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will be presented, and I will argue that viewing their repairs and modifications from the perspective of kintsugi, a Japanese art form thought to have been established during the late fifteenth century, might allow new understandings of Iron Age metalwork to be reached. The chapter will rest particularly on the aesthetics of repair and will argue that the accretion of different decorative patterns and contrasting components on some Iron Age objects was a mode of emphasising repairs and modifications and making the changes in the values and functions of these objects
This book presents a study of material images and asks how an appreciation of the making and unfolding of images and art alters archaeological accounts of prehistoric and historic societies. With contributions focusing on case studies including prehistoric Britain, Scandinavia, Iberia, the Americas and Dynastic Egypt, and including contemporary reflections on material images, it makes a novel contribution to ongoing debates relating to archaeological art and images. The book offers a New Materialist analysis of archaeological imagery, with an emphasis on considering the material character of images and their making and unfolding. The book reassesses the predominantly representational paradigm of archaeological image analysis and argues for the importance of considering the ontology of images. It considers images as processes or events and introduces the verb ‘imaging’ to underline the point that images are conditions of possibility that draw together differing aspects of the world. The book is divided into three sections: ‘Emergent images’, which focuses on practices of making; ‘Images as process’, which examines the making and role of images in prehistoric societies; and ‘Unfolding images’, which focuses on how images change as they are made and circulated. The book features contributions from archaeologists, Egyptologists, anthropologists and artists. The contributors to the book highlight the multiple role of images in prehistoric and historic societies, demonstrating that archaeologists need to recognise the dynamic and changeable character of images.
contours of the Senate Library, while to the west the long, low-slung contours of Moriyama and Teshima’s Canadian War Museum emerge from a grassy embankment. On the Quebec side of the river, the curving organic forms created by Douglas Cardinal for the Canadian Museum of History face across to the high bluff crowned by the Parliament buildings. The commissioning of Israeli-Canadian, Japanese-Canadian and Blackfoot architects to design new homes for these three museums was as emblematic of the multicultural construct of Canadian identity promoted by late twentieth
usually objects that have been placed in graves or anthropomorphic figurines. The intentionality of breakage in these cases is often assumed rather than questioned. Mariko Yamagata’s (1992) summary of research concerning Jomon rituals in Japan included examinations of 1116 figurine fragments found at the site of Shakado. Upon physical examination, it was noted that during the fabrication process, those figurines must have been intentionally designed to be easily broken. It was suggested ‘lumps of clay were shaped into the head, torso, arms and legs, and attached to each
(including members of the prominent Barlow family) to donate material in which he was interested – especially Greek vases. Likewise, Professor of Zoology and chair of the Museum Committee Herbert Graham Cannon not only transferred his eponymous aquarium, but also played a key role in securing Robert Wylie Lloyd’s extensive Japanese ethnographic collections. Lloyd, an affluent manufacturer and printer based in London, was a consummate art collector (a director of Christie’s), a keen mountaineer and entomologist.30 Based in London, his generosity was prompted by Walter
inheritance’ derived to us from our forefathers, and to be transmitted to our posterity; as an estate specially belonging to the people of this kingdom without any reference whatever to any other more general or prior right. The book was translated into French, and then “inheritance” became “heritage” (Gillman 2010 : 82ff). These preservation endeavours were intensified with industrialism and nationalism, especially from around 1870 to the First World War, also known as the period of “The Invention of Tradition”. To name some examples, Japan’s first legislation on
in food’, Trends in Analytical Chemistry 19, 322–9. Smith, G. E. (1912), The Royal Mummies (Paris: Institut Français d’Archéologie Orientale). Verghese, J., Joy, M., Retamar, J., Melinskas, G., Catalan C. and Gross, E. (1987), ‘A fresh look at the constituents of Indian olibanum oil’, Flavour and Fragrance Journal 2 (3), 99–102. Yashiki, N., Magasawa, T., Kojima, T., Miyazaki, T. and Iwasaki, Y. (1995), ‘Rapid analysis of nicotine and cotinine in urine using head space solid phase microextraction and selected ion monitoring’, Japanese Journal of Forensic Toxicology
Railways of India (WHL 994ter, 1999, 2005, 2008), White City of Tel Aviv (WHL 1096, 2003), Grimeton Radio Station (WHL 1134, 2004), Central University City Campus at UNAM in Mexico (WHL 1250, 2007), 17 buildings by the architect Charles-Édouard Jeanneret, known as Le Corbusier (WHL 1321rev, 2016), Bikini Atoll Nuclear Test Site on the Marshall Islands (WHL 1339, 2010), Japan’s Meiji Industrial Revolution (WHL 1484, 2015), Asmara: a Modernist City of Africa (WHL 1550, 2017), eight buildings by the architect Frank Lloyd Wright (WHL 1496rec, 2019) – and many more. The
-Johnston, who had trained as an archaeologist and Egyptologist. Like Willett, he considered ethnology to be ‘intimately connected with archaeology which is a technique of studying the same problems in past ages’.71 The most significant front-end change during his twenty-four years at the Museum was in response to the massive donation of Japanese material by Robert Wylie Lloyd (see chapter 4), which he installed in the second floor of the 1927 building in place of general archaeology.72 The last vestiges of Dawkins’s evolutionary influence were removed from sight, and the
level. And perhaps most significantly the Chateau Musée is actively developing an acquisitions programme for contemporary Alaskan art. Indeed, an increasing number of curators now think of their task not simply as conserving and interpreting artefacts from the past but also as stimulating cultural renewal. At Minpaku, the National Museum of Ethnology in Osaka, Japan, this is established policy. Elsewhere it requires a struggle against established ideas of conservation to open up ethnology’s deep commitment to collecting pasts, rather than pasts-becoming-futures.34