Museology and the Sacred Materials for a discussion Editor François Mairesse 1 Museology and the Sacred Materials for a discussion La muséologie et le sacré Matériaux pour une discussion La museologia y lo sagrado Materiales para una discusión Papers from the ICOFOM 41th symposium held in Tehran (Iran), 15-19 October 2018 Editor François Mairesse Editorial Committee Marion Bertin, Mónica Gorgas, Anna Leshchenko, Laura Meuller, Suzanne Nash 2 This publication brings together the papers submitted for the 41th sympo- sium organized by ICOFOM under the general theme Museology and the Sacred, in Tehran (Iran), 15-19 October 2018 The “materials for a discussion” collection brings together, in an inclusive spirit, all the contributions that have been sent in the form of short articles, to prepare the ICOFOM Symposium. This publication has been made avai- lable before the symposium, in a very short time frame. In spite of the care given to the publication, some mistakes may remain. La collection «matériaux pour une discussion» regroupe, dans un esprit inclusif, l’ensemble des contributions qui ont été envoyées, sous forme de courts articles, afin de préparer le symposium d’ICOFOM. Cette publication a été publiée avant le symposium, dans des délais très courts. Malgré le soin accordé à celle-ci, quelques coquilles peuvent subsister. La colección «Materiales para una discusión» reúne, con un espíritu inclu- sivo, el conjunto de contribuciones que han sido enviadas, bajo la forma de artículos breves, a fin de preparar el simposio del ICOFOM. Esta publicación se pone a disposición muy poco tiempo antes del simposio. A pesar del cui- dado dado a la publicación, puede tener algunos pequeños errores. International commitee for Museology – ICOFOM Comité international pour la muséologie – ICOFOM Comité Internacional para la Museología – ICOFOM 3 Editor / Editeur / Editor: François Mairesse Université Sorbonne Nouvelle – Paris 3 President of ICOFOM / Président d’ICOFOM / Presidente del ICOFOM: François Mairesse, Université Sorbonne Nouvelle – Paris 3, França Academic committee / Comité scientifique / Comité científico Yves Bergeron (UQAM), Karen Brown (University of St Andrews), Bruno Bru- lon Soares (UNIRIO), Kuoning Chen (Museum of World Religions), André Desvallées (Honorary Curator), Jan Dolak (Comenius University), Mónica Gorgas (Universitad de Tucumán), Jennifer Harris (Curtin University), Anna Leshchenko (RGGU), Olga Nazor (UNDAV), Saena Sadighiyan (Bauhaus Universität), Daniel Schmitt (Université Lille Nord), Kerstin Smeds (Umeå Universiteit). Published in Paris, ICOFOM, 2018 ISBN: 978-92-9012-447-4 (paper version) ISBN: 978-92-9012-448-1 (digital version) 4 Table of contents Introduction Museology and the Sacred . 11 François Mairesse La muséologie et le sacré . 14 François Mairesse La museología y lo sagrado . 17 François Mairesse Papers Le musée et le paradoxe du sacré profane . 25 Bruno Nassim Aboudrar The Sukuma Museum is a Sacred Place for the Sukuma People . 29 Maria Alferova Du désenchantement au réenchantement : le cas du Saint- Jérôme de David . 33 Yves Bergeron et Violette Loget Tapu et musée : conserver et exposer des objets océaniens . 39 Marion Bertin Every museum has a God, or God is in every museum? . 44 Bruno Brulon Soares Reinterpreting a sacred place . When a church becomes a museum from an ecclesiastical point of view . 49 Rita Capurro Sacred vs . Secular, Peircean Semiotics, and Online Museology . 54 Yun Shun Susie Chung La museología y lo sagrado – La resacralización del museo . 60 Marília Xavier Cury D’un temple à l’autre, le retable : jaillissement de l’invisible au Moyen Age comme au musée ? . 65 Fanny Fouché 5 La Museología Mexicana y lo sagrado . 69 Scarlet Rocío Galindo Monteagudo Forum on Museums and Religion . 74 Maia Wellington Gahtan The Sacred Rooms at the Basilica of Aparecida . 78 Adriano Santos Godoy Le musée désacralisé . 83 Océane Gonnet Moái Hoa Hakananai’a, from Orongo to the British Museum: Reflections upon religious art exhibitions in museums . 87 Matías Cornejo González The Soteriology of Heritage: UNESCO, Culture, Salvation . 92 Klas Grinell Le sacré exposé : espaces, dispositifs, paroles . 97 Olivia Guiragossian Is Sacredness Permanent? The Islamic Heritage on Display in the Early 20th Century . 102 Pelin Gürol Öngören Religion and Iranian Hospitality: A New Approach Toward Engaging the Community at the National Museum of Iran . 107 Mohammad Hekmat Epreuves en muséalisation : entre sacralisation et patrimonialisation . 112 Fabien Jakob Museology and the Sacred . 118 Lynn Maranda Reflexionando sobre lo sagrado en la Museología: musealidad, musealización y relaciones sociales y de poder . 