum updated edition of the print publication that 52 accompanied the fifth meeting and conference ISBN 978-981-09-7632-3 Malaysia: Department of Museums Malaysia of the Asian National Museums Association Balancing Political History, Ethnography and Art: The Role of a National Museum in Malaysia that was held in Singapore from the 25th to 27th By Mr. Mohd Azmi Bin Mohd Yusof, Deputy Director-General (Museology), Department of Museums Malaysia, November at the Asian Civilisations Museum. Ms. Miti Fateema Sherzeella Mohd Yusoff, Curator, Department of Museums Malaysia, and Ms. Noraini Binti Basri, Senior Curator, Department of Museums Malaysia The positions and affiliations of the authors of 60 the papers are as of November 2015. As such, the Nepal: National Museum of Nepal views and positions expressed in this publication Balancing Political History, Ethnography and Art: The Role of a National Museum are those of the authors only and not those By Ms. Mandakini Shrestha, Director, National Museum of Nepal, Chhauni, Kathmandu of the organisers, publisher or editors. 68 Singapore: Asian Civilisations Museum A New Chapter: The Redevelopment Of The Asian Civilisations Museum (ACM) By Mr. John Teo, Deputy Director, Curatorial, Collections and Exhibitions, Asian Civilisations Museum, Singapore

74 sri lanka: COLOMBO national museum Balancing Political History, Ethnography, and Art: The Role of a National Museum – Sri Lanka By Mrs. Sanuja Kasthuriarachchi, Director, Department of National Museums, Sri Lanka

78 Thailand: The Office of National Museums, Thailand The Challenge of Running Ethnology Museums versus Art and History Museums in Thailand By Dr. Amara Srisuchat, Senior Expert in Art and Antiquity, The Office of National Museums, Thailand A Division of: Supported by: 86 Vietnam: vietnam naTIONAl museum of history Role of The Vietnam National Museum of History: On Balancing Political History, Ethnography And Art By Dr. Nguyen Van Cuong, Director, The Vietnam National Museum of History

90 Notes foreword Editor’s Note

Dr. Alan Chong Ms. Thangamma Karthigesu Chairman of the Asian National Museums Association, 2013–2015 Director of Culture Academy, Singapore Director of Asian Civilisations Museum

The multiple roles of national museums It was a privilege for us to work together minimal copyediting. As we wanted to highlight with the authors on their papers. It was indeed the authenticity and true voice of the authors, an enriching experience for all of us and we hope the editorial team took the utmost care in The theme for this year’s meeting and tice. Many of our institutions have creatively that this publication will enrich its readers just editing the texts to ensure that no compromise conference of the Asian National Museums As- mixed these categories to fashion a rich and var- as it has benefited our perspectives of national or change in meaning of the commentary oc- sociation (ANMA) is Balancing Political History, ied narrative. Rather than craft a single national museums in Asia. curred. Every effort was also made to ensure that Ethnography, and Art: The Role of a National Muse- narrative, many of our members have empha- the information contained in this publication is um. This publication contains papers presented sized diversity and multiplicity. If identity itself The theme of the conference, Balancing accurate at the time of publication. As such, the at the meeting in Singapore on 26 November is fluid, museums may need to respond nimbly Political History, Ethnography and Art: The Role of a views and positions expressed in this publication 2015. These papers are country reports that re- to changes in society. National Museum, is the foundation of this publi- are those of the authors only and not those of flect on the various cultural roles played by the cation and the prompt placed to our contribu- the organisers, publisher or editors. national museums that form ANMA. This 5th meeting of ANMA is an oppor- tors who work within different political contexts tunity to share our practices and challenges on and with the complexity of intermingled and The included contributions are limited Museums can preserve the collective this theme, as well as on a wide array of con- evolving histories. It can be difficult to provide a to members of the Asian National Museum memory of a nation and carve a place in glob- cerns. It is a great pleasure to welcome delegates balanced and inclusive representation of such his- Association (ANMA) who provided their contri- al history for the peoples and communities of to Singapore at a time when many of our mu- tories, especially given the diverse local, regional butions before the conference. A more complete those states. At the same time, national muse- seums have new galleries or indeed entire new and international communities that may have a publication will be made available online at ums often need to consider cultures that cross buildings to unveil. stake in such histories and cultures. As such, the www.cultureacademy.sg at a later date. national borders, and sometimes form networks different insights from our contributors provide over considerable distances. These themes are For their support of this conference, we a sense of how Asian national museums navigate It has been a privilege for the Culture more challenging to present simply because of thank all the ANMA members, in particular such complex socio-political terrain to present Academy to work on this publication. We hope their hybrid nature, and because, to many visi- the National Museum of Japan and the Na- an unbiased story as much as possible within that it gives you a new perspective on Asia’s na- tors, they do not represent the “core culture” of tional Museum of Korea. I am grateful for the these constraints. tional museums, and that this publication will a perceived national identity. Equally challeng- support of the Culture Academy Singapore, the open new doors for ANMA members to show- ing is the balance of materials that have been National Museum of Singapore, the National The contributions in this physical publi- case the great work they do in their respective traditionally categorized into archaeological, Gallery Singapore, the Singapore Art Museum cation, provided by prominent museum officials organisations to their counterparts regionally ethnographic, fine art, and contemporary prac- and the Indian Heritage Centre. and scholars from their respective cultural and globally. scenes in Asia, have been included with only

Dr. Alan Chong Ms. Thangamma Karthigesu November 2015 November 2015

i ii List of Countries that are represented in ANMA and their representative institutions as of 2015:

Kingdom of Cambodia National Museum of Cambodia People’s Republic of China National Museum of China Republic of India National Museum, New Delhi Republic of Indonesia National Museum of Indonesia (Museum Nasional) State of Japan Tokyo National Museum Republic of Korea National Museum of Korea Lao People’s Democratic Republic Lao National Museum Malaysia Department of Museums Malaysia Mongolia National Museum of Mongolian History Federal Democratic Republic of Nepal National Museum of Nepal Republic of Singapore Asian Civilisations Museum Democratic Socialist Republic of Sri Lanka Department of National Museums Sri Lanka Kingdom of Thailand The Office of National Museums Thailand Socialist Republic of Vietnam The Vietnam National Museum of History

iii iv PROGRAMME FOR THE 5TH ANMA MEETING AND CONFERENCE 25—27 November 2015 Singapore

Day 1: Wednesday, 25 November 2015 1300 - 1400 Lunch

0900—1500 Arrival of 5th ANMA Delegates 1400 – 1800 ANMA 2015 Conference

1600 - 1630 Registration of delegates 1400 - 1410 Opening Address

1630 - 1730 Guided Tour of revamped galleries of National Museum of Singapore (NMS) 1410 - 1430 Keynote Speech by Prof Tan Tai Yong, Executive Vice-President, Yale- NUS College 1830 - 2130 Welcome Dinner at National Museum of Singapore 1430 - 1500 Presentations by Dr Alan Chong, Director, Asian Civilisations Museum and Dean, Culture Academy Ms Angelita Teo, Director, National Museum of Singapore Day 2: Thursday, 26 November 2015 Dr Eugene Tan, Director, National Gallery Singapore

0900 - 1300 The 5th ANMA Executive Committee Meeting 1500 - 1600 Round Table Session with ANMA Heads of Delegation and Singapore Venue: Discovery Room, Basement, Asian Civilisations Museum (ACM) museum directors on the theme of the conference: Balancing political history, ethnography, and art: The role of a national museum 0900 – 0915 Welcome by Chairman, ANMA 5 Dr Alan Chong, Director, Asian Ci- vilisations Museum and Introduction of new Members Moderated by keynote speaker Prof Tan Tai Yong.

0915 – 0930 Confirmation of the Minutes of the 4th ANMA Executive Committee 1600 - 1630 Public Question and Answer Session Meeting held in Vietnam on October 8th 2013 and Matters Arising from the 4th ANMA Executive Committee Meeting 1630 - 1645 Concluding remarks by Dr Alan Chong, Director, Asian Civilisations Museum and Dean, Culture Academy 0930 – 1000 Presentation of New Initiatives for ANMA by ANMA 5 Secretariat 1645 End of Conference 1000 – 1210 Country Presentations by ANMA members on what new initiatives they have undertaken since 2013 1830 - 2100 Farewell Dinner 1215 - 1220 Any other business

1220 - 1300 Signing of Memorandum of Understanding and appointment of Chair- Day 3: Friday, 27 November 2015 man for ANMA 6 and dates for the congress of ANMA 6 0930 - 1700 Cultural Excursions of the National Gallery Singapore, Singapore Art Museum 1300 End of 5th ANMA Executive Committee Meeting and Indian Heritage Centre

v vi Balancing Political History, Ethnography, and Art: The Role of a National Museum The Case of the National Museum of Cambodia

Mr. Kong Vireak Director, National Museum of Cambodia

Introduction It is not without difficulty that one can For its modest definition, museums are discuss and debate the role of the Cambodian a major expression of cultural identity in every National Museum within this theme. In its society. The role of national museums in defining context of having been part of a French Protec- and shaping a nation’s identity has been a much torate, the National Museum of Cambodia was discussed topic of late. In introducing, perhaps, created with a mandate to cover archaeology the most stimulating collection of essays on the and art history but also to balance the colonial subject, Darryl McIntyre and Kirsten Wehner in history with the great past Cambodian civiliza- the introduction to their co-edited publication, tion. Since it opened till the present day, the Na- National Museums: Negotiating Histories – Con- tional Museum of Cambodia’s core collections The Exterior of the National Museum of Cambodia ference proceedings (2001), drew attention to the and displays center on archaeological and art Image courtesy of the National Museum of Cambodia difficulties contemporary national museums objects, which include exclusively the statues of face in trying to “negotiate and present com- Indian Gods of Hinduism and Buddhism, with peting interpretations of national histories and the exception of a small number of pre-historic Mouhot(1826–1861), such as Travels in the Central and researchers. The discovery of Khmer sites national identities.”1 How national museums and ethnographic objects. which complement Parts of Indo-China (published in 1863) and perhaps resulted in a true scientific and museological seek to represent competing histories, contested the art collections. even more so from engravings of Mouhot’s draw- expansion that raised the question of the role certainties and cultural difference through their ings, the image of Angkor, became emblematic of archeology in ‘cultural colonisation’. In the structures, spatial arrangements, collection pol- What is the role in balancing political of the most spectacular form constructed for case of Cambodia, this question should be noted icies and exhibition strategies has been analyzed history, ethnography and art that the National the International Colonial Exposition in 1931, within a context of ruins and heritage objects by many scholars and practitioners, generating Museum of Cambodia plays? This may become which captured the French imagination. The being taken possession while being ‘processed’ an extensive literature on the subject. the turning point for a new mandate for a Cam- International Colonial Exhibition attempted for archaelogical purposes. After the French bodian National Museum to challenge. to display the diverse cultures and immense re- naturalist and explorer, Mouhot, the first agent The 5th Asian National Museums As- sources of France’s colonies. It was the pinnacle of such processing was the lieutenant Ernest sociation (ANMA) focuses on the competing In The Beginning, There Were of a number of exhibitions that reconstructed Doudart de Lagrée, who took advantage of a and difficult mandates that national museums Archaeology And the Arts the colonies in 1878, 1889 and 1900, in Paris, and reconnaissance to Angkor, before he became the address.The Asian Civilisations Museum of Sin- in 1906 and 1922, in Marseille. leader of the French Mekong Expedition of 1866- gapore is the chair of this conference and defines Needless to say, Cambodia is among the 1868, a major scientific expedition of the 19th the central theme of the conference as Balancing richest country in terms of its cultural materials. Cambodian archaeological work was, and century. If archaeological deposits, in the form Political History, Ethnography and Art: The Role However, until the late 19th Century, Cambodia essentially remains, focused on its great monu- of Khmer sculptures, define the cultural identity of a National Museum so as to encourage public was lesser known to the West. Influenced by ments. The temples, by their number, their gran- of Indochina, it is significant that the first move discussion among the Asian National Museum publications such as the journal, World Tour, deur and beauty, almost ineluctably monopolise to conserve them was part of their appropriation practitioners. (1863), travel accounts by the explorer Henri the attention of the few concerned institutions and exportation to France. The other prominent

2 The Mekong Expedition was the first systematic exploration of the Mekong River. Led by Ernest Doudard de Lagrée and Francis Garnier, the expedition ascended the river from its mouth 1. Daniel McIntyre, and Kirsten Wehner. In National Museums: Negotiating Histories: Conference Proceedings, (Canberra: National Museum of Australia, 2001), xiv. to Yunnan between 1866 to 1868. Delaporte was a young naval officer and chosen to accompany the expedition because of his talent in drawing.

10 11 Balancing Political History, Ethnography, and Art: The Role of a National Museum Kong Vireak The Case of the National Museum of Cambodia figure in this process was Louis Delaporte, a lieu- began and a new phenomenon arose: tourism. latter’s study in jewellery, sculpture and weaving. A number of guides as well as various catalogues tenant and member of the Mekong Expedition From October to December 1907, two hundred and publications relevant to the collections are of 1866-1868.2 He would later describe his initial visitors visited the Angkor site. Tourism also His museum was not conceived simply already known to the public. emotion: “I could contemplate these monuments brought with it a competition with other colo- as a place to conserve and display collections. of art ignored for too long without feeling a nial powers, such as the British and Dutch, who From the beginning, it was integrally linked strong desire to make them known to Europe sought archaeological treasures. For immediate to the School of Cambodian Arts (École des Balancing Political History, and enrich our museums (with) a collection of solutions, many of the statues and architectural Arts Cambodgiens), whose mission was to train Ethnography and Art: Special Khmer antiquities whose place was all marked elements at Angkor were transported to the artisans in diverse skills. Such was the vision of Exhibition and their role next those of Egypt and Assyria.” With the cre- then newly created Dépôt de Conservation d’Ang- its founder, George Groslier who intended that in Balancing National and ation of the Trocadero Indo-Chinese Museum kor, Angkor Conservation Depot in Siemreap. As objects from antiquity provide a source of inspi- Regional Identities in 1880, Louis Delaporte introduced the Khmer the number of objects increased in this depot, a ration for modern art. He considered modern civilization to the pantheon of universal arts. museum was needed. art somewhat sluggish after a long sleep. Yet, he As the number of visitors to the National thought modern art was potentially powerful. Museum of Cambodia has increased, there is In Indochina, the essential scientific in- From Archaeological For this reason, 19th and 20th Century objects a need to shape the public’s understanding of stitution of archaeological investigation is École Research and Conservation of everyday life are presented as being of artistic their country’s history. The National Museum française d’Extrême-Orient (EFEO), the French of Monuments to the Museum: value in the museum. As such, apprentices in of Cambodia has arrived at a the turning point School of the Far East. Established in 1898 by the The establishment of the jewellery, metal-casting, drawing, sculpting and in its development. Instead of its traditional Governor General Paul Doumer(1857–1932), it National Museum of Cambodia weaving of the time worked in a most propitious role of collecting, preserving and sharing its was first named the “archaeological mission” in atmosphere. It must also be said that antiquities rich collections, it now finds that it plays an spite of its objects of study being very broad. It is In Phnom Penh, two museums with a had already begun to disappear from sites. They expanding role in supporting the development of not limited to the study of extinct societies, since mandate to cover archaeology and art history were making their way to various foreign collec- communities and major economic activities. In it includes philology and ethnology. EFEO was were established. The first was established by tions. Legal controls for their protection were performing such important duties, the National created under the aegis of the Institut de France, decree on August 17, 1905 under the authority not well-established. To mitigate cultural losses, Museum of Cambodia needs to consider the Academy of Inscriptions and Belles-Lettres. of the higher Resident of Cambodia and the a museum was clearly ever more indispensable. role of cultures and communities which cross When officials of the EFEO have to reaffirm the scientific control of the EFEO. The museum national borders and cultural objects that have school’s authority, such as it’s scientific control was built in 1908 by a Kuhn-Cambodian archi- In 1917, the first stone was solemnly been retooled and contextualized over different of museums in Indochina, they still prevail in tect who graduated from the Central School of laid; thus launching the project of building historical periods. garnering this legitimacy at the highest national Paris. It was located in the grounds of the royal a museum. Construction was completed in scientific bodies. Another notable point is the palace and was funded by the royal treasury. 1920. This was followed by the inauguration of From 2010, the National Museum of issue of preservation of ancient monuments in This fact gives an indication of the interest of the museum, then called The Albert Sarraut Cambodia has promoted special and temporary Indochina. This was discussed at the Interna- the Khmer sovereignty in this type of conserva- Museum. Regardless of its first collections, exhibitions for different stakeholders. With tional Congress of Orientalists in 1897 and laid tion. However, in 1917, it was replaced by a second the building itself was already perceived as a support, it is hoped that the National Museum the foundations for the formation of the EFEO. museum dedicated to Albert Sarraut (1872–1962), work of great distinction. This opinion was will continue to develop exhibitions that promote In 1900, the law on historical monuments was the then governor general. This museum is unanimous. In 1951, the responsibility for man- Cambodian art, explore aspects of Cambodian established by the publication of a decree “on inseparable from the personality of George Gro- aging patrimony was transferred by the French art history and showcase the extensive and the conservation of monuments and objects of slier (1887–1945), its creator and curator. Groslier Protectorate to Khmer authorities. It was then extraordinary national collection. Such a special historic or artistic interest.” In 1901, the first was the son of a director of the civil service. He that the museum’s name was changed to The exhibition would encourage the participation ranked list of conserved monuments was devel- became the first French born in Cambodia in National Museum of Cambodia. The museum of individual artists and the private sectors to oped. The Khmer monuments were highlighted 1887. Trained at the Ecole des Beaux-Arts in Paris, was directed by a succession of French directors cooperate with the National Museum to show in this document. The following year in Paris a he returned to Phnom Penh and was dedicated until 1966, before the first Cambodian was put in their works of art as well as to advocate for so-called foundation for conservation of ancient to promoting the culture of this country. He charge. It goes without saying that from the very representations of their community’s identity. monuments in Indochina (Société d’Angkor pour established the School of Cambodian Arts in beginning the archaeological and ethnographic Some special exhibitions also lead to regional la conservation des monuments anciens d’Indochine) 1917, an institution located next to the museum. collections (of stone, wood, metal and ceramic cooperation. was created. With it, the first restoration work The museum provided objects as models for the objects) have been continuously enriched. 12 13 Balancing Political History, Ethnography, and Art: The Role of a National Museum The Case of the National Museum of Cambodia

