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Religious objects in museums : private lives and public duties / Crispin Paine.

By: Material type: TextTextPublication details: London ; New York : Berg Publishers, 2013.Edition: English edDescription: 1 online resource (xv, 144 pages, 8 unnumbered leaves of plates) : illustrationsContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780857852984
  • 0857852981
  • 9781474215411
  • 1474215416
  • 9780857852991
  • 085785299X
Subject(s): Genre/Form: Additional physical formats: Print version:: Religious objects in museums.DDC classification:
  • 200.75 23
LOC classification:
  • AM7 .P25 2013eb
Other classification:
  • ART059000 | SOC002010 | SOC022000 | ART015000
Online resources:
Contents:
Objects curated : How curators ascribe a new significance to their objects, but still offer them respect even when keeping them under tight control -- Objects visited : How religious objects relate to their visitors -- Objects worshipped and worshipping : How objects in museums can be worshipped or even "worshipping" -- Objects claimed : How religious objects are demanded "back" from museums -- Objects respected : What respecting a religious object means, and how respect is shown -- Objects demanding and dangerous : How religious objects are put into museums to render them harmless, and how relics can turn the museum into a shrine -- Objects elevating : How objects in museums can be purely secular, yet as Works of Art or works of Nature have spiritual power and the ability to elevate the soul -- Objects militant : How religious objects are converted and fight for their new masters -- Objects promotional : How religious objects promote the faith of their masters -- Objects explanatory and evidential : How religious objects explain their faith and their culture -- Conclusion: What have we learnt and how we can help religious objects in museums fulfil their public duties?
Summary: In the past, museums often changed the meaning of icons or statues of deities from sacred to aesthetic, or used them to declare the superiority of Western society, or simply as cultural and historical evidence. The last generation has seen faith groups demanding to control 'their' objects, and curators recognising that objects can only be understood within their original religious context. In recent years there has been an explosion of interest in the role religion plays in museums, with major exhibitions highlighting the religious as well as the historical nature of objects. Using examples fr.
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Electronic-Books Electronic-Books OPJGU Sonepat- Campus E-Books EBSCO Available

Includes bibliographical references and index.

Objects curated : How curators ascribe a new significance to their objects, but still offer them respect even when keeping them under tight control -- Objects visited : How religious objects relate to their visitors -- Objects worshipped and worshipping : How objects in museums can be worshipped or even "worshipping" -- Objects claimed : How religious objects are demanded "back" from museums -- Objects respected : What respecting a religious object means, and how respect is shown -- Objects demanding and dangerous : How religious objects are put into museums to render them harmless, and how relics can turn the museum into a shrine -- Objects elevating : How objects in museums can be purely secular, yet as Works of Art or works of Nature have spiritual power and the ability to elevate the soul -- Objects militant : How religious objects are converted and fight for their new masters -- Objects promotional : How religious objects promote the faith of their masters -- Objects explanatory and evidential : How religious objects explain their faith and their culture -- Conclusion: What have we learnt and how we can help religious objects in museums fulfil their public duties?

Print version record.

In the past, museums often changed the meaning of icons or statues of deities from sacred to aesthetic, or used them to declare the superiority of Western society, or simply as cultural and historical evidence. The last generation has seen faith groups demanding to control 'their' objects, and curators recognising that objects can only be understood within their original religious context. In recent years there has been an explosion of interest in the role religion plays in museums, with major exhibitions highlighting the religious as well as the historical nature of objects. Using examples fr.

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