De Inlandsche Kunstnijverheid In Nederlands Indi De Goud En Zilversmeedkunst Deel 4

Sidestone Press is currently working on the publication of facsimile-editions of the series De inlandsche kunstnijverheid in Nederlandsch Indie by J.E. Jasper and M. Pirngadie. This 5-book series describes the material culture of the former Dutch East Indies (present-day Indonesia) and was first published between 1912 and 1930. Part IV is the second volume to be republished and deals with the objects of gold and silver. The different types of body ornaments are described, as well as the techniques and tools used in the production of these objects. The book is richly illustrated, partly in colour. Original copies of all five books, provided by the Dutch National Museum of Ethnology in Leiden, are scanned and digitally edited. The drawings by Mas Pirngadi are reproduced in colour. Volume 1 will contain an elaborate introduction about the authors and the series De inlandsche kunstnijverheid in Nederlandsch Indie, written by dr. H.I.R. Hinzler. Entire series is Dutch text.

This first edition of The Stone Age of Indonesia has been replaced by the second edition, which is published as Volume 61 (1972; ISBN 9024713005) in the series Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde.

Dutch colonial presentations at the world exhibitions in the period 1880-1931 served to legitimize the Dutch imperialist project and highlight the problem of Dutch identity and the Netherlands' place in the world. At these exhibitions, the Netherlands showed off its colonies by erecting models of schools, sugar-factories, bridges, and railways exhibits, which were meant to give proof of the good works of modern colonial administration and enterprise. Not only were there displays of ethnographic objects, life-size temples and villages inhabited by authentic Javanese and Sumatrans were brought to Europe specifically for these expositions. Their presence took the viewer into an "Other" world that provided an "immediacy" for visitors to the exhibition. While these colonial spectacles helped legitimize Dutch imperialism project, they also provided lenses for understanding the colonial world as it was constructed according to the prevailing evolutionist worldview at the time.

The Spy Museum, the Vacuum Cleaner Museum, the National Mustard Museum—not to mention the Art Institute, the Museum of Modern Art, and the Getty Center: museums have never been more robust, curating just about everything there is and assuming a new prominence in public life. The Return of Curiosity explores museums in the modern age, offering a fresh perspective on some of our most important cultural institutions and the vital function they serve as stewards of human and natural history. Reflecting on art galleries, science and history institutions, and collections all around the world, Nicholas Thomas argues that, in times marked by incredible insecurity and turbulence, museums help us sustain and enrich society. Moreover, they stimulate us to think in new ways about our world, compelling our curiosity and showing us the importance of understanding one another. Thomas looks at museums not simply as storehouses of old things but as the products of meaningful relationships between curators, the public, history, and culture. These relationships, he shows, don’t always go smoothly, but they do always offer new insights into the many ways we value—and try to preserve—the world we live in. The result is a refreshing and hopeful look at museums as a cultural force, one that, by gathering together paintings, tropical birds, antiques, or even our own bodies, offers an illuminating reflection of who we are.