In 2010, the National Museum of Citadel site museum, My Son Interpretation Cambodia presented a special exhibition of Center, Da Nang Cham Sculpture Museum, ethnography of the Mekong entitled Stories of the Ho Citadel site Museum from Vietnam, and Mekong - Challenges and Dreams. This exhibition Wat Phu Museum from Laos. In addition to the lasted 3 months from July 28 – October 30, exhibition, the National Museum of Cambodia, 2010. The Mekong River has been the home of as well as other eight participating museums in cultures as old as time and a continuous source this project ran an education programme with of life and legend. It gathers people with different school children until the end of June 2013. The ways of life, but who have shared challenges and aim of this exhibition was to provide visitors dreams. This exhibition brings to life the rich with new narratives by shedding light on the cultural heritage of the river through different historical interconnections between various voices in this crossroad between old and new. World Heritage sites and related populations of the sub-region. This exhibition was followed by a special exhibition entitled Our Common Heritage: Conclusion Exploring World Heritage Sites of Cambodia, Laos and Viet Nam that was inaugurated on 19 February With the need for reform to cope with

2013. It was a result of the UNESCO-Japan the ASEAN Economic Community (AEC) (Blank Page) Fund in Trust project called Revitalizing World integration by 2015, the National Museum of Heritage Sites and Museums in Cambodia, Laos and Cambodia has started to address its role in Viet Nam. The project was launched on July 2011 defining and shaping the public’s understanding and followed by two regional workshops, the first of history and in balancing such histories with in Hanoi (in 2011) and the second in Siem Reap regional political histories and identities. The (in 2012). It included participants from the nine National Museum of Cambodia has found their museums: National Museum of Cambodia, Preah way out of a traditional context of arts and Norodom Sihanouk Angkor Museum, Angkor archaeology by promoting special exhibitions in National Museum, Preah Vihear Eco Global socio-history and ethnography. Museum from Cambodia, Thang Long Imperial

14 15 A SPEECH ON Balancing Political History, Ethnography and Art: The Role of a National Museum

Mr. Huang Zhen Chun Deputy Director of National Museum of China

This conference is themed on the role licity and education and thus delivers cultural of a national museum, namely, the role and services; and fourthly, it carries out academic function of the museum in modern society. As research. The museum should base all its major is known to all, the museum is an important business upon scientific research. public institution delivering cultural services. It displays human civilization, promotes cultural Since the inauguration of the National exchanges, and enriches the visitors’ spiritual Museum of China (NMC) with the merging of and cultural world. two museums in 2003, the foremost issue it has faced is addressing the scope of its role and func- In general, the museum’s functions are re- tion. Thereupon the NMC has set itself the goal flected in the following four aspects: Firstly, the of becoming a leading museum in China and museum solicits and preserves collections, which a first-class museum in the world, showcasing The West Entrance Hall in the National Museum of China constitute the basis for the museum business; history and art. Moreover, the NMC empha- Image courtesy of the National Museum of China secondly, it holds exhibitions which represent sises talent, collections, academics and services the main channels through which the museum as key factors in running the museum. Thus, history and art and integrates its collection, Over the past four years since the mu- serves the public; thirdly, it contributes to pub- the NMC attaches equal importance to both exhibition, research, archaeology, public educa- seum’s reopening, we have held more than 200 tion and cultural exchanges into its displays and exhibitions, receiving nearly 30 million visitors programmes. All of which carry salient Chinese from China and abroad. We have established and characteristics. improved the people’s foremost public cultural service system, and developed a safe and efficient These roles and functions also greatly operation system, which has won the museum influence the development of the NMC. Since accolades around the world. According to the its reopening in March 2011 and with efforts 2014 Theme Index and Museum Index: The Global At- to build the world’s top-notch comprehensive tractions Attendance Report released by the Inter- museum, the NMC has prioritised building its national Association of Amusement Parks and own exhibition system based on its collections. Attractions on June 4, 2015, the NMC ranked as This consists of two permanent exhibitions on the second most popular museum in the world. history and special exhibitions on more than 10 It continues to be one of the most visited and categories of art. popular museums in the world.

We also host international exchange In recent years, the NMC has made exhibitions mainly from prestigious overseas headway in delivering public services. Still, we museums. Lastly, our temporary exhibitions must be aware of the challenges, opportunities at home and abroad carry evident features of and historical missions facing the museum. the time and represent distinctive art styles. The 2015 International Museum Day is themed Through the years, this exhibition system con- “Museums for a Sustainable Society”, which

The Exterior of the National Museum of China tinues to expand and improve. emphasises the significance of the museum Image courtesy of the National Museum of China as a cultural medium and educator. The role

16 17 A Speech on Balancing Political History, Ethnography and Art: The Role of a National Museum and related work of the museum necessitates platform to vigorously carry out communication it being a guardian of cultural heritage and an and cooperation with its counterparts in other entity pushing for better society. Therefore, the Asian countries. museum should continuously strengthen and improve its collections, exhibitions, public ser- In 2016, the NMC will host the “Chi- vices and management. na-Japan-Korea National Museum Directors Conference” and hold the “China-Japan-Korea As we know, due to historical reasons, National Museums Joint Exhibition.” Addition- many Asian museums including the NMC ally, the following year will be the “China-Qatar cannot compare with some of the international Culture Year”, for which we plan to stage joint prestigious museums in terms of the size of their exhibitions with the National Museum of Qatar. collections. They keep inadequate cultural her- itage and artwork of different cultural periods. I sincerely hope the fifth conference of These museums have yet to establish an insep- the Asian National Museums Association will arable link with the public. Many of them have yield rich fruits in promoting museum personnel a long way to go to improve their management. exchanges, exhibitions, pubic cultural education services, academic research and publishing. The Asian National Museums Associa- tion was formed for this very reason. Its aim is Finally, I wish the fifth conference of the (Blank Page) to improve the management and services of the Asian National Museums Association a com- Asian museums and promote cultural exchang- plete success. es and development among Asian museums. I believe that through the association Asian Thank you! national museums will enjoy even smoother communication, more frequent contact and November 2015 increased cooperation. The NMC will use the

18 19 Shifting priorities of a national museum – The journey of National Museum New Delhi

Joyoti Roy, Outreach Consultant Dr. R.K Tewari, Deputy Curator, Numismatics, National Museum New Delhi

Museums in India have undergone The foundation of the present building important changes in the last decade. These located in the heart of Delhi city on Janpathwas changes are reflected in the priority placed upon laid by Pandit Jawaharlal Nehru, the first Prime collections, display, representations and public Minister of India, on May 12, 1955. The first engagement. By virtue of being a National phase of building was formally inaugurated by The Exhibition at Rashtrapati Bhavan after return from London and the first catalogue Museum, the Museum in New Delhi has histor- Dr.Sarvepalli Radhakrishnan, the Vice President Image courtesy of the National Museum New Delhi ically taken on a complex role, which needs revi- of India, on December 18, 1960. The second sion from time to time. In today’s environment, phase of building was completed in 1989. Today, The 1948 Burlington House Exhibition great change. Like the Indian Museum, the Na- the balancing of political history, ethnography it remains as it was upon completion. showcased collections from Indian Princely tional Museum was first meant to address the and art is precarious and sensitive. It calls for States, Archaeological Site Museums and private foreign visitor. They were both capsules of Indian deep introspection. Through a discussion of the Established in 1814 by the British in their donors. When the idea of a National Museum history and culture, which would help orient the journey of the National Museum in Delhi, this colonial capital of Kolkata, the Indian Museum was mooted, Pt. Jawaharlal Nehru had to per- outsider to what laid within India. paper recounts the story of a national museum was a much larger museum that predated the sonally write letters to each of the donors asking in-making, addressing the expectations it is faced National Museum in Delhi – so, why did they them to donate their collections permanently 2. Early days: Encyclopaedic with today and how it deals with them. While build a new museum rather than make the to the new National Museum. This was not an Collections, Dynastic Histories many matters remain unresolved, the role of the Indian Museum a national museum? The Indian easy task. While some donors agreed generously, and an absence of the Local museum is determined by the people. The peo- Museum is the oldest museum not just in India others found it difficult to part with their prized ple’s needs guide the way in which the museum but in the entire Asia-Pacific region. However, possessions permanently. This call for donations The Archaeological Survey of India, defines its function. India needed a National Museum at the heart was in the name of building a national asset that which was established in 1861, nearly a hundred of its independent capital city in New Delhi. would remind the people of India for generations years before the National Museum, New Delhi, 1. National Museum – Beginnings The genesis of the National Museum at Delhi to come how rich their histories were. The Na- has carried out numerous excavations since its in- emerged from an exhibition that took place tional Museum finally had a large enough core ception. By the time the National Museum, New The blueprint for establishing the Na- very close to its independence, when the need collection to open in 1949. Delhi, was established, it had already established tional Museum in Delhi was prepared by the to assert the national nature of our collections many site museums; the first was at Sarnath Maurice Gwyer Committee in May 1946. An was crucial. Before this, collections were located While the Museum continued to grow its (near present day Varanasi). Each of these site exhibition of Indian Art, consisting of selected regionally and were owned by local people, collection through gifts that were sought pains- museums housed collections from nearby finds artefacts from various museums of India was museums and royal treasuries. India was ready to takingly, artefacts were also collected through or excavations. Site museums were established by organised by the Royal Academy, London in build herself into a nation and it was important its Arts Purchase Committee in the 1980s and the British in pre-independence India and were cooperation with the governments of India and to show the World and its own people that this 90s. The Museum presently holds approximately visual store-houses of a large number of objects Britain. The exhibition went on display in the country that had struggled for over 3 centuries 200,000 objects of diverse natures, including that could be studied and correlated with the galleries of Burlington House, London during for independence, now stood united. With all of objects of Indian as well as foreign origin. It’s site they came from. the winter months of 1947-48. Upon its return, India’s cultural accoutrements pooled together, holdings cover more than five thousand years of it was decided that the same collection should there must be a space and place that could hold Indian cultural heritage. When collections from these site be on display in Delhi. As a result, an exhibition this valuable representation of ‘being one nation’ museums were brought to Delhi for the core col- along the same lines was organized in Rashtra- under one roof - only a National Museum could While the National Museum was estab- lection of the National Museum, their context patiBhawan (President’s residence) in 1949. This embody this sentiment. lished to serve a national agenda, in the decades and function changed. They now carried on seeded the idea for the creation of a National following its establishment, the motivations and their shoulders the responsibility of represent- Museum of India. the relevance of its national function underwent ing a national history. If one visits the Sarnath

20 21 Shifting priorities of a national museum – The journey of National Museum New Delhi Joyoti Roy and Dr. R.K Tewari

first floor include a gallery on Indian Coinage Museum in New Delhi. This was in spite of the and Numismatics and the Central Asian Antiq- National Museum in Delhi being established uities. The third and final level in the Museum with the great impetus of representing the ‘na- has a Textile Gallery, a Wood Carving Gallery, tional’. Arms and Armour Gallery, The Pre-Columbian and Western Arts Gallery, Musical Instruments For over 5 decades, the National Museum Gallery and a gallery titled North-East Lifestyle. in New Delhi has perpetuated this narrative without questioning it. There are advantages This arrangement of galleries closely and disadvantages in this kind of story-telling reflects the Indian Museum in Kolkata. The which interfere with the real meaning of the curatorial plan of the Indian Museum reflects ‘national’ and must be probed today. how the British wished to understand Indian history. Archaeology, anthropology and the In brief, the collecting practices in the study of natural sciences were all important first few decades of the National Museum’s estab- academic fields which the British established in lishment were encyclopaedic. They were neatly India. To begin with, in the early 19th century, assembled and packed into a linear chronological these were tools for surveillance but gradually history, where possible, and at other instances they were strengthened with technologies such they were either put into the Decorative Arts as photography and print-making. Many British or into material and technique specific galleries. Officers pursued these independent fields of This trend has to be broken for the museum to study. Therefore, objects utilised by Archaeology, remain relevant to its public.

Early Sculpture Gallery at the National Museum art, anthropology, zoology and botany had to be Image courtesy of the National Museum New Delhi under one roof. The museum ‘conflated’ every 3. Dealing with Anthropology– aspect of India (then a British Colony) into one A Complex Plot museum today, one will realise that its remark- a Buddhist Art Gallery was added to this mix capsule so that India’s history and geography able masterpieces are still displayed like a ‘list’, to celebrate the large collection of Buddhist could be understood as a simple linear story Initially developed as a science and with minimum explanation and a narrative that artefacts in the possession of National Museum. without any complexities. Chronology and clas- thought to be guided by logic alone, the field only engages the scholar, who already has knowl- sification of objects based on the material and of Anthropology has undergone many inter- edge of the site and its history. For the common The sculpture galleries are followed by a technique (stone, wood, paintings, textiles) was pretations. Today, Cultural Studies probably visitor, there is little to engage with. A similar section on Indian Miniature paintings – a rich at the centre of this curatorial logic. describes its ambit best. A shift of priorities from manner of display was seen in the early galleries and diverse tradition of India. The gallery is tangible heritage to intangible heritage in the of the National Museum which has 3 floors and essentially divided into various schools of min- A growing friendship between the British last 2 decades has propelled the understanding over 27 galleries. iature paintings – Pahari, Rajasthani, Decani, and princely states also helped in funding of Indian history and culture that manifests in Central Indian and Mughal. Further on is the conservation and excavation at various sites; its languages and dialects, culinary traditions, The first few galleries of the National Decorative Arts Gallery. The Decorative Arts for example, the conservation of the Sanchi lifestyle, creation myths, literature and the Museum are chronologically arranged (starting is a genre which emerged in the British vocab- Stupa was sponsored by the Begum of Bhopal everyday arts. These forms of culture reflect with the Indus Civilisation collections of 2500 ulary to refer to crafts and utilitarian objects of in early 20th Century and Sir John Marshall, people and practices that are difficult to repre- BC to the Late Medieval Sculpture of the 14th daily use that had very high craftsmanship and the first Director General of ASI worked on it. sent in a museum. The discussion, debate and to the 15th Century). This has remained intact aesthetic value. The period and provenance of The Sanchi Museum, is one of the earliest site sharing of which is essential to the process of for many years and reflects the understanding such objects is usually from the late 18th to the museums of India and showcases finds from the museum-making. of Indian histories through dynasties. This is a 19th century and represent a period of collecting site of Sanchi. Such trends ensured that histo- historiography that needs urgent updating. Oc- craft items by Indian royalty and later by colonial riography was carefully structured. The piecing And all these dwell strongly on the people casionally and within these galleries, sculptures connoisseurs. An extension of the Decorative together of the story of India through these sites and their practices which are difficult to capture are organised by religious subjects, whether Arts Gallery is the jewellery collection which was ultimately mirrored in our museums; first in a museum. Yet, nevertheless, must be part of Buddhist, Jain or Hindu. Later, in the mid-1960s, was recently re-curated. The galleries on the at the Indian Museum and later in the National mainstream museum-making. The Anthropolo- 22 23 Shifting priorities of a national museum – The journey of National Museum New Delhi Joyoti Roy and Dr. R.K Tewari gy Collection of the National Museum has met the Mizos of Mizoram, the Ao, Angami, Sema, a similar fate. Lotha and Konyak of Nagaland, and the Riang from Tripura are on view in this gallery. This collection at the National Museum consists of about 8,000 objects. It was built over While the North-East Lifestyle Gallery the years through purchases, gifts by various depicts the composite culture of this region, private donors and collected through the surveys the Tradition, Art and Continuity Gallery was conducted by officials of the department in tribal established and opened only in February 2014 belts and rural areas. The collection was further with a completely different approach, which is enriched by the acquisition of significant objects discussed in the next section. by Dr. Verrier Elwin (1902–1964), an eminent British anthropologist. These artefacts reflect 4. New Galleries at National the rituals and customs related to life cycles, eco- Museum –Tanjore and Mysore nomic pursuits and traditions of various Indian Paintings, Tradition, Art communities. The collection comprises of arte- and Continuity and the facts in a variety of materials and mediums such Jewellery Gallery. as terracotta, textile, basketry, bone wood, metal, paper, leather etc. The seven states in the North Between 2013 and 2015, the National

East of India, colloquially known as ‘The Seven Museum established three important galleries Tradition, Art and Continuity Gallery Sisters’ have an extensive variety of customs, life- – the Tanjore and Mysore Paintings Gallery, Image courtesy of the National Museum New Delhi styles and traditions. The display highlights the Tradition, Art and Continuity Gallery and the are, are actually from the home shrines of the ern Lifestyle Gallery which tries to address the regional similarity in cultural traits. The tradi- Jewellery Gallery. Vaishnav and Shaivite devotees from the temple large and complex region of the North-east by tional apparel, jewellery, basketry, wood carvings town of Tanjore (in present day Tamil Nadu) and placing textile and tribal objects quite randomly. and personal adornments of some of the groups, The Tanjore and Mysore Paintings Mysore in Karnataka. While on the one hand, The Tradition, Art and Continuity Gallery, on mirror the life and culture of the different people Gallery was opened in 2013. It was a pleasant this gallery showcased arts practices of a partic- the other hand tackled the people’s art in a dif- in the region. The glimpse of everyday life of the departure from the chronology, material and ular community, it is clearly a reflection of local ferent manner. It clusters various kinds of peo- Monpa, Sherdukpen, Khowa, Apatani, Mishmi, medium based gallery classification. It is based styles of South India that are very difficult to fit ple’s crafts – basketry, metal sculptures, masks, Adi, Nocte, Wancho, Singhpho and Khampti on a local South Indian style of painting, a tra- into any linear narrative of a history of India. ritual objects, jewellery, narrative paintings etc. of Arunachal Pradesh, the Karbi and Bodo of dition derived from domestic practices. Tanjore Tanjore and Mysore paintings are somewhere This was a clever curation of similarly used Assam, the Thangkul and Kuki of Manipur, and Mysore paintings, rich and beautiful as they between high religious art and folk expressions. objects from across India, including the North- They are continuously influenced by local con- East, Central India, North India, East India and temporary trends. While the National Museum South India. More importantly, it was titled constructed and put on display this public gallery Tradition, Art and Continuity. It captures the spirit because it had a sizeable collection of Tanjore with which Indian communities create, use and and Mysore paintings, the gallery actually destroy art. This too was a renewed approach to enriched the overall narrative of the Museum representational issues that was not bound by representing the national. This is because local, region, period or dynasty. It acknowledged the folk and contemporary traditions of art making craftsmen and their skills. are as national as the classical sculptures. The Jewellery Gallery which opened The second new gallery that opened recently is also a new exciting beginning. The in February 2014 was the Tradition, Art and jewellery pieces on display have been arranged Continuity Gallery. This gallery must be seen in in two sections: On one side, they are displayed Tanjore and Mysore Paintings Gallery Image courtesy of the National Museum New Delhi comparison to the approach of the North-East- according to which part of the body they are

