申请文书：非洲文物博物馆代表的艺术形式
非洲的显示对象和对象从其他文化中,采取了多种形式纵观历史,开始收集的实践对象。收集意味着一种控制基于物理文物的所有权。富人世界最初在欧洲进行收集和显示来自其他文化的收购在文艺复兴时期。这些个体对象显示他们视为“异国情调”,或“好奇心”,在私人房间里,或“橱柜”,在他们的庄园。这些“橱柜的好奇心”作为材料表示主人的财富,权力,和俗气。”
申请文书：非洲文物博物馆代表的艺术形式
现代艺术的特点和代表非洲文物博物馆受到审查,因为辩论非洲艺术的爱好。表示在博物馆是殖民主义者判定基于这样一种态度,是用来代表他们如何接近时保留文化方面呈现它们。在艺术发展趋势,可以看出一些博物馆尽力抵制西方影响表示。他们试图呈现传统来源尽可能模仿它的起源。例如,自然的艺术风格在非洲传统古典艺术的情况下如Ile-Ife或漏掉雕塑在一个生产环境,重商主义的动机,然而即使观众参观博物馆将不会寻求它。他们将寻求在非洲艺术和原始主义这个原始主义缺乏博物馆的展品。
申请文书：非洲文物博物馆代表的艺术形式
“The display of African objects, and objects from other cultures, has taken several forms throughout history, beginning with the practices of collecting objects. Collection implies a type of control based on the physical ownership of artefacts. Wealthy individuals in the European world originally practiced collecting and displaying acquisitions from other cultures during the Renaissance. These individuals displayed objects they perceived as “exotic”, or “curiosities,” in personal rooms, or “cabinets,” within their estates. These “cabinets of curiosities” served as material representations of the owner’s wealth, power, and worldliness.”
申请文书：非洲文物博物馆代表的艺术形式
The character of modern art and representations of African artefacts in museums come under scrutiny because of the debates on avocation of African art. Representations in the museums are this adjudged based on how colonialist an attitude that is used to represent them and how close to cultural aspects that are retained when presenting them. In artistic trends itself, it is observed that some museums do their best to reject western influences in representation. They try to present traditional sources as close as emulating its origins. For instance, the naturalistic styles of art as in the case of African traditional classical art such as Ile-Ife or the Tada sculptures are produced in an environment that have mercantilist motives, and yet even audiences who visit museums will not be seeking it. They will be seeking a primitivism in African art and this primitivism would be lacking in the exhibits of the museum.