123 Luciana Menezes de Carvalho Museums, Cultural Patrimony and Religious Syncretism in Quilombola Struggles and Resistance . 128 Silvilene Morais Maria Amélia Reis La metamorfosis del imaginario sagrado en el museo . El caso del patrimonio de la Guerra Civil Española . 133 Óscar Navajas Corral Julián González Fraile 6 Museum and Church in Russia: The Formula of the Conflict 138 Karina G. Nazanyan Alexey M. Odintsov « Fragments d’un univers brisé » Théâtralité et Abstraction dans les récits muséologiques des Arts de l’Amérique Préhispanique : Renouveau et Post-muséalité ? . 141 Micaela Neveu The Collection of Sacred Relics in the Ottoman Palace: From Palace to Museum, from Sacred to Secular . 146 Nilay Özlü The Study of the Sacred in Museums with a Focus on Islamic Museums . 150 Ali Malziri Papi Misplacement and the Sacred in Museums A Study of Two Field Experiences . 155 Salar Rafieian Ce qui nous lie (au musée) . 160 Jean Rey-Regazzi D’une muséologie de l’objet à une muséologie du sacré : Le patrimoine sacré des peuples premiers . 165 Michèle Rivet Le sens caché : Exposition de l’art chrétienne au musée . 170 Maria Isabel Roque Hacia un devenir consciente: museología y sentido . 175 Andrés Sansoni Muséologie, Musée, Sacré et Profane: hiérophanies . 180 Teresa Scheiner From Spiritual to Virtual Eternity: A Survey of the Concept of “Sacredness” in Transition . A Case Study of the Gebelein Man Mummy . 185 Elham Sedaghat Museum or Sanctuary: The case of the Pavilion of Medieval Art, National History Museum, Tirana – Albania . 190 Erilda Selaj The Museum as Consolation and Healing – Museological Methods for Curating the Sacred . 193 Kerstin Smeds 7 Altars in the Archives: tracing the lives of altars in the Fowler Museum at UCLA . 198 Caitlin Spangler-Bickell A museum object, sacred, yet fragile – a lesson of the Croatian museum transition . 203 Helena Stublić Sanctuary, Palace, Museum; The History of Safeguarding Sacred Objects . 208 Sadreddin Taheri The Doha Museum of Islamic Art and the Museum-Temple- Religion Triad . 213 Ana Cristina Valentino and Bruno Passos Alonso Creating Museums to Sacralize the Profane: The museo d’impresa in Italy . 218 Itala Vivan Religion in Museums: Euthanized Sacredness, in the Beholder’s Eye, or a Multi-Tool for Shifting Needs? . 223 Helena Wangefelt Ström Sacred at the Museum: Gothic wooden shrines wandering between church and museal space . 229 Anna Żakiewicz The Sacred: a Museum or a Temple . 234 Zhang Wenli 8 9 Introduction Intro- duc- tion 10 Introduction Introduction 11 Museology and the Sacred François Mairesse Université Sorbonne Nouvelle – Paris 3 – France By its etymology, the term “sacred” which derives from the Latin sacer and comes from the root sak, contains the idea of separation. The sanctuary is the space of the sacred, reserved for the deity, where the sacerdos or the priest per- forms the sacred ceremonies (Texier, 1990). The founding work of Rudolf Otto is one of the first to analyze the very experience of the sacred, including fear of divine power (Otto, 1969). This experience outside the secular world, in which we live, brings us back to another reality, which at the same time appears as the “real par excellence” (Eliade, 1965: 85). The very notion of the sacred seems surprisingly close to some central themes in museology. The sacred, like intangible heritage, is manifested as “practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith” (Unesco, 2003). Many museums are dedicated to the manifestations of the sacred, either be- cause of their collections originating, indeed, from sacred spaces (burials, temples...), or directly related to the cult (paintings and religious works, objects of the cult). The museum world itself has been regularly presented from its re- lationship with the sacred, either through its architectural form (the temple, like the British Museum in London, or the church, like the Rijksmuseum in Amsterdam), or from its interior spaces or its activities. Duncan and Wallach, in a famous article (1978), refer to the visit of the Museum of Modern Art in New York City as “a late capitalist ritual”; the visit of the Mona Lisa could be compared to a pilgrimage (Christophe & Garnier, 2014). As early as the 1920s, Gilman introduced the art museum as “in essence a temple” (Gilman, 1923), and it is still the form of the temple that Cameron evokes when he wonders in the 1970s about the future of museums. (Cameron, 1971). It is relatively easy to continue the comparison, finding, in the interior of the building or through curator gestures, in their relation to the object, the indices of a large number of measures (showcases, security, special reserves, visitors’ course, etc.) tes- tifying to a very specific relationship to objects, resolutely removed from the