24 25 Shifting priorities of a national museum – The journey of National Museum New Delhi Joyoti Roy and Dr. R.K Tewari worn on: head and hair ornaments, neck pieces, by design and display, are the new emerging face bangles, waist belts and anklets. On the other of the National Museum – more accessible to its side, and more importantly, they are organised own people, jargon free and soul enriching. by type: Temple jewellery, marriage jewellery, 5. Balancing it with Exhibitions dance jewellery and ritual jewellery. There is an emphasised focus on the technique and influenc- The trends in the new galleries, however, es from one part of India on others and so on. do not mean that all the old methodologies are This classification allows the visitor to engage denounced and that no chronology should be with the pieces in a universal manner. In other told. Within the last 2 years, the museum has words, earrings from Kashmir (in the north) to organized over 15 exhibitions, some large and Bengal (in the East) to Kerala (in the South) are some small but essentially, it has become a hub all put in one cabinet and allow visitors to see in for public expression. a short span the wonder that was India in the modern day. Curators who do not work in the Nation- The Body in Indian Art Exhibition Image courtesy of the National Museum New Delhi al Museum are now closely working with its col- These galleries take a pleasant detour lections to make exhibitions. In this regard, there from chronological and dynastic storytelling are three examples that must be mentioned: and represent the local flavour and fabric of India that matter to a larger cross-section of In early 2014, the Museum hosted one Indian people. The galleries employ a language of largest exhibitions in its history called the that is understood by all and looks familiar and Body in Indian Art. The exhibition showcased more inviting. over 300 objects from over 44 lenders across India. The exhibition was curated by an external This shift of curatorial practice, enriched curator, Dr. Naman Ahuja. The exhibtion was

Objects in the Deccan Art Exhibition Image courtesy of the National Museum New Delhi originally mounted for the Belgian Festival of sculptures on the same platform. India and was shown at the National Museum upon its return. While the exhibition included In January 2015 the museum collaborated the best classical masterpieces of Indian art, it with the Aesthetics Project to host an exhibi- began with a wooden tribal sculpture of a Naga tion titled Nauras: The Many Arts of Deccan. The warrior. This was a conscious decision on the exhibition showcased objects from the Deccani part of the curator who chose to begin with an period of Indian history which was an extremely object that came from one of the most unknown cosmopolitan era. The Pre-Mughal Deccani North-eastern states of India. This was an im- period has often been overshadowed by Mughal portant national statement for the exhibition history. Representing the many histories of India and for the museum. The exhibition had put so as to allow pluralistic narratives to be told is Jewellery Gallery Image courtesy of the National Museum New Delhi classical sculptures and tribal ethnographic also the responsibility of a national museum. 26 27 Shifting priorities of a national museum – The journey of National Museum New Delhi

Blind children being shown the Cadence and Counterpart Exhibition Image courtesy of the National Museum New Delhi (Blank Page)

National Museum, New Delhi Image courtesy of the National Museum New Delhi

28 29 BALANCING POLITICAL HISTORY, ETHNOGRAPHY, AND ART: This statue was donated by King Chulalongkorn Culture. By decree of the Minister of Education The role of The National Museum of Siam (now Thailand), when he paid a state and Culture on May 28, 1979, it was renamed the visit to Jakarta from March 27 to April 21, 1871. Museum Nasional. Implementation at Museum Nasional Indonesia In 1931, the museum’s collections were In 1994, upon the initiative of the Minis- Mrs. Intan Mardiana shown at a world cultural exhibition in Paris. ter of Education and Culture, Wardiman Djo- Director, Museum Nasional Indonesia Unfortunately, a fire in the exhibition hall jonegoro, the expansion of the Museum began. demolished Indonesia’s exhibition pavilion and Adjacent to the existing building (Building A) destroyed most of the objects. The museum and in the same architectural style, the new The History of Museum Nasional other contributions became the initial collection received some insurance money as compensation building (Building B) was inaugurated in June of the museum and the library of the Society. and in the following year, these funds were used 20, 2007. The mid-18th century in Europe was a to build the old Ceramic Room, the Bronze period known as the “Age of Enlightenment” In 1813, two years after the British had Room and both Treasure Rooms on the second From the year 2000 till 2011, Museum when people began questioning traditional ousted the Dutch from the East Indies, Thomas floor. Nasional was under the purview of the Ministry beliefs and setting up societies to discuss scien- Stamford Raffles became the Lieutenant Gover- of Culture and Tourism, and the building of the tific reasoning and development. nor of Java and President of the Society on April Because of the service rendered by the new museum still continues. At the end of 2011, 24, 1813. He was very keen to acquire knowledge Society in the field of science and in government Museum Nasional was returned to the jurisdic- In accordance with their times, Europe- about the history, culture and arts of the East projects, in 1933, the Dutch government added tion of the Ministry of Culture and Education. an settlers in Indonesia were also motivated to Indies and he stimulated a great deal of new the title Koninklijk (Royal) to its name. The The Role of Museum Nasional follow suit. On 24th of April 1778, the Gover- interest in the institution. Due to the build- museum flourished and was very fortunate to be Indonesia in the Preservation and nor-General of the VOC or Verenigde Oost-Indische ing in Kali Besar becoming too small for the spared from any damage during the dangerous Presentation of Cultural Heritage Compagnie (the United East Indies Company), growing number of collections, Raffles ordered years of World War II (1942-1945) and Indonesian Dr Reinier de Klerk (1710 – 1780), gave his per- the construction of a new building to be used National Revolution. mission to establish Bataviaasch Genootschap van as a museum and meeting hall for the “Literary Due to its long history, Museum Nasional Kunsten en Wetenschappen (The Batavian Society Society”, as the institution was renamed during On January 26, 1950, the society’s Indonesia has now become the oldest and largest for the Arts and Sciences). This was the first that period. This building was located at Jalan name was altered from Koninklijk Bataviaasch museum in Indonesia. Various programmes society of its kind in Asia. It aimed to analyse Majapahit 3. Today, this location hosts the build- Genootschap van Kunsten en Wetenschappen to related to developing museum technical aspects many cultural aspects of the people of the East ing of the State Secretariat, near the President’s Lembaga Kebudayaan Indonesia (Institute of In- such as preservation and presentation of the col- Indies (now Indonesia) through scientific re- Palace. donesian Culture). This change was in line with lection have been undertaken. Although there search. The motto of the Society was Ten Nutte the times, as seen in the motto of The National has been no significant increase in terms of col- van het Algemeeni, indicating that it would work The Society’s collection steadily in- Museum of Indonesia, “The existence of the Na- lection development since the era of Indonesia’s “for the good of the general public”. De Klerk creased, until the museum on Jalan Majapahit tional Museum as a source of information and independence (1945), there was however a historic was appointed as Managing Director while 3 became too small. In 1862, the Dutch govern- tourism, which can develop people’s minds and event in 1978. several other council members became directors. ment decided to build a new museum building. lives, develop civilization and pride in national culture, as well as strengthen unity and friend- 1978 was a blissful and exciting time for One of them, Jacobus Cornelis Mattheus (JCM) This edifice, today’s Museum Nasional on 1 Radermacher (1741 – 1783), who was married to Jalan Merdeka Barat 12, was opened in 1868. An ship among nations.” Indonesia. Masterpieces from the classical era the Governor General’s stepdaughter, became east-facing rectangle, the museum was built in and the Islamic developing era were handed over the society’s executive director. Doric style, with its white Neo-classical façade Mindful of the importance of the by the Dutch government to Museum Nasional and Doric columns. Since then, the building has museum for the people of Indonesia, the LKI Indonesia (MNI). The collection included the JCM Radermacher made the greatest undergone several alterations and extensions. or Institute of Indonesian Culture presented Prajñaparamita statue, Nagarakertagama text, contribution. In 1779, he donated his house in the museum to the government of Indonesia and the gold pieces from Lombok, West Nusa Kali Besar, Jakarta Kota, the trading district in The museum is well-known among the on September 17, 1962, and the museum became Tenggara. Previously, these collections were the old part of the city, to the Society. He also Indonesian people, especially among the in- Museum Pusat (Central Museum). The museum managed by Rijksmuseum voor Volkenkunde donated a number of scientific instruments, habitants of Jakarta. They call it Gedung Gajah was managed by the Indonesian government Leiden – Netherlands. for example, musical instruments, coins, manu- (Elephant Building), because of the large bronze under the Department of Education and scripts, books and other curios. The building and statue of an elephant standing in the front yard. 1 Dedah Rufaedah Sri Handari, Museum Nasional 1778-2008, (Jakarta: Museum Nasional, 2008.)

30 31 Balancing Political History, Ethnography, and Art: Intan Mardiana The Role of The National Museum - Implementation at Museum Nasional Indonesia

Museum Nasional Indonesia and the tions of the Museum Nasional Indonesia and the Indonesia was chosen as the venue for its ancient Rijksmuseum voor Volkenkunde, Leiden (RMV) Rijks Museum voor Volkenkunde in one place. and modern architecture. It was also an apt case were both built in the 18th century when the The Shared Cultural Heritage exhibition held from study. The training also involved active partici- Dutch were in power in Indonesia. The collec- 2005-2006 was complimented with an interna- pation of one RMV conservator. tions of both museums were similar since they tional seminar, Singhasari Masterpieces and Other were derived from the same sites or collectors. Collections. The culmination of the SCH programme from 2007 - 2009 was the Sumatra exhibition At that time, collection building The SCH cooperation was not limited to from July - November 2009. The exhibition was throughout Indonesia was conducted by scientif- the implementation of an exhibition and seminar also held at the Asian Civilizations Museum, Sin- ic expeditions, military expeditions, government only, but also encouraged more comprehensive gapore in 2010. The partnership between MNI officials and officers on missions. Based on pre- cooperation between the MNI and the RMV and RMV, which has now been renamed as the vailing policies at that time, all cultural heritage in areas such as collection research, collections National Museum of World Cultures, is still har- objects gathered by the collectors were trans- management, library management, and others. moniously tied. In 2014, when Museum Nasional ferred to Bataviaasch Genootschap in Batavia. MNI and RMV human resources were involved Indonesia held the Singhasari seminar within The collection was then divided into two, one in an exchange programme to assist and enhance the framework of the International Museum part was left in Batavia (Jakarta), the other was professionalism in such aspects. Day Festival and the 236 Years of Museum sent to the Netherlands, mainly to Leiden. The Nasional Indonesia, the curators of RMV were exporting of the collection to the Netherlands The partnership between MNI and also invited to speak. Before this, we also built occurred from the mid-19th century till the time RMV continued from July 2007 to 2009. One the Singosari mobile application. These projects before Independence in 1945. As a result, most of of the programmes that was held as part of this represents the harmonious cooperation between the collections of Indonesian cultural heritage partnership was the provision of consultancy ser- both museums. objects stored in RMV had never been seen by vices in the rearrangement and renovation of the the Indonesian people themselves. permanent exhibitions of MNI’s ethnographic In 2016, the National Museum of Indo- collection. The RMV provided specialised nesia will enter the development of the third To address this issue, a joint exhibition human resources for this task. The renovation building (Building C) and will finish in 2018. organised by MNI and RMV entitled Shared was carried out in two phases. The first phase With regards to the future presentation of our Cultural Heritage (SCH) was held in 2003 through was implemented in the fiscal year of 2007 and collections in our permanent exhibitions, we the auspices of a cooperation agreement. The ex- included the areas of Sumatra and Java. The have a new storyline developed from focus group hibition was held twice: at the National Museum second phase was conducted in 2008 and in- discussions in 2014, where we invited people of Indonesia in August - November 2005, then at cluded the areas of Bali, Kalimantan, Sulawesi, from all walks of life to provide their input. the De Nieuwe Kerk, Amsterdam in December Maluku, East Nusa Tenggara and Papua. These included members of the public, academic 2005 - April 2006. practitioners, professional organisations, the In addition, the The Glamour of Minang- media, public figures, and museum practitioners. The exhibition was a highly anticipated kabau Traditional Cloth, held from April 7 to The most important thing we learnt from those event for the Indonesian public, because the 30 2008, invited active participation from the sessions, which we also share and which we con- Rijks Museum voor Volkenkunde collection on RMV curators. The exhibition was organised as tinue to apply, is a shared commitment to con- display originated from the same period and site, a first step to a major SCH exhibition in 2009 tinue preserving our cultural heritage together. namely Borobudur, Muteran, Singosari, Lombok, under the theme of Sumatera. In terms of human Sulawesi, Kalimantan, etc. Up to that point, only resource development, the CollAsia programme Indonesians who had been to the Netherlands conducted in October 2008 discussed the use of had been able to enjoy these priceless artefacts. old buildings (Heritage Buildings) for collection With the SCH exhibition, the Indonesian public management in terms of either being used as ex- was finally able to enjoy the beauty of the collec- hibition spaces or for storage. Museum Nasional

32 33 THE Roles of National Museums in Japanese Society

Mr. Masami Zeniya, Executive Director, Tokyo National Museum

Introduction the four museums of the National Institutes for Cultural Heritage are usually considered the National museums in Japan can be epitome of national museums in Japan because divided into three main categories based on their of their long histories and the circumstances of management: those managed directly by the their creation. In this paper, I will discuss the Tokyo National Museum government, Independent Administrative Insti- role of these museums and that of the Tokyo Image courtesy of Tokyo National Museum tutions, and Inter-University Research Institute National Museum in particular. Corporations. The first category includes, for example, the Agency for Cultural Affairs’ Na- 1. National Museums as Independent tional Archives of Modern Architecture, the Administrative Institutions Imperial Household Agency’s Museum of the Imperial Collections, and museums at bases of Museums are considered institutions for the Japan Self-Defense Forces under the Min- social education under the Museum Act in Japan istry of Defense. Institutions belonging to the (1951). They are expected to carry out systematic second category were operated directly by the educational activities while maintaining polit- government. However, with the introduction of ical and religious neutrality. However, because the Independent Administrative Institution in they were originally established by the govern- 2001, three such institutions were established: ment, national museums are exempt from this National Museums (National Institutes for Cul- act. This does not deny their roles as educational tural Heritage from 2007), National Museums institutions. They are exempt because they were of Art, and National Museum of Nature and expected to carry out the nation’s educational Exhibit of Ainu Culture, Tokyo National Museum Image courtesy of Tokyo National Museum Science.1 The National Museum of Japanese and cultural policies as specialized institutions History and the National Museum of Ethnology belonging to the Ministry of Education, Science, culture, to the promotion of industry, and to tional Museums of Art (five since 2007), and one fall into the third category. They were managed and Culture (later MEXT, and the Agency for the management of the Imperial Household’s National Museum of Nature and Science. Each directly by the Ministry of Education, Culture, Cultural Affairs). properties. The establishment of the National Independent Administrative Institution came Sports, Science and Technology (MEXT), but Museum of Nature and Science in addition to be operated under a different law of estab- became Inter-University Research Institute The Tokyo National Museum was es- to National Museums of Art during this long lishment. Despite handling different fields, these Corporations as part of the National Institutes tablished in 1872 as a “Museum of the Ministry process allowed for different fields to develop institutions share common roles as museums, for the Humanities when national universities of Education.” Authority over the museum was independently. as specified by, for example, The International became independent of the government in 2004. later transferred to the Ministry of the Interior, Council of Museums (ICOM) and the Museum and later to the Ministry of Agriculture and From 2001, national museums, which Act in Japan. These roles include acquiring Japanese national museums were thus Commerce, the Imperial Household Ministry, had been based on the laws of the Ministry and preserving objects, making these objects established in a number of diverse forms through and other ministries and agencies. Likewise, the of Education and Science Establishment Act available for public viewing, and conducting various processes. As discussed, below, however, museum’s role also changed accordingly, from, (2001), became Independent Administrative research and educational activities. Due to these for example, the promotion of education and Institutions. These museums included three common roles, the idea to merge these three 1 Independent Administrative Institutions are legal bodies that were established to take over operation of organizations the government did not need to be directly responsible for. The aim of which was to increase efficiency. National Museums (four since 2005), four Na- Independent Administrative Institutions was

34 35 Roles of National Museums in Japanese Society Masami Zeniya brought up during the process of administrative occasions, which is an outstanding number in Political history is more likely to become Museum of Ethnology conducts research and reform. However, after National Museums were Japan. a concern when an exhibition deals with modern holds exhibitions pertaining to ethnology and integrated with National Research Institutes history. At the National Museum of Japanese cultural anthropology. Each museum thus has for Cultural Properties to become the National National Museums also serve as the History there are constant debates regarding clearly assigned roles. Institutes for Cultural Heritage in 2007, there “Face of Japan,” often holding exhibitions modern history exhibitions, most often about has been no further integration or restructuring. abroad as anniversary events upon the requests the wording and expressions used in the explana- The activities of these museums, however, of governments and embassies. In fact, most of tions for these exhibitions. are not overly narrow in focus. The National 2. National Museums as the foreign exhibitions organized by the Agency Museum of Nature and Science, for example, has National Centres for Cultural Affairs are co-organized by the Even during times of political and dip- held special exhibitions concerning fields such Tokyo National Museum. Loans from other lomatic tension in the Asia-Pacific region, we as archaeology, history, and ethnology. These Although Independent Administrative institutions, temples, shrines, and individuals are actively engage in cultural exchange, such as include The Inka Empire Revealed: Century After Institutions such as National Museums and possible because of the trust arising from these through exhibitions, between national museums the Machu Picchu “Discovery” in 2012 and Mummy: National Museums of Art are not bound by the institutions being national museums. of different countries, and believe that these ex- The Inside Story in 2006. Additionally, The Power Museum Act, they are expected to serve as “Na- changes should continue into the future. At the of Images, an exhibition held last year that con- tional Centres,” or as models for museums across 3. Balance with Political History Tokyo National Museum we therefore regard the sisted of objects from the National Museum of the nation. This is, of course, due to them having existence of ANMA as having great significance. Ethnology, was co-organized with the National the largest collections and outstanding staff. In As mentioned before, although national Art Centre, Tokyo. Rather than categorizing the mid-term goal for the National Institutes for museums in Japan are exempt from the Museum 4. Balance with Ethnology images based on regions or historical periods, Cultural Heritage, which MEXT sets every five Act, fundamentally they are institutions for it focused on similarities in form, effect, and years, it clearly states that these institutions are social education and are expected to maintain There are exhibitions at the Tokyo Na- function. It was a revolutionary exhibition that “National Centres, the mission of which is to political and religious neutrality. National tional Museums about Ainu and Ryūkyū cul- questioned the preconceptions we have about acquire, conserve, manage, exhibit, and pass on Museums of the National Institutes of Cul- tures in addition to those of other Asian ethnic objects created by humans. In recent years, to the next generation tangible cultural proper- tural Heritage rarely deal with political history groups. The focus, however, is on artworks and special exhibitions that cross over different fields ties, foremost of which are numerous National because they primarily handle cultural proper- historical records, not ethnology. Similarly, there have been increasing in number, and it is believed Treasures and Important Cultural Properties, ties that are artworks. However, there are times are exhibitions about these ethnic groups at the that national museums of different Independent to conduct research on these properties, and to when organizers must be careful with the names Museum of Nature and Science but they focus Administrative Institutions should collaborate communicate the history and traditional culture (such as the names of regions) used in special on anthropology and botany, while the National further to hold diverse exhibitions and programs. of our nation within and outside of Japan, all for exhibitions that deal with areas that were col- the purpose of conserving and utilizing these onised or involved in territorial disputes. In such cultural properties, which are the valued proper- cases, names are chosen based on international ty of the nation.”2 The same passage is also used standards (regulations and treaties) or school- for National Museums of Art in addition to the books, which are based on the Courses of Study National Museum of Nature and Science, and (government curriculum guidelines). Moreover, indeed, these are their roles. although historical periods are usually based on political history, divisions based on cultural or In the last fiscal year, the four national art history are also used at museums in Japan. museums belonging to the National Institutes For example, from July to September of this year for Cultural Heritage offered assistance and (2015) the exhibition Hakuhō, The First Full Flower- advice to public and private museums on 264 oc- ing of Buddhist Art in Japan was held at the Nara casions, and lent a total of 1,962 objects (includ- National Museum. The names of periods such ing those on long-term loans) on 274 occasions. as “Hakuhō” and “Tempyō” are derived from 95 objects were also lent overseas on 13 separate categories used in art history.

2. National Institutes of Cultural Heritage (Japan), ed. Dokuritsu Gyōsei Hōjin Kokuritsu Bunkazai Kikō No Chūki Mokuhyō (The Mid-term Goal for the National Institutes for Cultural Heritage). Report. Room 18 (Modern Art), Tokyo National Museum April 1, 2011. http://www.nich.go.jp/data/hyoka/index.html. Image courtesy of Tokyo National Museum

36 37 Roles of National Museums in Japanese Society Masami Zeniya

Preparations are also being made for the of the Independent Administration Institution 2020 opening of the National Museum of Ainu in 2001. Cooperation and joint research among Culture in Hokkaido although its management these institutions, with regards to conservation, body is still undecided. This museum will is becoming increasingly necessary. It is possible conduct research and hold exhibitions that cover that certain contemporary artworks will be des- different academic fields on the Ainu, who are an ignated Important Cultural Properties in 50 or ethnic group indigenous to Japan. 100 years. These artworks will be recognized for their historical and cultural significance in addi- 5. Balance with Art tion to their artistic value, and may come under the management of the National Institutes for National Museums of the National In- Cultural Heritage. stitutes for Cultural Heritage primarily handle cultural properties that are artworks, but not 6. New Roles of National those by contemporary artists. In other words, Museums in Japan such artworks fall within art history and the value of which have been more or less established. During the previous fiscal year, the Buddhist Sculpture at The Gallery of Horyuji Treasures, Tokyo National Museum However, this designation was only clarified in National Task Force for the Japanese Cultural Photo by Sato Akira. Image courtesy of Tokyo National Museum recent years. Heritage Disaster Risk Mitigation Network was ular, the Tokyo National Museum is expected to Conclusion established at the National Institutes for Cultur- be at the centre of planning cultural programs The National Museum of Modern Art al Heritage based on the experience gained from for the Tokyo Olympic and Paralympic Games, The establishment and development of was established in 1952. (It became the National activities such as the “rescue” of cultural prop- and the Kyoto National Museum, to act as a national museums varies by country and region. Museum of Modern Art, Tokyo in 1967.) Through erties after the Great East Japan Earthquake leader among the 200 museums in its city. We Their roles, therefore, cannot be discussed in a mutual agreement regarding the management in 2011. This task force is planning to establish hope to contribute to the development of Asian broad, sweeping terms. One similarity, however, of objects based on historical periods, the Tokyo a nationwide system for disaster prevention and museums as a whole with the cooperation of is that all national museums receive national National Museum was to manage works from the rescue of cultural properties. Preventing the Korea and China, both of which have hosted the funds, and, whether they like it or not, are 1906 and earlier, the National Museum of destruction of cultural properties is an import- General Conference in the past. subject to the policies of their respective coun- Modern Art, those from 1924 and later, while ant role that the Tokyo National Museum must tries. Such governmental influence often comes works created between 1907 and 1923 were to be fulfil given its standing as a National Centre. In recent years, the function of museums from financial considerations rather than cul- managed as they had been for the time being. From now on, it will actively pursue this objec- in MICE (Meeting, Incentive, Conferences/ tural policies. We have experienced significant 1907 was the year when the government began tive. Conventions, Exhibitions/Events) has been rec- changes in the establishment and management an annual exhibition, the Bunten Exhibition, ognised and their use as “unique venues” is also of national museums resulting from changes of which was sponsored by the Ministry of Educa- increasing. These developments will contribute government. However, our foundation does not tion and when the ministry started to purchase to the invigoration of fundraising and museum consist of short-term objectives, but the perpet- artworks. The National Institutes for Cultural marketing. Tokyo National Museum is taking ual mission of determining how we can protect Heritage almost never handle contemporary art, the initiative in these developments as part of its and pass down the invaluable cultural properties which ranges over a wide variety of genres such as Logo for ICOM General Conference in Kyoto Image courtesy of Tokyo National Museum cultural and tourism planning. It will continue of the nation to future generations. Gaining the comics (manga), animation, digital art, and illus- its active engagement while giving proper con- understanding of various stakeholders such as tration. However, in recent years, there has been The ICOM General Conference will sideration, as a National Centre, to conservation, the political and business sectors in addition to progress in designating certain works of modern be held in Kyoto in 2019, just a year before the and crime and disaster prevention. individuals of academic standing is essential for art as Important Cultural Properties. Addition- Tokyo Olympic and Paralympic Games. With this purpose. We wish to exchange information ally, the transfer of artworks by the Agency for national museums at the centre of this endeavor, with other members of ANMA while striving Cultural Affairs, the National Institutes for Cul- it is essential to use this occasion as an oppor- for the development of national museums in tural Heritage, and National Museums of Art tunity to promote international exchanges and Asia and maintaining a balance between history, has become more difficult since the introduction communication at Japanese museums. In partic- ethology, and art.

38 39 Balancing Research on Ancient region that is now North Korea, making it cal records about the Three Kingdoms period is Korean Cultures nearly impossible to examine relevant artefacts Samguk Sagi (三國史記, History of the Three King- and resources. Thus, in this presentation, I will doms), a primary text for the study of ancient focus only on Baekje and Silla. Korean history and the oldest extant history Dr. Kim Youngna book of Korea. Published in 1145, Samguk Sagi was Director, National Museum of Korea The general neglect of Baekje culture compiled by order of King Injong (r. 1122-1146) of can be at least partially explained by the overall the Goryeo Dynasty (918-1392 CE), which had lack of extant records and artefacts related to immediately succeeded Silla. The publication, Introduction CE), Silla conquered Baekje in 660 CE, followed Baekje. On the surface, this situation would not which was led by Kim Busik, the representative by Goguryeo in 668 CE. Silla then fought to expel seem to be politically or economically based, but scholar and politician of the time, clearly prior- For various reasons, some cultures of the the Tang, their former allies. They succeeded upon closer scrutiny, we can see how political itized the history and culture of Silla over that past never seem to receive the proper evaluation in doing so in 676 CE. Silla subsequently ruled and economic factors have in fact contributed of Goguryeo and Baekje. that they deserve, often because of the political over the entire Korean peninsula until 935 CE. to this paucity. or economic climate in the present. However, at The publishers were motivated to focus the same time, with changes to the social envi- Today, Silla is widely considered to be First, let’s consider the lack of written on Silla for various political reasons, not least ronment and context, cultures that were once the representative culture of ancient Korea, records. The most significant source of histori- of which was the fact that Kim Busik himself almost forgotten can be revived, reexamined, being reverently acclaimed as “Korea’s Golden and newly appreciated. The national museums Kingdom” and the “Kingdom of a Thousand of every country have a mission and respon- Years.” In accordance, the two most important sibility to properly introduce and evaluate the Buddhist landmarks of Silla (the Seokguram entire history and culture of their respective Grotto and Bulguksa Temple) were designated nations. Through proactive research and diverse as UNESCO World Heritage sites in 1995 and exhibitions, museums seek to uncover and thus, have received much international atten- re-evaluate the hidden and concealed aspects of tion and recognition. In 2000, the city of Gyeo- history and culture, and the national museums ngju, former capital of Silla, was also designated of Korea have engaged in several such projects as a UNESCO World Heritage site. over the years. Among these, I would like to discuss one of the most recent examples, which The Lack of research is the renewed interest in restoring the culture on Baekje Kingdom of Baekje. It is true that Silla persisted for almost a History of the Baekje thousand years, developing a rich culture that incorporated elements from the Tang Dynasty Fig.1. Korean peninsula, mid-5th century In ancient times, three kingdoms com- and after unification, from West Asia. Given Image courtesy of the National Museum of Korea peted for control of the Korean peninsula, such its prolonged duration, it is not surprising that that the era from around the first century BCE there are more extant artefacts from Silla than to the seventh century CE is now known as the from the conquered nations of Goguryeo and Three Kingdoms period. The three kingdoms Baekje (Fig.2). However, Baekje had a thriving were Goguryeo (37 BCE-668 CE), which occu- and advanced culture of its own, nourished in pied the northern region of the peninsula; Baekje part by increased international trade and com- (18 BCE-660 CE), in the southwest; and Silla munication with both China and Japan. There- (57 BCE-935 CE), in the southeast (Fig.1). In the fore, contemporary researchers of the Three beginning, Goguryeo and Baekje were the two Kingdoms period have regularly asserted that strongest, but it was Silla that eventually pre- Baekje culture has been somewhat overlooked vailed and unified the territories. After forming in comparison to the Silla. As for Goguryeo, Fig.2. Silla tombs and gold crown an alliance with China’s Tang Dynasty (618-907 their territory was primarily located in the Image courtesy of the National Museum of Korea

40 41 Balancing Research on Ancient Korean Cultures Kim Youngna was a descendent of the Silla royal family, and structure than Baekje tombs, making the latter had a strong political base in Gyeongju, the more vulnerable to plunder. But this factor alone former capital of Silla. However the decision to is not enough to explain the imbalance between emphasise Silla went beyond an individual’s bias. the number of extant artefacts of Silla and In its early stages, Goryeo leaders affirmed the Baekje. Ancient artefacts are usually discovered dynasty’s links to Goguryeo, rather than to Silla through excavations, and in Korea, the majority but by the time that Samguk Sagi was published, of excavations were conducted in the twentieth Goryeo’s historical rhetoric had begun to focus century, during the period of the nation’s rapid more on Silla, reflecting the increasing influence industrialization. In particular, much of the of Buddhism and Confucianism. industrial development of the 1970s and 1980s was concentrated in the southeast region of the Moreover, the Goryeo Dynasty had only country, which offered obvious geographical ad- been established after brutal warfare with Hu- vantages for trade with two of Korea’s most im- Fig.3. Excavation of the Baekje tomb of King Muryeong (1971, Gongju, South Chungcheong Province) baekje (i.e., Later Baekje, 900-936 CE), the pro- portant commercial partners of the time, Japan Image courtesy of the National Museum of Korea claimed successors of Baekje. As such, Goryeo and the United States. Notably, the southeast society still harbored deep animosity towards also happens to be the former territory of Silla. Baekje, which was reflected in the prioritization In brief, the increased industrial development in of Silla in the history of the Three Kingdoms. the southeast led to more excavations in that region, which naturally led to the discovery of As a result, in Samguk Sagi, the history more Silla artefacts. of Silla receives about three times as much textual space as that of Baekje. Furthermore, A New Dawn for Baejke much of the text dedicated to Baekje focuses on astronomical phenomena, weather anomalies, Hence, for many decades, Baekje culture or natural disasters, so that the quality of the was largely overshadowed by that of Silla. The records is just as insufficient as the quantity. situation finally began to change in 1971, with Given that Samguk Sagi was the most important the discovery and excavation of the tomb of historical record published by the government King Muryeong (501–523CE) in Gongju, the Fig.4. Uprights of gold crowns excavated from the Baekje tomb of King Muryeong after the disintegration of the Three Kingdoms, second capital of Baekje (Fig.3). After being Image courtesy of the National Museum of Korea the brevity and inadequacy of the Baekje histor- accidentally discovered during maintenance of ical records in that volume had a major impact a neighboring tomb, the tomb of King Muryeo- every bit as advanced and resplendent as that of and region. This exhibition, which was shown on later studies of the period. Subsequent re- ng was excavated by the National Museum of Silla. in the three cities of Seoul, Buyeo, and Daegu, search on Baekje was quite limited, leading to Korea. This excavation proved to be of enor- markedly contributed to establishing a better distortions in the public understanding of the mous significance, because the tomb was found Even so, further research and examina- understanding of Baekje’s proper status in kingdom. In the early twentieth century, most to contain two epitaph tablets that conveyed tion of Baekje culture was slow to progress. The Korea’s ancient history, to creating a new image research of ancient Korean history concen- a wealth of crucial information, including the situation only began to improve in 1999, when of Baekje in the minds of the people, and to trated on Silla or Goguryeo, with research on identity of the deceased (King Muryeong, Baek- the National Museum of Korea held a special encouraging further research (Fig.5). Baekje tending to focus solely on the kingdom’s je’s twenty-fifth king, and his queen) and details exhibition entitled Baekje, with the purpose of cultural exchange with Japan. of their deaths and funerary processes. Fur- rectifying the relative neglect of Baekje history In addition, over the last thirty years or thermore, the tomb had never been plundered, and culture through an in-depth examination. so, more excavations have been carried out in the There are also several hidden political and thus yielded numerous superb artefacts southwest region of the Korean peninsula—the and economic factors that have contributed related to both the king and queen, including As the first attempt to provide a com- former territory of Baekje—leading to a greater to the lack of artefacts and material resources gold crowns and other jewellery (Fig.4). Indeed, prehensive overview of Baekje, this exhibition accumulation of Baekje-related materials. Of related to Baekje. It has been noted that Silla the excavation of King Muryong’s tomb clearly featured about 700 archaeological artefacts course, as was the case with the earlier excava- tombs generally have a more solid and protective demonstrated that Baekje’s material culture was and artworks, organised by chronology, theme, tions in the former territory of Silla, the more 42 43 Balancing Research on Ancient Korean Cultures Kim Youngna

Fig.5. Gallery of Gongju National Museum (Items excavated from the tomb of King Muryeong) Image courtesy of the National Museum of Korea recent excavations in the southwest can also be foreign exchange. The two museums have also linked to various political and economic factors. carried out in-depth research on the items Fig.6. Baekje gilt-bronze incense burner (Buyeo, South Chungcheong Province) To be specific, since the 1990s, there has been excavated from the tomb of King Muryeong, Image courtesy of the National Museum of Korea an emphasis on economic and industrial devel- and have joined with museums in both China opment in western Korea for various reasons, and Japan to organise international exhibitions Due in large part to the excellent and I hope that this case study can help including the increase of economic transactions about Baekje’s exchange with those countries. diligent work of these national museums, demonstrate how contemporary notions about with China and the decision to establish the city Through such efforts, these national museums Baekje culture is finally beginning to receive its ancient cultures can be distorted by political of Sejong as the de facto administrative capital have led the advancement of research on Baekje, due attention, such that it has attained a status and economic circumstances, and more impor- of the nation. Just as significantly, the two con- despite the insufficient number of researchers almost equal to that of Silla. As the culmina- tantly, how such distortions can be addressed secutive presidential administrations that held who are focusing on Baekje. tion of these long-term efforts, in early 2015, and overcome. office from 1998 to 2008 were each politically the former Baekje capitals of Gongju, Buyeo, based in the western region, as opposed to pre- Furthermore, excavations of important and Iksan, collectively recognised as “Baekje With this in mind, I wish to conclude vious governments that were based primarily in Baekje remains have been conducted in Gongju, Historic Areas,” were officially designated as by stressing that our current understanding of the southeast. Buyeo, and Iksan. In particular, domestic and UNESCO World Heritage sites. And work is Baekje culture could not have been achieved international interest in Baekje has been stirred now underway to construct the next branch without collaborative research and exhibitions The recent period has also seen signifi- by the discovery of the Baekje gilt-bronze incense of the National Museum of Korea in Iksan, of related materials that are housed in museums cant research projects and exhibitions on Baekje, burner at a Buddhist temple site in Neungsan-ri another major Baekje city. of China and Japan. I hope that my sharing of particularly at Gongju National Museum and and of sarira reliquaries from stone pagodas at these experiences can benefit other member Buyeo National Museum, both of which are the temple sites of Wangheungsa and Mireuksa Conclusion museums that are now confronting similar located in former capitals of Baekje. Both of (Fig.6). Meanwhile, relevant research has been problems. these museums have continuously conducted continuously conducted on the vital Baekje In this discussion, I have tried to explain research on Baekje culture, and each year, they culture of the Yeongsan River valley, located in the crucial role that the national museums of have organised a special exhibition presenting the southwest. As a result, in 2013, the National Korea have played in shedding new light on the results of that research on specific themes, Museum of Korea opened its newest branch the ancient kingdom of Baekje, which was long such as Baekje clothing, letters, measurements, in Naju, also located in the former territory of overdue for a thorough cultural and historical metalcrafts, roof tiles, Buddhist temples, and Baekje. evaluation.

44 45 Balancing political history, During the early French Colonial Period format was exactly the same as other soviet ethnography and art: The role of a (1893–1954), within Indochina (Lao, Vietnam museums across the globe. The soviet formula and Cambodia), Lao was the only country not of museum display is quite stringent and very national museum to be provided with a purpose-built museum. specific. As such, all soviet museums from our Myanmar’s museum was established by the provincial museums to museums in other soviet Mrs. Phetmalayvanh Keobounma British. Perhaps it is fair to say that Laos was countries are similar in character. General Director of Lao National Museum the only country in Southeast Asia, apart from Timor and a few other small states, to have not The soviet formula for exhibitions is benefitted from a museum culture as such. a progression, chronologically through time; from ancient history, struggles to power, to Introduction Past and Present View of Wat Ho Phra Keo, a temple in Vientiane recent technological achievements to advance- the Lao National Museum : is the only exception. It was restored in the late ment towards the future. Colour schemes and This essay describes our museum as it is Failures and Realisations 1960s and established as a museum to house a methods of representation were strictly adhered today and the development of our new Museum large collection of Buddhist images. Before the to. Only red and/or colours of the country’s facility which opens next year. Using our expe- On the whole, we at the Lao National end of the American-Vietnam war in 1975, a national flag would be used to enhance displays rience with building and developing the new Museum struggle to meet a sound standard of myriad of temples throughout the country that and backboards. In the early days of our Mu- Museum, I will discuss how we have presented display and presentation of our country and exemplified and maintained traditional Lao arts seum’s representation this formula was easily a balanced view concerning political history, its history. One of our greatest problems is, of and architecture existed. During the 1980s a implemented. ethnography and art. course, resources. number of Museums of the Revolution were set up in the provinces. The main Museum of the In the year 2000, the Lao Museum of the Revolution was set up and located in Vientiane, Revolution became the Lao National Museum capital of the Lao PDR. and was allowed greater freedom to take a more liberal approach in developing its content and With tourism in the 1990s, the Royal display. Palace in Luang Phrabang was instated as the museum to display the royal collection. Other The Role of Museums Museums have also been opened such as the Kaysone Memorial Museum, the Souphanou- Today, The Lao National Museum is a vong Museum and the Museum of Public Secu- scientific research centre and public institution rity, among a few others. Since the late 1970s, which is dedicated to the study, preservation a number of Provincial Museums have been in- and promotion of the country’s culture and stated. However, it is the Lao National Museum history. The museum, which houses over 28,000 that sees continued visitation from tourists and artefacts, wishes to attract more visitors and scholars. enhance its role in society. We want this to result in the development of educational pro- As previously mentioned, in 1985 the grammes and provide visitors with the most Museum was dedicated to the people by the accurate and up to date information possible government. Before the current regime took about the objects in our collection in an engag- power, the building was the last royal Prime ing and attractive way. Minister’s office, housing till recently some of his private collections, political manifestos and However, due to the lack of infrastruc- other miscellaneous documents. ture and technology in the Lao PDR, the mu- seum’s various efforts in attracting local and in- The Museum of the Revolution as it ternational visitors to learn more about its own was originally known, first opened its doors to cultural heritage faces difficulties. One of the Lao National Museum the public in 1985. Its chronological theme and biggest obstacles we confront is the lack of an Images courtesy of Lao National Museum

46 47 Balancing political history, ethnography and art: The role of a national museum Phetmalayvanh Keobounma

Century history in Lao. After which, a continu- Future Plans and Development ity of Lao’s history is lost. Neolithic habitation sites are re-introduced in the stairwell on the (A) ground floor. This exhibition was produced by Providing a more balanced narrative the University of Pennsylvania. The only space of Lao History and Heritage for this exhibit was in that stairwell. Proceeding up the stairs, one finds an exhibition of ethnic The building next to our new building clothing following which, one is suddenly back is Kaysone Museum which focuses on the in 13th century Lao (when Lao first became a last hundred years of our political history. As nation-state). Owing to a number of addition- such,we see no need to replicate their excellent al sponsored exhibitions, the chronological representation of this complex and politically formula has become convoluted and has made turbulent time. Therefore, we at the Lao Na- the storyline confusing. tional Museum plan to downsize the space we have given to represent this history in favour In terms of politics, our Museum at- of other historically important periods in Lao tempts to portray our turbulent and complex history. history - its political strengths and weaknesses - in the most balanced way possible. (B) Focusing on Lao’s Golden Age to raise aware- We believe we portray a balanced view, ness of Lao’s rich history and heritage particularly in comparison with some other New Lao National Museum countries that tend to present a biased view The main focus or centre piece of the Images courtesy of Lao National Museum based on the country’s current power base or new Lao National Museum will be dedicated government. to the Lane Xang Period (1353–1707) which is considered to be Laos’ Golden Age. There has official website. Not having an official website to ance in terms of the correct representation of Although, perhaps, we give too much been very little representation of this fascinat- introduce the museum and its collection direct- historical facts and in general, creates confusion. space to our more recent, modern political ing period of Laos’ historical past. It is a period ly to audiences limits the range of activities the past, it is a section of the Museum that visitors in Laos’ history that birthed a nation. It was a museum can programme. This causes inefficien- Let me give you a case in point: A comment on more so than all our other displays. time of intense commercial activity and de- cies in promoting Lao history and culture to her problem was caused by the placement of several We have attempted to condense the space to velopment. Trade and building developments people, and international audiences. exhibitions donated by foreign entities. These just cover modern history. However, the record- flourished. The architectural style of the period exhibitions could not be placed in the Museum ed comments in our Visitors’ book attests to was highly refined. A true Lao vernacular was We aim to attract about 2.8 million properly. Instead, they were relegated to stair- there being little knowledge about Lao in the born in this time. Cultural activity was also tourists annually and increase the number of way landings and small annexes of existing pre-modern Lao history period and that tourists abundant during this time. hotels to 350 and restaurants to 850. We also exhibition galleries. All in all, the dated but desire to know more. aim to discover and expand historical sites, and reasonably simplistic chronological order of attempt to inscribe at least 2 more UNESCO display has become fragmented and confusing. World Heritage Sites in the country. For instance, the tour of the Lao National New Lao National Museum Museum begins with “the dawn of time”, dino- Images courtesy of Lao National Museum Yet the development of our National saurs and fossilised remains. One then proceeds Museum is very under-resourced and we strug- through Neolithic displays and onward to the gle to escape the old restrictions of the past. For introduction of the Buddhist religion and the instance, we still cling to the formal chronolog- birth of the nation in the 13th Century. After ical and thematic style of exhibition design and the advancements of the nation, there are dis- presentation. In some cases, this causes imbal- plays devoted to the Lane Xang Period or 15th

48 49 Balancing political history, ethnography and art: The role of a national museum

(C) Conclusion Providing an equal and common space for all ethnic groups in Laos We believe it is still possible to work within the chronological formula to deliver It is vital, particularly in terms of a balanced and cohesive theme for museum national security, that all ethnic groups are exhibitions. We are building a new museum represented equally and in a fair way. Lao has which we anticipate will be ready next year. more than 100 different ethnic groups and it We imagine that this is a fresh start for us in is difficult to fairly represent all in a balanced representing Laos’ history in a wider and more way. This is mainly due to the lack of historic balanced manner. We are planning our new ex- and contemporary textiles and artefacts that hibitions now and working with our new spaces. pertain to each ethnic minority. Many textiles Research and development of each display com- and artefacts have become quite expensive and ponent is now being undertaken in earnest. we have no funds to acquire them. We are confident that the new museum Traditional arts and crafts, such as will be one that will engage and enrich the weaving, would be well-represented within an knowledge and appreciation of locals and tour- ethnic textiles exhibition. Such an exhibition ists, presenting the rich history of Lao to the would lend to a better understanding of how world. (Blank Page) these historic and traditional forms have influ- enced contemporary Lao arts and crafts.

(D) Protecting and Preserving Our Natural History

Natural history also requires represen- tation as a matter of urgency. Due to rapid development, we are now facing the loss of much of our flora and fauna. In terms of education, representation of our native flora and fauna (particularly those on the brink of extinction) will be a crucial component of our new museum.

50 51 BALANCING POLITICAL HISTORY, ETHNOGRAPHY, AND ART: initiated in 1959 and completed in August 1963. The British did not provide a unified THE ROLE OF A NATIONAL MUSEUM IN MALAYSIA It was officially declared open by His Majesty, school system. Instead they allowed a multi- the Third Yang di-Pertuan Agong, Tuanku stream education system structured by languag- Syed Putra Al-Haj ibni Almarhum Syed Hassan es namely English, Malay, Chinese and Tamil. Mr. Mohd Azmi Bin Mohd Yusof, Deputy Director-General (Museology), Department of Museums Malaysia Jamalullail (1920-2000). These language-based schools were known as Ms. Miti Fateema Sherzeella Mohd Yusoff, Senior Curator, Department of Museums Malaysia vernacular schools. The aim was to meet the Ms. Noraini Binti Basri, Senior Curator, Department of Museums Malaysia At the time of its first establishment, needs of specific sectors of the economy of the the National Museum focused on Malaysia’s time. There were deficiencies in the education Introduction for safeguarding cultural heritage as well as history, natural diversity and the uniqueness of system organised by the British. A number of fostering a sense of ownership for one’s heritage. Malaysian society. However, after a refurbish- reports aimed at improving British education Malaysia has been blessed with cultural ment that was completed in 2008, its exhibi- system, such as the Fenn-Wu Report (1951), the diversity because of its multi-ethnic composi- Realising the importance of public tions have employed interesting and interactive Education Ordinance (1952), the Razak Report (1956) tion and its diverse range of religions practised. education especially for youth in safeguarding ways to encourage its visitors to explore the and Rahman Talib Report (1960). Its diversity is reflected in the existence of cultural heritage for the future, the department history of Malaysia, from the prehistoric era various materials culture on its land. Archeo- has taken measures such as continuous and con- to the present achievements of Malaysia. The After independence, the country’s edu- logical finds show the way of life of a number sistent research on the collections, developing National Museum, which was declared a Na- cation system began to gradually reform. In the of ethnic groups. To create awareness and build public programmes to accommodate each level tional Heritage Site in 2015 under the National First Malaysia Plan (1966-1970) to the Seventh a harmonious society with a high standard, the of society, publishing research in a variety of Heritage Act 2008 (Act 645) strengthened its Malaysia Plan (1996-2000), education was a pri- Department of Museums Malaysia has taken forms such as in books, journals, audiovisual and role as a one-stop-edutainment centre for the ority. The government looked for new ways to serious measures to preserve, conserve and digital media etc. The department collaborates history, ethnography and art of Malaysia. The ensure that educational institutions produced disseminate knowledge about the country’s his- with appropriate government/non-governmen- new presentation style, comprehensive facilities, individuals who were able to contribute produc- torical, cultural and natural heritage through tal bodies to do this. authentic sources of knowledge in line with tively to national development. Preschool Edu- its museums. the changing political developments make cation, Curriculum for Primary Schools (series), The latest collaboration is a programme the museum a centre for the dissemination of Integrated Secondary School Curriculum Museums have existed in Malaysia since with the Ministry of Education Malaysia. It accurate information and a relevant repository (ICSS), higher education, teacher education, 1883 with the establishment of Muzium Perak. addresses students from the age of 9 to 17 years for the historical and cultural heritage of the technical and vocational education and private Before World War II, the museum’s work and aspiring teachers by using material culture country. education were reviewed. The development of focused on research, documentation and the (objects, artefacts and so on) to help them get the education system continued to grow provid- collecting of material culture with respect to a clearer and better picture of the legacy of The History of Education ing world-class and high-quality education that material relevant to history, material culture their ancestors. This also enhances their un- in Malaysia developed an individual’s potential and fulfilled and natural history. derstanding of the history syllabus outlined by their aspirations. the Ministry of Education. This programme The history of education in Malaysia After the separation from the Antiqui- will be carried out across the nation involving began before to the Colonial period (1400-1874) National Blue Ocean Strategy ties Division (which was established as a new museums and schools from all around Malaysia during which the education system was based on (NBOS): Between DEPARTMENT department), the Department of Museums in 2016. an informal and formal basis which emphasised OF MUSEUMS MALAYSIA and Malaysia focused on keeping and protecting ma- religious subjects. Such education was based on Ministry of Education terial culture within museums. Exhibitions and The History of the National a process of learning that produced individuals museum education programmes are among the Museum of Malaysia who were skilled and competent in technical The Department of Museums Malaysia tools used in disseminating knowledge to the and practical aspects of work. During the and the Ministry of Education were never public while maintaining ongoing research on In 1953, Tunku Abdul Rahman Putra British colonial era, significant changes began to part of the same Ministry. This separation the collections. The Education Unit was estab- Al-Haj (1903-1990), the first Prime Minister of occur in the education system. This lent to an between the two departments made efforts of lished in the Department of Museums Malaysia Malaysia suggested establishing a functioning opportunity for vernacular curriculum finding nation-building and cultivating a sense of be- in 2013 with the aim of educating the public, spe- National Museum as a repository for national its niche in Malaysian society. This was prior to longing to the country more difficult and drawn cifically the youger generation. The department heritage. Subsequently, the construction of the the arrival of Chinese and Indians immigrants, out. The two departments complimented each is tasked with enhancing the younger genera- National Museum, which was built on the site which were later brought over by the British. other’s work. The Department of Education tion’s understanding of the museum as a place of the former Selangor Museum (1906-1945) was provides a younger generation with a theoretical

52 53 Balancing Political History, Ethnography, and Art: The Role of a National Museum in Malaysia Mohd Azmi Bin Mohd Yusof, Miti Fateema Sherzeella Mohd Yusoff, Noraini Binti Basri foundation, while the Department of Museums 4. To establish museums as a support system Malaysia, through the National Museum, show- for formal education through “Teaching cases evidences that supports the theory taught and Learning”; by teachers in schools. 5. To balance academic requirements and hands-on experience in engaging students Thus, in realising the value that both and teachers; and departments can provide, a series of discussions 6. To instill and nurture good moral values were carried out, after it was announced that it and discipline, and build awareness of the was compulsory for students to pass history as a uniqueness of Malaysia’s cultural diversity. subject during their main examination in their formal education years. The planned programme is to be carried out all over Malaysia with active participants The main objectives of the collaboration from Malaysia’s museums. The first step towards between the two departments are: realizing the programme before its launch at a national level was to convene a committee 1. To instill love for the country; consisting of experts from the Department of 2. To nurture a spirit of togetherness among a Museums and the Ministry of Education to run multi-racial society; a pilot test. 3. To instill love and interest in heritage among students and teachers through The National Museum had the honour “Teaching and Learning” museum education; of being the first institution to execute this Image courtesy of the Department of Museums Malaysia

project. The National Museum was seen as the through using material culture evidence in the most suitable place since it is considered a one- museum was monitored closely by the Depart- stop centre for visitors to get a glimpse of the ment of Museums Malaysia and the Ministry of political history and socio-cultural development Education Malaysia. For this pilot test, history of Malaysia. Thus, the blueprint of this museum as a subject has been chosen to be the subject is closely related to the curriculum of history matter. textbooks for students from 9-17 years old. There were four (4) main segments during Pilot Test the execution namely, Teaching and Learning, In-Gallery Activity, Strengthening Activity and The pilot test took place through the Reflection. All these segments served a specific month of May 2015. It involved 10 schools; 5 of purpose throughout the process. which were primary schools and 5 were sec- ondary schools from the Klang Valley area. A Teaching and Learning teacher training institute also took part in the pilot test. Students were organised in a classroom setting. Their teacher would start a lesson based The purpose of the pilot test was to on the lesson plan prepared by the teacher prior study the effectiveness of the functions and role to the museum trip. Students would be taught played by museums in helping students compre- by their teacher following the textbook syllabus hend the country’s history. The pilot test and set up by the Ministry of Education. Collections Mapping on Curriculum-Based Activities: Blueprint of the National Museum Image courtesy of the Department of Museums Malaysia its effects on teaching history theoretically and 54 55 Balancing Political History, Ethnography, and Art: The Role of a National Museum in Malaysia Mohd Azmi Bin Mohd Yusof, Miti Fateema Sherzeella Mohd Yusoff, Noraini Binti Basri

Activity in Gallery 1 Strengthening Activites Image courtesy of the Department of Museums Malaysia Image courtesy of the Department of Museums Malaysia

In -Gallery Activity face in teaching history. In this way, teachers will be exposed to the benefits of museums and Students were divided into a few groups its collections as teaching tools. and handled by two (2) facilitators from the Department of Museums Malaysia. In this Reflection segment, the students were given a formal tour of the specific gallery related to the topic in The reflection segment emphasised the syllabus they learnt from earlier. This is to the experiences gained by students from the provide continuity with the lesson taught in programme. Students were asked to share their the classroom setting. The facilitators showed thoughts and experiences. Students were tested Reflection students the evidence of the material cultures with spontaneous questions on both topics Image courtesy of the Department of Museums Malaysia related to their topic of study. Thus, students from the content presented in the classroom are provided with a vivid picture of the sequence and museum. During this segment, facilitators of historical events that occurred. took notes on issues discussed or shared by stu- in the museum. This development was very en- in instilling a spirit of togetherness, an under- dents in order to get a clearer understanding of couraging as students were more engaged with standing of cultural diversity and a love for the Strengthening Activity whether the programme was a success. the lessons taught in the classroom after their country as one nation. trip to the museum. This segment was created to encourage Findings Conclusion students to develop an understanding of and Other findings also showed that teachers develop opinions on what they learnt and After a month of pilot testing the pro- were more aware of the effectiveness of material The pilot project has been presented a gained from the other two segments. Students gramme, the test delivered very interesting culture as a teaching tool. Teachers were also few times to significant stakeholders through- were given tasks and worked in groups for prob- findings. Feedback from teachers who teach made aware of how museums can accommodate out the country. In conclusion, it was clear that lem-solving and hands-on activities related to history found that the understanding of the their teaching purposes. the role of the National Museum for this project the topic they had learnt. For future groups of students towards the subject increased. More- achieved its goals in balancing political history, teachers, this segment will focus on the brain- over, the time it took teaching certain topics Findings from the survey and the ethnography and art by collaborating with the storming activities. This will address the chal- and sub-topics, which used to take about 8 to reflection segment showed that students were Ministry of Education, schools and teachers. lenge museum professionals and school teachers 10 weeks, could be accomplished in several hours more aware of the role of the National Museum

56 57 Balancing Political History, Ethnography, and Art: The Role of a National Museum in Malaysia

BIBLIOGRAPHY

Abdul Mubin Sheppard. Pembukaan Muzium Negara Persekutuan Federation Museum Journal Vol. 29, Jabatan Muzium, Kuala Tanah Melayu Pada 31 Ogos 1963. Kuala Lumpur: Muzium Negara, Lumpur, 1984. 1963. Federation Museum Journal Vol. 30, Jabatan Muzium,Percetakan Muzium Negara File, No.3, Vol.II, National Archive of Malaysia, Perwira Sendirain Berhad, Kuala Lumpur, 1985. 1971. Federation Museum Journal Vol. 31 Main Peteri, Jabatan Muzium, Muzium Negara File, No.3, Vol.III, National Archive of Malaysia, Kuala Lumpur, 1991. 1972. Federation Museum Journal Vol. 32, Jabatan Muzium dan Antikuiti, Muzium Negara File, No.3, Vol.IV, National Archive of Malaysia, Percetakan Watan Sendirian Berhad, Kuala Lumpur, 1997. 1972. Federation Museum Journal Vol. 33, Jabatan Muzium dan Antikuiti, Federation of Malaya, Annual Report, 1952. Kuala Lumpur: Gov- Percetakan Watan Sendirian Berhad, Kuala Lumpur, 1997. ernment Press, 1953. Federation Museum Journal Vol. 34, Jabatan Muzium dan Antikuiti, Federation of Malaya, Annual Report, 1953. Kuala Lumpur: Gov- Percetakan Watan Sendirian Berhad, Kuala Lumpur, 1998. ernment Press, 1954.

Federation Malay State Government. Kuala Lumpur, 1909. BOOKS Bachik bin Mohd. Tahir. “The Bombing of the Selangor JOURNAL Museums.” In Dalam Malaya in History, Vol. III, No.2, April 1964.

Federation Museum Journal Vol.19, Jabatan Muzium, Kuala Mohamed Zulkifli bin Haji Abdul Aziz.Directory of Museums In Lumpur, 1974. Malaysia. Kuala Lumpur: Muzium Negara, 1977. (Blank Page)

Federation Museum Journal Vol.20, Jabatan Muzium, Kuala Directory of Museums In Malaysia, 2004. Lumpur, 1975. Abdullah Haji Jedi. The National Museum of Malaysia: The Historical Federation Museum Journal Vol. 21, Jabatan Muzium, Kuala Development, 1958-1975. Malaysia: Universiti Kebangsaan, 1980/81. Lumpur, 1976. Shahril @ Charil Marzuki, Zainun Ishak, Lee Pau Wing, Dr. Federation Museum Journal Vol. 22, Jabatan Muzium, Tanda Jaya, Saedah Siraj. Education in Malaysia. Kuala Lumpur: Utusan Publi- Kuala Lumpur, 1977. cations & Distributors Sdn. Bhd, 1993.

Federation Museum Journal Vol. 23, Jabatan Muzium, Tanda Jaya, Juriah Long, Halimah Badioze Zaman, Putih Mohamed, Zalizan Kuala Lumpur, 1978. Mohd Jelas. Aliran Dalam Amalan Pendidikan Menjelang Abad Ke-21, Penerbit Universiti Kebangsaan Malaysia, Bangi: 1992. Federation Museum Journal Vol. 24, Jabatan Muzium, Percetakan Orkid, Kuala Lumpur, 1979. Educational Planning and Research Division. Education in Ma- laysia. Kuala Lumpur: Kementerian Pendidikan Malaysia, 1980. Federation Museum Journal Vol. 25, Jabatan Muzium, Eagle Trading Sendirian Berhad, Kuala Lumpur, 1980. THESIS Federation Museum Journal Vol. 26 (Part 1), Jabatan Muzium, Kuala Juhazniza binti Musa. The Historical Development of the National Lumpur, 1981. Museum of Malaysia, 1963-2004. Post Graduate Thesis. Universiti Malaya, 2008. Federation Museum Journal Vol. 27, Jabatan Muzium, Penerbitan Adabi Sendirian Berhad, Kuala Lumpur, 1982.

Federation Museum Journal Vol. 28, Jabatan Muzium, Penerbitan Adabi Sendirian Berhad, Kuala Lumpur, 1983.

58 59 Balancing political history, ethnography and art: The role of a National Museum

Ms. Mandakini Shrestha Director, National Museum of Nepal

Introduction globalization in modern times could not erode the glory of these cultures and civilizations. The Nepal is a landlocked country between National Museum of Nepal is a leading institu- two big countries in Asia:India and China. It tion invested in protecting cultural assets. is known throughout the world as the home to Showcase of the various ethnic groups of Nepal the world’s highest peak, Mt. Everest, and as the After revolutionary change in 2008, Image courtesy of the National Museum of Nepal birthplace of the light of Asia, Lord Buddha. This Nepal was declared as a federal republic and country is rectangular in shape and is surround- religiously secular country. ed by India to its East, West and South, and by Therefore, the National Museum is popular Pre-historic stone tools China to its North. From North to South, it National Museum of Nepal among researchers and the common people. descends gradually and, as such, is regarded as This section of the gallery provides in- a paradise for the ecologist who specializes in Opened in 1938, the National Museum Historical building formation on human existence in Nepal in the various branches. Its total area is 1,47,181 sq. km. was the first public museum of Nepal. However, Palaeolithic and Neolithic periods. The gallery It is five hundred miles long from East to West it was initially not open to the general public. It The building that hosts the historical uses fossilised bones of cow, buffaloes and ele- and one hundred to one hundred and forty miles was an arsenal museum, a repository of weapons. gallery was built in 1829 by Bhimsen Thapa, phants to illustrate the lifestyle of these periods. wide in breadth. Geographically, it is divided into It was also home to the private collection of the the first Prime Minister of Nepal. During this Different stone tools and artefacts are also part three parts, including the Himalayan region, Royal family and Rana Prime Ministers.1 It was time, the building was used as a barrack to house of the collection and displayed in this section. Mountain region and Plain (Terai) region. Along established in 1938 with the name Chhauni Silkhana weapons kept. The architecture is inspired by with the diversity in the geographical structure, and opened to the public. It was renamed “Nepal French architecture. The museum’s galleries are Weapons and Arms gallery it is also rich in bio-cultural diversity. Nepal is Museum” in 1942 and renamed again, “Nation- made up of many sections. They are as follows: known world-wide for its tangible and intangible al Museum” (Rastriya Sangrahalaya) in 1967. This gallery includes the weapons and guns cultural heritage. The Himalayas and moun- Natural history gallery used by Kings, Prime Ministers, nobles and brave tains, valleys and gorgeous geographical scene Since its inception, the museum has warriors. They date from the 15th century CE. make Nepal an “ornament of nature”. collected thousands of pre-historical, archaeolog- This gallery is extremely important and ical, historical and culturally important objects. rare objects such as various taxidermied animals Nepal’s history has also been narrated Over the centuries, Nepal has provided Thus, it occupies a very prominent position as a are displayed in a lifelike style. Mandibular bones and presented in the gallery. Napoleon III’s a haven for people from the North and South, repository of ancient Nepalese art and culture, of whales and a Moon rock stone are part of the sword presented as a gift to Prime Minister Jung such that the present racial makeup of the including sculpture and painting etc. collection of this gallery. Bahadur Rana (1851) is one of the key pieces in country is a mixture of various Asian elements, the gallery’s collection. This object proves the lending to Nepal being called the “ethnic turn- The National Museum has three exhi- Ethnography section influence of Nepalese diplomacy in international table of Asia.” With the rich heritage of culture bition buildings in its complex: the Historical relations at the time. The gallery includes a and wealth of diversity in religious and ethnic building, Juddha Jatiya art gallery and the Bud- This section of the gallery showcases leather canon seized in the war of Nepal-Tibet variation, Nepal has been greatly enriched by dhist art gallery. Its collections are of political the lifestyle and attire of different people of the (1855-1856) and a machine gun (Bir Gun in Nepali) valuable arts and antiquities of historical and history, diverse ethnic groups of Nepal and art world. The main objective is to show their eth- invented by Nepalese scientist Gahendra Shum- archaeological significance. Even the process of objects represented in a multidisciplinary way. no-cultural background. sher Rana (1896-1897), which add grandeur to the collection.

1 Rana Prime Ministers were powerful Prime Ministers who ruled Nepal for 103 years from 1847 to 1950.

60 61 Balancing political history, ethnography and art: The role of a National Museum Mandakini Shrestha

various people of Nepal are showcased and an have recorded only the ruler’s history, the Na- unbiased representation of the long history of tional Museum should put effort into equally the nation. representing all political events. For this, a de- tailed study of how such events form a national Since the National Museum plays a history is needed. The National Museum should parental role in the development of museums represent not only rulers and elites but equally throughout the country, it plays a significant role incorporate those philosophical and political in the balance of political history, ethnography leaders, revolutionists and martyrs, whose con- and art. Its role can be broadly summarised as: tributions are equally valuable for the sovereign- ty and prosperity of the country. THE National Museum formulates national and cultural history Regarding politics, national and inter- national relations should be studied in detail The National Museum as a mirror of the and incorporated into the museum. In Nepal’s Portrait of Queen Victoria and Prince Albert Image courtesy of the National Museum of Nepal nation represents the social, political, economic context, after the 2008 declaration of federalism, and cultural aspects of the nation. Various which addressed the people’s demands, the royal political events arising out of different political palace was transformed into a museum. The circumstances and cultural dimensions have people and society’s interest should be taken into created different communities that form the consideration. Statue of King Jaya Burma dated 185 CE as inscribed national identity of the country and its society. Image courtesy of the National Museum of Nepal However, over time, changes in the perception of Regarding art, culture and indigenous human thought, technological inventions and perspectives, Nepal is termed “a garden of various Portrait gallery his personal funds. Decorative wood, bronze, other developments etc. have affected tangible tribes.” A recent survey carried out by the Nepal stone, scroll paintings, decorative art forms, and intangible culture. Government shows that Nepal has 125 ethno- The colourful paintings of Malla and terracotta etc. are displayed in this gallery. The graphic groups and 102 linguistic groups. Many Shah kings, Kaji, Bhardars and Rana Prime Min- items in this gallery date back to 3rd century BC. In every historical period, political situa- are indigenous and on the verge of extinction. isters along with the portrait of international tions are experienced, which call for vivid histor- The cultural aspects of these groups should be personalities like Queen Victoria and Prince Buddhist Art Gallery ic change in the world. Politics is the backbone identified and addressed properly in society. The Albert reflect the sheer talent and genius of of a country. With the change in the political, National Museum has an important role to play Nepali artists of the period. The third gallery in the museum building social and economic spheres of a country, its in this. After Nepal became a republic, ethnic was inaugurated in 1997. The artefacts related international diplomacy also changes. The Na- groups realised the importance of the museum Illicit Trafficking Gallery to Buddhism are displayed in this gallery. There tional Museum plays a vital role in the writing in understanding their cultural identities and are three sections in this gallery based on geo- of cultural and political history by conducting developing their historical representation. Thus, The art works and masterpieces of Nep- graphical areas. One of them is related to the deep research and studies of political philosophy many groups are quickly establishing museums alese history which have been illicitly trafficked Southwest part of Nepal where Lord Buddha and ideology of different time periods in Nepal. to represent themselves. In such a context, the and have been successfully retrieved are displayed was born and lived. Another area contains the Recently, Nepal experienced a great political National Museum should research and study the in this gallery. objects from Kathmandu Valley, the supposed revolution in 2008, which saw the end of 240 cultural aspects of these groups and help them centre of Buddhist philosophy and art. The third years of monarchy. Nepal was declared a demo- institutionalise their actions. In providing all JuddhaJatiya Gallery area relates to Himalayan cultures. cratic republic and a federalist country in 2008. ethnographic groups tribal identification and The National Museum has incorporated these ensuring their cultural protection, the National The next building in the museum complex From the description above, it can be seen changes and disseminated this new information Museum enhances social unity, cooperation and is the first structure ever built for museum that the museum’s collections and how they are to society as well as developed documentation brotherhood between people. purposes. Prime Minister Juddha Shumsher displayed illustrate how the National Museum for future generations. While most museums Rana (1932-1945) constructed it in 1944, with of Nepal maintains a balance between how the

62 63 Balancing political history, ethnography and art: The role of a National Museum Mandakini Shrestha

National Museum strengthens many challenges in the field of management in public relation the technique and economic aspect of museum management. Yet, laws and bylaws still have not To balance these categories, methodol- been formulated for cultural heritage and the ogies should be applied. The museum’s friends, museum. There is a lack of skilled manpower. schools, institutions, museum councils, museum Due to the influence of Western culture and associations, different age groups, volunteers, civilisation, new generations are fed up with colleges, etc. should participate. The National their own culture. Traditional skills are slowly Museum not only includes the elites. Grass- abandoned. In spite of these challenges, the roots level people are also equally encouraged to National Museum has successfully and contin- associate themselves with museums. This gives uously conducted its responsibilities. It has been them a sense of belonging in the museum and a doing its best to develop the museum in spite of place within national mechanisms. Through its the hindrances mentioned. In order to do this, programmes like school students memberships, the collection and display has been broadened. the National Museum maintains a public rela- Last year, in 2014, the illicit trafficking gallery tionship not only with students but also with and portrait gallery were opened. These galleries Traditional ornaments of Newar Community of Kathmandu gifted by local community and collected in National Museum their parents. It is also broadening its relation- brought a new dimension and added more value Image courtesy of the National Museum of Nepal ship to the world outside Nepal through inter- to Nepalese art. The collection donated by indig- national organisations like ANMA, ICOM, etc. enous communities is protected and represent- ed. Communities are very keen to donate their To encourage community cive environment for these items. The collection Community Awareness is cultural and historical artefacts to the museum participation for the of art objects, tangible and intangible and other Essential to Assist A National for preservation. Inspired by the museum’s pro- collection and preservation cultural assets should be brought to museums Museum in assuring Balance grammes that build awareness in different com- of cultural assets where the objects’ security can be assured. munities, many communities have donated their For a balanced environment for creation, cultural items to the museum for safeguarding, There should be due consideration paid National Museum Expands The programmes that build awareness are essential. which they return after use in their rituals. to equal representation. The collection should Modality Of Exhibition Until a society is well aware of their social and be built with the intention of equal represen- cultural identification, and there is political Educational programmes run by the Na- tation. Without the collection, a museum’s The National Museum is a multi-disci- stability, tangible and intangible heritages will tional Museum have earned 7000 schools and above mentioned role as balancing ethnography, plinary museum. It displays every aspect related not be protected and preserved. For this, colleges student membership with the museum. art and culture cannot be achieved. Again the to its theme on permanent display. However, society should be aware of the important role Through students, families and the general museum cannot proportionately represent all 125 having only permanent displays cannot meet of a national museum. Through its activities, public, the museum has been able to maintain ethnic groups in Nepal at the same time. Due the expectations of every community. The above technological innovations, documentation and its collaborative effort in sharing knowledge of to this, prioritisation is necessary. The National mentioned balance cannot be assured through outreach programmes, society is made aware thanka paintings. Contemporary art, writing Museum, through direct collaboration with permanent exhibitions. As with contextual of how to implement a balanced policy for the and sculpture moulding are also taught by the society, should encourage communities to con- changes over time, themes should also change. protection and preservation of cultural heritage. museum. This will contribute to the preserva- tribute to and enrich the museum’s collection. For example, from ancient times to today’s fed- tion of Nepalese art and culture. Annual acquisitions by a museum alone cannot eralism, public interest has changed with time. Challenges contribute to striking a balance. Culture is The National Museum in creating a balance In April 2015, a huge earthquake added being threatened by modernisation. As a result, should also consider the public interest. For In the Nepalese context, museum de- more challenges and opportunities. Tangible the National Museum should put effort into this, temporary exhibitions, mobile exhibitions, velopment was only recently initiated. Public assets destroyed and dismantled by the earth- protecting its deep relations with society. Collec- cultural villages, home-stays, cultural expos, etc. interest towards museums is not well-devel- quake have been collected by the National tions from communities should be included in should be used as mediums to promote culture oped. In such dire circumstances, the National Museum. From one perspective, managing these the museum through gifts, loans or purchases. and art. Museum, being the first museum in Nepal, faces assets has been challenging for the museum. The National Museum should create a condu-

64 65 Balancing political history, ethnography and art: The role of a National Museum

(Blank Page)

Tempera wall painting of Vishwaroopa dated 19th century rescued from residential palace of Prime Minister General Bhimsen Thapa Image courtesy of the National Museum of Nepal

However, it has also been an added opportuni- Vishwaroopa has been successfully restored in the ty for further research and study, from which gallery of the National Museum after the earth- additional information about Nepalese culture quake of 2015. This was a great achievement after can be developed. The tempera wall painting of the disaster.

66 67 A NEW CHAPTER: comprehensive display, of Chinese art. Secondly, the Arab lands, Anatolia, Central Asia, Iran THE REDEVELOPMENT OF THE ASIAN for relatively new collecting areas, such as South and even South and Southeast Asia). ‘South and West Asia, the curators determined themes Asia’ referred almost exclusively to India (and CIVILISATIONS MUSEUM (ACM) to be explored in the new permanent galleries. more specifically, Tamil Nadu in the South), For example, for West Asia, Islam was show- while Gandhara, Sri Lanka, and the Himalayas Mr. John Teo cased in three themes - as a Way of Life, Islamic were almost entirely absent, although later Deputy Director, Curatorial, Collections & Exhibitions, Art, and Seeking of Knowledge. Based on these acquisitions and gallery modifications helped to themes, new acquisitions were then added to the address this imbalance. The South Asia gallery Asian Civilisations Museum collection accordingly. also contained a section focused on the ‘Islamic’ architecture and decorative arts of the Mughals, THE ORIGINAL ACM (1991 – 2015) The Collection: Art vs. Geographical Regions vs. which further complicated the distinction from Ethnology and History ‘Civilisations’ and Cultures the ‘Islamic’ / West Asia gallery. The ACM was created out of the recom- mendations of the Singapore Museum Precinct ACM’s original mission was “to explore From the earliest planning stages the in- A NEW CHAPTER: Master Plan 1991, devised by the then culture and present the cultures of Asia, and to inter- tention was for ACM to focus on core geograph- THE NEW ACM (2015 - 2017) ministry, the Ministry for Information and the pret the civilisations that created them, so as to ical regions – Southeast, East, South and West Arts (MITA). This study projected Singapore’s promote awareness of the ancestral cultures of Asia – as conceived as part of a wider interaction The new ACM, which will be launched long-term planning needs for museum spaces Singaporeans and of the heritage of the South- with the world. ACM was meant to eventually in three phases from November 2015, emphasiz- and facilities, based on a recommended collec- east Asian region”. It was “pioneering the idea of exhibit “the rare arts of East, South, West and es the historic connections between cultures, tion development strategy.1 The strategy took an Asian civilisation – not as a dogmatic thesis Southeast Asia and interpret the cultures which and pushes the notion that cultures have never as its starting point the need to convert other but as a tentative hypothesis to be examined produced these rare arts”.4 These geographical been fixed over time. historic buildings within the civic district to and tested both in the permanent collection regions were supposed to directly represent serve as museums. This was not only a cost-sav- and in a series of temporary exhibitions being the ‘ancestral cultures’ of Singapore’s main Two Main Thematic Threads ing measure, but was also meant to address the arranged with many other Asian countries over racial groups, i.e. Chinese-Malay-Indian-Others criticism of the widespread destruction of much a period of years”.2 (CMIO), through their roots in China, the New entrances and expansions allow of Singapore’s architectural heritage in the pre- Malay World, India, and other regions, such as a different overall flow and conceptualization ceding decades. Firstly, the aim of the ACM was to Arab traders. However, the system proved prob- of the museum. The different floors, which represent the high points of Asian artistic lematic because of the conflation of the two. were extremely difficult to link in the past, will Conceived as an offshoot of the National development, through an ‘aesthetic display’ ACM was organised by a dual system of regions present two different multi-cultural narratives: Museum, the ACM was intended to eventually as “objects of art in their own right”. Hence, (Southeast Asia being exceptionally multicul- the first floor will focus on trade and the -ex be set up in two separate locations within the based on the national collection, generally there tural and multi-religious) as well as by a system change of ideas, while the second floor galleries Civic District: a first iteration, ACM1 at the were two approaches to the narratives of the of traditionally defined, monolithic cultures will focus on the spread of ancient religions. Tao Nan school building on Armenian Street galleries: firstly, for collection areas where there (China and India). This emphasized the chau- (now the Peranakan Museum) opened in April were already substantial holdings (for example, vinism of those cultures, with minorities and The themes of exchange and inter-cul- 1997, while ACM2 at the Empress Place Build- for ethnographic / anthropological collections interconnections less frequently represented. tural contact will be reinforced throughout all ing opened in March 2003. After more than a from the old Raffles Museum and Peranakan the galleries. Panels will draw attention to the decade, the government decided in 2014 to fund material which had been actively collected Regions were not also comprehensively historic features of the building or to neigh- a S$25 million revamp of the ACM to expand from the 1980s), galleries were planned based covered. For example, while labeled ‘East Asia’, no bouring monuments visible through windows. and refresh its galleries so as to enhance visitor on the strengths of the collection3, as well as other cultures besides China were represented.5 Since Singapore’s historical foundations in trade experience. the availability of (potential) loans. Given the Similarly, ‘West Asia’ actually referred to the and immigration are immediately evident in space limitations at ACM1, there was only one collection area of ‘Islamic’ arts of the Muslim the Singapore River, this takes advantage of the world (which included territories as diverse as ACM setting. Each gallery will also have a panel 1. According to this study, the recommendation for a 20-year collection horizon (by 2010) was to plan for a ‘final’ collection of 100,000 objects, and to plan for the museum precinct to accom- modate such a collection. Barry Lord, “Cultural Resources Planning & Management”, in National Museum, Singapore – Museum Precinct Master Plan (1990). Asia, vernacular Buddhism (a new collecting area), Vietnam (Sinicized Southeast Asia), the ‘Malay world’, textiles and metal work (jewellery and weaponry) and the ‘performing arts’ (a gamelan set from one of the Yogyakarta courts was acquired for this purpose). 2. Barry Lord, Emerging National Identities: A Look at Asia, Paper presented at a meeting of the Association of American Museums in 1998. 4. Kwa Chong Guan, Structure and Themes of the Asian Civilisation Gallery in the NM Precinct (1990). 3. At the time of the collection audit by Lord in 1990, only 3% of the national collection was categorised as Fine Art – the majority was History (42%), Ethnography (32%) or Archaeology (23%). Lord, 1990. Hence, for example, the West Asia gallery – being the last collecting area for the museum - was originally mainly filled by long-term loans from the Tareq Rajab museum of Kuwait. 5. This was because the Chinese population in Singapore was “not directly related to Japan, Korea and the northern nomadic peoples across the central Asian and Siberian steppes”, and The narratives for the Southeast Asian galleries were also shaped by the collection, which included extremely diverse elements such as island Southeast Asia, Hill people of mainland Southeast the national collection did not include any artefacts from these other regions. Storylines for the Second Wing of the Asian Civilisations Museum, 22 Jul 1999.

68 69 John Teo A New Chapter: The Redevelopment of the Asian Civilisations Museum (ACM) to discuss the relevance of history to culture Themes explored include early trade today in Singapore and its surrounding regions. between China and Southeast Asia; the contin- uation of trading links between China and the TRADE: THE EXCHANGE OF Islamic worlds; encounters between Europe and GOODS AND IDEAS Asia from the 1500s; expanding markets in the 16th and 17th centuries; Kunstkammer and luxury This gallery focuses on trade exchanges goods; Southeast Asian trading ports and mixed to allow visitors to discover cultural connec- communities; and trade and missionary work. tions through trading networks. As a major port city, Singapore is the product of many different The gallery display will include a mix of peoples living together: the ACM similarly re- media, ranging from Chinese export ceramics, flects the unique qualities of Singapore’s blended metalwork, trade textiles, paintings, exotic communities. The display will introduce the materials, furniture and decorative art. Visitors historical context of trade routes, both land and are encouraged to discover the deep connections sea, and key production centres of port cities that link artistic and cultural traditions in Asia across Asia. and the world.

Octagonal cup with musicians and a dancer China, ca. 830 Gold Image courtesy of the Asian Civilisations Museum

Vishnuwith Lakshmi and Sarasvati Eastern India, 12 century (Pala Kingdom) Bronze with silver inlay Image courtesy of the Asian Civilisations Museum

KHOO TECK PUAT GALLERY FAITH AND BELIEF: THE SPREAD (Tang Shipwreck) OF ANCIENT RELIGIONS

A new gallery on the riverfront wing The second floor galleries will emphasize A view of Singapore harbour, by an unknown Chinese artist, Singapore, c.1850, oil on canvas will trace the early roots of trade in Singapore the connections between the cultures of Asia Image courtesy of the Asian Civilisations Museum and the region, through a shipwreck carrying through the major role played by religion, wit- a large Chinese cargo bound for the Middle nessed especially as ancient Indian religions that East dating from the 9th century. This gallery spread to the rest of the continent. As Buddhism will reveal the strong commercial and cultural and Hinduism migrated, visual expressions links between China, Southeast Asia, and the adapted and changed within local cultures. Middle East one thousand years ago: linking Tang China, Southeast Asian Srivijaya, and the The first gallery will present the origins Abbasid Empire in the Near East. It also serves of the oldest pan-Asian religion: Buddhism. to demonstrate Singapore’s historical strategic The ancient Vedic sources of Buddhism and location as a pivot point along the maritime Silk Hinduism in India will be explored, along with

Ritual Hanging, Coromandel Coast, India, early 18th century Casket Gujarat, India, 16th century Route. the interactions between the two religions. The Cotton; painted, mordant and resist-dye Mother-of-pearl, wood and silver Image courtesy of the Asian Civilisations Museum Image courtesy of the Asian Civilisations Museum gallery will show purely symbolic representa-

70 71 John Teo A New Chapter: The Redevelopment of the Asian Civilisations Museum (ACM)

tions of religious ideas to the flowering of figural Chinese Ceramics Buddhist art in the 3rd and 4th centuries. The gallery will conclude with the arrival of Hindu- A new gallery of Chinese ceramics ism and Buddhism in Southeast Asia, drawing a will open in Phase Two. An entry into an strong connection with Singapore’s region. understanding of Chinese ceramics as art, the gallery aims to encourage close contemplation Two adjacent galleries will focus on Islam of physical traits appreciable by the naked eye and Christianity in Asia. These will open in – body, glaze, and form. Visitors will use this as Phase Three of the redevelopment a starting point to explore broader contextual questions, such as the historical development THE KWEK HONG PNG WING: of ceramics in China, and its importance in CHINESE AND CONTEMPORARY ART international networks of trade, culture, and technology. Themes explored will include the A gallery dedicated to merchant, court history of Chinese ceramics from the Neolithic and the scholar’s studio will focus on the period to the Qing dynasty, and specific case scholar in Chinese culture, and how this aspira- studies: Dehua porcelain of Fujian province, tional ideal took hold in wider Chinese society porcelain made in Europe after Chinese models, Brush rest China, Jingdezhen, 1506–21 through the social hierarchy. and Transitional ware. Marked: 大明正德年製 (Made in the Zhengde reign of Ming dynasty) Porcelain Image courtesy of the Asian Civilisations Museum The display examines how early diaspora Conclusion Chinese migrants to Southeast Asia, mostly merchants and traders, explored and redefined The ACM reflects Singapore’s unique their cultural identities in relation to the ideals position in the world at the intersection of of Chinese taste reflected in the lives of the many cultures. From the museum collection’s literati and in the culture of the imperial courts. origins as an ethnographic collection of a co- lonial museum, its remit has expanded beyond Objects will be used to illustrate key con- monolithic ‘ancestral’ cultures of Singapore’s cepts such as the scholar-official, Confucianism, immigrant population, to incorporate new pan- imperial tastes and status, the four pursuits - Asian approaches to cultural studies and the namely, qin (a musical instrument), qi (a strategy humanities. The revamped ACM devotes special game), shu (calligraphy), and hua (painting) - and attention to the artistic connections between patronage. Chinese furniture, both studio and cultures, and blended artistic forms, or cross-cul- regional variations, will be displayed. This will tural art. This distinguishes Singapore and the help to illustrate how ancient scholars in the ACM from other civilisation museums around Ming and Qing dynasties lived and worked. the world. Comparisons will be made to the original con- texts in southern China – in Fujian, Teochew, and Canton.

Opium bed China, Chaozhou, 1875 Gilded and lacquered namwood Image courtesy of the Asian Civilisations Museum

72 73 Balancing political history, ethnography and art: The role of a National Museum – Sri Lanka

Mrs. Sanuja Kasthuriarachchi, Director, Department of National Museums, Sri Lanka

Introduction ditional use pass into disuse, usually in tandem with socio-economic transformations that are The National Museum of Sri Lanka was taking place. Meanwhile, the formation of new established in 1877. It has played a very signifi- cultural structures becomes a major national cant role in the national life of the Sri Lankan responsibility. This is deeply influenced by both (Left) Diorama of Pre-History Gallery people by protecting their national heritage. internal and external factors. (Right) Pre and Proto Historic Gallery Images Courtesy of Colombo National Museum, Sri Lanka Until recently, however, specific functions of the museum were confined to documentation, The galleries in the Colombo National preservation, and conservation of the cultur- Museum are arranged under the following Galleries 2 to 5 consist of a valuable collec- In the Textile Gallery, there are tradition- al heritage of this multi-racial island, whose themes: tion of exhibits relating to historical periods in al costumes representing all the ethnic groups history goes back 2500 years. Colombo National Sri Lanka. Originating in the 4th century BC, in the country – the Sinhalese, Tamil, Muslim, Museum contains artefacts from Buddhist, Political History Galleries Anuradhapura was the first historical kingdom Malay and Burgher communities. Hindu and Islamic cultures. 1. Pre and Proto Historic Gallery in Sri Lanka. The exhibition contains a unique 2. Anuradhapura Period Gallery collection of artefacts relating to the historical In Gallery 7, the visitors can view ancient Therefore I believe that the theme for 3. Polonnaruwa Period Gallery developments and the Buddhist and Hindu mural paintings. This gallery is very important this year’s meeting and conference Balancing 4. Transitional Period Gallery culture of that period. because originals copies exhibited no longer exist Political History, Ethnography, and Art: the Role of a 5. Kandy Period Gallery insitu. National Museum is very relevant to my institu- Art and Crafts Polonnaruwa Period Gallery reveals the tion: Colombo National Museum, Sri Lanka. 6. Stone Antiquities Gallery multi-cultural heritage of this period with a The ethnographic galleries in the 7. Painting Gallery large number of Buddhist and Hindu artefacts. museum present a collection of exhibits depict- The Colombo National 8. Textile Gallery This gallery has an excellent collection of Hindu ing the religious, economic and political life of Museum, Sri Lanka 9. Ceramic Gallery sculptures excavated from Hindu Shrines in the the people. A number of very useful exhibits 10. Coins and Currency Gallery area. provide deeper insights into the rural life and As I mentioned before, we are a multi-ra- 11. Standards and Banners Gallery agricultural economy of the country during cial country. So, as the National Museum, we 12. Arts and Crafts Gallery The Transitional Period Gallery provides ancient times. have to play a significant role in reconciliation 13. Arms and Armaments Gallery good examples of the roles of cultures and between various ethnic groups and communi- communities which cross national borders and The Colombo National Museum col- ties. For over 138 years we have served as the na- Ethnography cultural objects that have been retooled over lection is the only place one can find enough tional repository of arts and artefacts, historical 14. Traditional Rituals Gallery different historical periods. The Royal capital authentic evidence to study the evolution of re- evidence and a platform for their ethnographic 15. Traditional Agriculture Gallery of Sri Lanka was shifted from the Dry Zone ligions, art and architecture, paintings, Buddha representation. to the Wet Zone because of invasions. Hence images, carvings and motifs, agricultural and The first gallery provides information on the period between the 13th and 16th Century domestic equipment, masks, costumes and A museum does not merely preserve a world ‘pre-history’ and the evolution of man. The turned out to be a transitional era. jewelry which make up the cultural heritage of nation’s cultural heritage in a static manner. main hall is devoted to exhibitions on Sri Lanka’s the people of this country. Through preservation and interpretation, a pre- and proto- history. The trilingual inscription discovered museum contributes to the national and cultur- from Galle inscribed in Persian, Chinese and The following images will give you an al formation of a country. In a society such as Dioramas, stone implements and mega- Tamil, provides important evidence of Indian idea of the rich collection that the museum has ours, the rate of historical and cultural change lithic burials provide a good source of evidence Ocean trade activities in the 14th Century. and how it represents and showcases the multi- increases daily. Many customs and items of tra- to study this period. cultural history and heritage of Sri Lanka: 74 75 Balancing political history, ethnography and art: The role of a National Museum – Sri Lanka Sanuja Kasthuriarachchi

Agriculture Gallery

From left to right: Buddha Image, Goddess Tara, Goddess Parvati, God Siva and Goddess Parvati Images Courtesy of Colombo National Museum, Sri Lanka

Traditional Masks of Sri Lanka displayed in the Colombo National Museum

Chinese Ceramics displayed in the Colombo National Museum’s Ceramic Gallery

(Left) Tri-Lingual Stone Inscription (Right) Traditional Sri Lankan Costumes / Flag The last King’s Throne and Crown, Kingdom of Kandy Images Courtesy of Colombo National Museum, Sri Lanka Images Courtesy of Colombo National Museum, Sri Lanka

Conclusion traditional arts and crafts of the country are also well represented. Despite having a large collection, To conclude, it is useful to look at the chal- the museum only has a few ethnographic galleries. lenges faced in balancing the demands to provide Branch museums located in Galle and Anurad- adequate representation of political history, hapura provide greater insight into the life of the ethnography and art. The Colombo National communities in these maritime and agricultural Museum from its inception focused on mainly areas . collecting objects from archaeological contexts that related to the major historical periods of the A significant shortcoming is the lack of country’s history. Therefore, its presentation of the adequate representation of all the ethnic groups political history of ancient Sri Lanka is extensive. in the country. Some of these groups are under- The more recent political history of the country represented both in the museum’s collections and

Objects from Arts and Crafts Gallery is presented in the Independence Museum. Due in the exhibitions. Image Courtesy of Colombo National Museum, Sri Lanka to the richness of the museum’s collections, the 76 77 The Challenge of Running Ethnology the museum should be a learning centre for the traditions to be exhibited in some other national Museums: between Art and History culture and traditions of all of Thailand’s eth- museums. Three national museums, Roi Et in the Museums in Thailand nicities. According to our research at the time, Northeast, Satun in the South, and Suphan Buri more than 60 ethnic groups including Thais (75 in Central Thailand were established to serve Dr. Amara Srisuchat per cent), Chinese (14 percent) and other ethnic- this policy. They are sometimes known as “City ities (11 percent) live in Thailand. Although the Museums” rather than as National Museums. Senior Expert in Art and Antiquity, fundamental idea of establishing the museum The Office of National Museums, Thailand was to introduce and showcase all ethnic groups 2. In 1995, the government supported of the country, the museum gave priority to the Fine Arts Department’s project of building the minority groups, which are more than 40 the National Museum of Ethnology at Pathum in number. Some of these groups have become Thani Province, 30 kilometres to the north of vulnerable due to irreversible change. Bangkok. Due to the country’s economic crisis in 1997, followed by frequent political changes, While working on the master plan, our the government did not approve a five-year con- museum staff collected data, materials and eth- struction plan of a ‘large-scale’ exhibition and nographic objects from various sites. Although the management of the National Museum of the written master plan was completed before my Ethnology. The government has merely allocated departure from the museum to take up the Di- budget for maintaining the office (with museum rectorship of the National Museum in Bangkok staff) and a visible storage building, and for small in 2009, till today no permanent exhibition has temporary exhibitions. been organised and it has yet to officially open to the public. Only the visible storage galleries 3. Over the past two decades, the govern- and the occasional temporary exhibitions at the ment adopted a policy of “lifelong learning” and office building have been opened to some visitors. developed a strategy to increase “learning sites”, Why has this situation gone on as it has? either in schools or temples, so as to make them The National Museum Bangkok, the first museum of Thailand (141 years old) Image courtesy of the Office of National Museums, Thailand unlimited in number. There was a growing in- This paper discusses the past and current terest in smaller museum and community-based challenges that the National Museum of Eth- projects. Due to voluntary collectors, who Introduction Thailand’s National Museum of Ethnolo- nology and local museums of ethnology have lacked the basic knowledge of museology and gy was founded in 1996, in honour of His Majesty encountered, addressing the tension between a conservation to handle objects, a large number The origin and development of Thai- the King’s golden jubilee (Thai: Kanchanaphisek). top-down governmental policy and ground-up of ethnographic materials and folk handicrafts land’s national museums is linked to the royal Thus, the official name of the museum is “The strategic plans undertaken by museum person- were collected, stored and exhibited improperly. collection of art objects and antiquities. This Kanchanaphisek National Museum”. Under the nel who strive to fulfil the museum’s goal. Furthermore, the stories, origins or provenances wonderful collection, which was presented to jurisdiction of the Office of National Museums, of objects were poorly recorded. the national museums, and the government’s Fine Arts Department, two buildings were built Some focal points of government policy to preserve artefacts found in ancient for the museum; One of them has been used as policy that impact the museums 4. Her Majesty the Queen’s initiative to sites has ensured that the 42 national museums the Central Storage space for the Office and the promote local and ethnic textiles and handi- throughout the country are full of art objects other for the National Museum of Ethnology. 1. Over the past two decades, the crafts was adopted as a government policy and and antiquities. This collection is a defining government has promoted the local identity lent to a government strategy to promote them characteristic of the national museums. The In 2007, I was the Director of the and cultural diversity of Thailand in order to in domestic and global markets. One of the only exception to which is the unique National museum and worked on the master plan for the support the main policy of decentralisation of government policies on the issue that had been Museum of Ethnology.1 museum based on the concept and objective that government administrative bodies. The national implemented by several bodies under the juris- museums had to follow the government’s policy diction of the Fine Arts Department including

1 Amara Srisuchat, “Proposed Activity Programmes for Cooperation among Asian Museums”, in Museum and Urban Anthropology: Proceedings of the International Conference(Hanoi: Vietnam by allowing local ethnographic objects and folk the Office of National Museums and Regional Museum of Ethnology, 2008), 17-20, 123-129

78 79 The Challenge of Running Ethnology Museums between Art and History Museums in Thailand Amara Srisuchat

graphic objects and ethnographic related issues buildings would be built one by one. This would could be included in the definitions and mis- take several years to be completed. However, the sions of National Museums. We finally agreed museum’s research and outreach programmes to proclaim that any ethnographic object in a connected to the exhibitions have continued to National Museum is regarded as an object of art be financially supported. that should be protected, according to the Act. However, the declaration is in practice workable One of the successful examples of the only in the National Museums. It does not yet implementation of the National Museum of cover the ethnographic items that exist outside Ethnology’s programme is the Story-telling from the National Museums. Therefore, they are not our Elders: The Ethnological Forum. The forum was legally protected and we are completely losing designed to invite a number of indigenous schol- more of them day by day. ars from various ethnic groups to share their knowledge and experience of various aspects of 3. The five-years allocated for the con- the way of life of their ethnic group. This in- struction of the National Museum of Ethnology cluded their views on ethnic material culture in in the museum’s master plan was subject to relation to the modern globalised world and on Visible storage of the National Museum of Ethnology, Pathum Thani Province reconsideration in light of economic consider- ethnographic items as museum objects. This was Image courtesy of the Office of National Museums, Thailand ations. The Office of National Museums realised a way to increase opportunities for ethnic people that the National Museum of Ethnology had of all generations and all levels to learn from National Museums was the project on the “Cre- 1. Apart from opening up a space in the not kept pace with the master plan because of each other. Contact between the participants ative Fine Arts”.2 regional National Museums’ buildings for exhib- budgetary constraints. It was better to propose from different ethnic groups and socio-cultural iting ethnographic items, the National Museums a long term plan for the construction of exhibi- backgrounds enhanced the museum staff’s and The National Museums’ had to arrange several training programmes on tions and additional buildings for the museum. participants’ capacity for developing a wider ground-up strategic actions ethnology for its staff. Although it placed exces- A promising new development came from the network. for best practices sive demands and responsibility on the staff, it government’s acceptance of the proposal. It was a good opportunity for the regional National provided the capital for permanent exhibition 4. When the local administrative sectors The Office of the National Museums, a Museums to provide new knowledge to museum buildings of the National Museums of Eth- and communities adopted the government policy government body for implementing government staff to share with visitors so as to prevent the nology on the condition that the exhibition on the “life-long learning centre at hometown”, a policies in the preservation of material culture, loss of Thailand’s ethnological art and crafts. the development and maintenance of standards and the promotion of National Museums and 2. The establishment of the “National other museums has collaborated with the 42 Museum of Ethnology” led to an official meeting national museums throughout the country to on the revision of the National Museum’s defini- design ground-up strategic actions to implement tion and mission, for instance; according to the government policy successfully. 1961 Act on Ancient Monuments, Antiques, Objects of Art and National Museums of Thailand, a ‘National The approved ground-up proposals were Museum’ is established to be a place for keeping supported by the government and the national antiques or objects of art which are State prop- museums that had an influence in shaping the erty. Thus, ethnographic objects are excluded 3 government’s policy and strategy of best prac- from this by law. After discussion, directors and tices. This created a win-win situation for our curators of all the National Museums requested stakeholders: a further revision of the 1961 Act so that ethno- 2 Amara Srisuchat, Elaborate Vintage Textiles and Clothing (Bangkok: Fine Arts Department, 2015), 8-9.

3 Act on Ancient Monuments, Antiques, Objects of Art and National Museums. B.E. 2504 (1961) As last amended by the Act on Ancient Monuments, Antiques, Objects of Art and National Museums (No.2), B.E. Some groups of visitors are allowed to access the visible storage of the National Museum of Ethnology 2535 (1992), (Bangkok: Fine Arts Department, 2010), 40. Image courtesy of the Office of National Museums, Thailand

80 81 The Challenge of Running Ethnology Museums between Art and History Museums in Thailand Amara Srisuchat

large number of “storehouses of folk crafts and sonnel of museums belonging to other govern- art”, which are called “museums”, were founded ment entities (e.g. school museums, museums of throughout the country. Knowing that taking local administrative sectors, temple museums, or finds from archaeological sites and ancient mon- private museums). It was designed to help both uments are illicit, the local museum stakeholders unskilled and poorly skilled personnel to learn avoided taking objects of antiquity to place in either theory or practice with experts and senior their “museum.” Thus, they preferred to acquire curators, conservators and technicians of the ethnographic objects, such as household utensils Office of National Museums. From 2003 to 2015, made of wood and textiles and clothing of ethnic 180 participants from government, local and groups and handled them regardless of their private museums attended the training course. fragile condition. To collect fragile ethnographic They became strong personnel that worked on objects, such as those, without knowledge of improving exhibitions and collections in their museology and conservation has caused serious museums. The project is very important for the damage to the objects. According to the na- future of museum development, and will greatly tional law, the government’s budget is designed enhance the museums’ network and links across to support the National Museums, which are the country.4 government agencies. There are no provisions for the state to subsidise private or local admin- 5. Some activities of the National istrative sectors for maintaining museums and Museums were designed according to the Min- Textiles of ethnic groups exhibit in the Special Exhibition “Elaborate Vintage Textiles and Clothing” at the National Museum Bangkok on August 14 - November 4, 2015 Image courtesy of the Office of National Museums, Thailand collections. To overcome the problem, the Office istry of Culture’s policy of raising awareness of National Museums plans to deepen its involve- of the value of cultural assets with regards to ment in the improvement of these “museums” the economic development of the country and that are filled with ethnographic collections. promotion of material culture for tourism. The activities that were able to capitalise on the Na- According to our mission, the National tional Museums during the creation of a creative Museums have to transmit and disseminate economy that intended to generate wealth and knowledge of artistic and cultural heritage sustain the country’s development are as follows: to the general public. We have to provide aca- demic knowledge and practices to government 1) The promotion of artistic souvenirs or museums, local museums and temple museums products made and inspired by objects of art, based on their requests so as to develop such antiquity and ethnographic objects in the museums. Thus, we decided to work in close National Museums. cooperation with the non-national museums 2) The organisation of an animated film and to improve the quality of their collections and short-film contest on the theme of “Museums professional standards of their personnel. Several for All.” 5 long-term projects to back-up and develop local museums have been submitted to government 3) The occasionally night programmes of the administrators and some have received govern- National Museums. Today, the term “Noc- ment budget allocations to implement them. turnal Visit to the National Museums” or “The Night Museum” is well known to the The Office of National Museums’ project public. It has become a new trend in visiting 6 of “Best Practice” is a “museology training the National Museums. course” that offers training opportunities to per- 4 Somlak Khamtrong, “Developing Wider Museum’s Network through a Museology Training Project”, in Museum Newsletter No. 4 July–September 2014, (2014), 8-9. House of the Thai Song Dam ethnic group, used as the local museum of the ethnic group 5 Duangchai Pichitnarongchai, “Thai Museum Day’s Activities at the National Museum Bangkok”, in Museum Newsletter No. 4 July–August 2015, (2015), 13-15. Image courtesy of the Office of National Museums, Thailand 6 Thatson Tantiwong, “Nocturnal Visit to the Palace Museum or the Night Museum”, in Museum Newsletter No. 3 May–June 2015, (2015), 13-15

82 83 The Challenge of Running Ethnology Museums between Art and History Museums in Thailand Amara Srisuchat

BIBLIOGRAPHY

Act on Ancient Monuments, Antiques, Objects of Art and National Museums. B.E. 2504 (1961) As last amended by the Act on Ancient Monuments, Antiques, Objects of Art and National Museums (No.2), B.E. 2535 (1992), Bangkok: Fine Arts Department, 2010.

Khamtrong, Somlak. “Developing Wider Museum’s Network through a Museology Training Project.” In Museum Newsletter No. 4 July–September 2014, 2014.

Pichitnarongchai, Duangchai. “Thai Museum Day’s Activities at the National Museum Bangkok.” In Museum Newsletter No. 4 July–August 2015, 2015.

Srisuchat, Amara. “Proposed Activity Programmes for Cooperation among Asian Museums.” In Museum and Urban Anthropology: Proceedings of the International Conference, Hanoi: Vietnam Museum of Ethnology, 2008.

Srisuchat, Amara. Fighting against Illicit Traffic of Cultural Property: Precedents & Present, 2012.

Srisuchat, Amara. “Circumstances in Thailand.” Paper presented at the ASEAN Workshop on Exchanging Experi- ence in Fighting against Illicit Traffic of Cultural Property, Siem Reap, Cambodia: November 2-5, 2012.

Srisuchat, Amara. “Museum’s Educational Role: Thailand’s Museums-the Educational Centre beyond Schools.” In Proceedings of the 4th Conference of Asia National Museum Association, October 8. Hanoi: The Vietnam National Museum of History, 2013.

Srisuchat, Amara. “Thailand’s Museums of Relevance to National and World Heritages.” Paper presented at the International Conference for Museum of Our Own, November 18-20 2014. Yogyakarta, Indonesia, 2014.

Elaborate Vintage Textiles and Clothing. Edited by Amara Srisuchat. Bangkok: Fine Arts Department, 2015.

Household utensils of the Thai Yuan ethnic group, Local Museum of Ethnology in Ratchaburi Province Tantiwong, Thatson. “Nocturnal Visit to the Palace Museum or the Night Museum.” In Museum Newsletter No. Image courtesy of the Office of National Museums, Thailand 3 May–June 2015, 2015.

Future Perspectives has declared the 2020 ASEAN’s vision, and one of the goals is to be a community of caring soci- Due to the needs of ethnic groups and eties. In a 21st century global society, the knowl- the different contexts of people in society, the edge and demand for understanding minorities government can no longer see the National to solve the challenge of the conflict between Museum of Ethnology as the sole responsibility the majority and minorities of certain countries, of the government. Therefore to promote peace of migration, and of the loss of the minorities’ among the majority and minority groups, the tradition and culture is a serious issue that has to government needs to create partnerships not be addressed. As such, the ethnology museum’s only between government officials at all levels, framework needs to be able to respond to global but also with social enterprise and private enter- challenges. This requires collective response prise that share the museum’s goal. The National with a strategic vision that is global in character, Museum of Ethnology must work closely with rather than one which is limited by national or other government bodies and private entrepre- regional frontiers. The utilisation of the Nation- neurs by connecting related agencies vertically al Museum of Ethnology or local museums of and horizontally from the national level, provin- ethnology as mediators of cultural heritage will cial level to the ethnic community level through reduce the gap between ethnicity and national- the innovative projects that answer the people’s ity, which is a factor that prevents people from needs. In terms of regional perspective, the As- living together peacefully. sociation of Southeast Asian Nations (ASEAN)

84 85 ROLE OF THE VIETNAM NATIONAL MUSEUM OF HISTORY: ON BALANCING POLITICAL HISTORY, ETHNOGRAPHY AND ART

Dr. Nguyen Van Cuong Director of the Vietnam National Museum of History

Logo of Vietnam National Museum of History The Vietnam National Museum of History precinct Image courtesy of the Vietnam National Museum of History Image courtesy of the Vietnam National Museum of History

INTRODUCTION - the most objective and balanced approach in understanding political institutions through A National Museum is a special cultural history. It not only provides the value of infor- institution. It is the head of the museum system mation and knowledge to the public, but also in a country. It leads, influences and orients the gives politicians and contemporary political operation of a nation’s museum system. It is institutions a deep understanding of the basics also a place that stores the majority of a nation’s of national political history in strengthening artefacts (cultural property) and is the most cooperative relations. Through exhibitions and abundantly resourced with human resources, other research projects (such as archaeological typical display systems and basic research pro- excavations, surveys, basic research etc.), the grammes. It’s research covers the entire country public can recognise the formation and develop- and a broad range of historical periods (from the ment of the state. The public can also learn of ancient to contemporary) that relate to the most the role of the state in the historical evolution essential characteristics of the culture, civilisa- of the nation from the primitive to the contem- tion and history of the nation. porary, in relation to ethnic issues. The repre- sentation of history, culture and civilization the role of the vietnam of each nation means addressing ethnic issues, Co-operation Exhibition “L’envol du dragon-art royal du Vietnam” at Guimet Museum in Paris, France national museum of history ethnic groups and ancient kingdoms in history. Image courtesy of the Vietnam National Museum of History This creates unity in diversity. In a multi-ethnic In this regard, the Vietnam National nation like Vietnam, the research and introduc- The Vietnam National Museum of History has that addresses the theme of ethnic, national Museum of History has always played an im- tion, storage and preservation of ethnic cultural to set goals. It gives priority broadly to ethnic culture, civilisation and the diversity of a unified portant role in Vietnamese museums’ activities. values addresses the historical formation and de- issues. In this process, we have built a collection multi-ethnic country. We build a general aware- Its function is to give people an objective view velopment of the nation, ethnicity and territory. and a combination of permanent exhibitions ness of the cultural and civilised values of eth-

86 87 Role of the Vietnam National Museum of History: On Balancing Political History, Ethnography and Art Dr. Nguyen Van Cuong nicities as components of national and cultural architecture is a pluralistic construction. The civilisation. Many collections with multi-ethnic artworks of a country is managed and promot- themes are managed by the Vietnam National ed by the national museum. Artworks can be Museum of History. However, intangible culture historical evidence that represents the nation, is not valued enough because it is not codified civilisation, culture or a certain period of a and promoted. nation’s history. This is why the management, promotion, research and collection are focused With contemporary trends of develop- in a National Museum. ment, ethnic issues are one of the most complex issues for a country or social group to address. Many artworks are introduced to the Seeking an ethnic balance in a national muse- public locally and abroad regularly through um’s activities is a basic task that contributes to media channels and publications. This is the stabilising this complex problem. most effective way to provide the public with information and to build public awareness and Art and the Vietnam National understanding of all the activities of a national Museum of History museum. However, it can be said that the man- agement of contemporary works of the Vietnam With regards to art, we must first define National Museum of History is not a priority. the concept of art for museums. Art is cultur- The National Museum is the place that stores al and historical property. Artefacts through national art. It is necessary to establish policies The activity of I love history club at the Vietnam National Museum of History Image courtesy of the Vietnam National Museum of History the ages are full of artistic elements. Secondly, and strategies for collecting and storing contem- modern artworks are independent works, and porary artworks in this context. Cultural property and National Museum through its activities plays an the Vietnam National important role in society of balancing political Museum of History history, ethnography and art and has always faced many challenges to fulfil that mission. It can be said that the National Museum National museums are cultural institutions. is the place that contains the full and most pro- Culture is one of the few best possible approach- found evidence of the nation’s history. It stores es to address peoples and nations. In other words, historical artefacts associated with the civilisa- cultural understanding and economic benefits tion and development of the nation. Cultural of a nation are the most important factors and institutions (such as the National Museum) are the foundation of effective cooperation between the pride of each nation and its people. Cultural countries and their peoples property assigned to the National Museum to manage certainly deserves to represent a nation With this awareness, I totally agree with in a historical and cultural dialogue with exter- the theme of this conference given to each nal relations. member to share and discuss perceptions of how we accomplish our mission of contributing to on balancing political history, the nation and addressing our common interests. ethnography and art I trust that this conference organised in Asian Civilisations Museum (Singapore) will continue Obviously, the theme of the 5th ANMA to achieve success as those previously have. conference is a problem arising out of the tra- ditional nature of museums, politics and the Hanoi, September 2015 The activity of Volunteers Club, Vietnam National Museum of History at a Primary School Image courtesy of the Vietnam National Museum of History current affairs of each National Museum. The

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