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Tarar, Nadeem Omar Art College of Fine Arts UNSW. "Colonial governance and art education in colonial Punjab c1849-1920s." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/44097.
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This dissertation examines the connection between colonial governance and art education in colonial Punjab after its annexation by the British in 1849. It argues that art education at the Mayo School of Art was part of large project for creating a disciplinary society. It draws largely on archival and printed primary sources for tracing the career of disciplinary technologies of art schools, museums, exhibitions as well as regulatory discourses of colonial anthropology and the folklore, that together constitute colonial sphere of art education. The archives entered the present study both as the source of information as well as the technology of the colonial rule. The disciplinary discourses of the colonial state formed the primary archive for the colonial construction and ranking of indigenous population on the evolutionary scale of "primitive" through the techniques of census and surveys. The ethnological, psychological and intellectual profile of "tribal" population of Punjab along the scale of evolutionary history provided a grid to structure empirical knowledge for vast scale social engineering of indigenous society, including the organization of a system of colonial education for "pre-literate" and "oral" society. The study specifically contends that boundaries between "oral" and "literate" were the folklorist prisms through which the practices of communities and institutions of "art" and "craft", the distinctions between, "primitive" and "modem", "artists" and "craftsmen", "traditional" and "creative", "anonymous" and "individuals", "literature" and "myth", "history" and "legend", and "knowledge" and "folklore" were articulated. The historical contingencies of naturalization of these binary oppositions will be read in the ethnographic project of the colonial state and art educational discourses in the late nineteenth and early twentieth century Punjab that transformed individuals and social groups into subjects of a particular kind of power through the techniques of discipline and regulation. The institutional career of the Mayo School of Art (from 1875 to 1920s) as a technical as well as an educational institution is located at the intersection of discourses on utility and aesthetics. Through the writings of key exponents of the British craft advocates in India and the administrative discourses of the colonial state in Punjab that had brought the study of "decorative arts" to the forefront of the imperial concerns as well as art pedagogy, the dissertation analyzes the implications of the art school instruction on the production of modern artists and craftsmen and the construction of "customary" sphere and "traditional" Punjabi art and craft.
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Green, Geffrey Corbett. "Walter Spies, tourist art and Balinese art in inter-war colonial Bali." Thesis, Sheffield Hallam University, 2002. http://shura.shu.ac.uk/9167/.
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This is an art historical study informed by post-colonial perspectives which critically examines the discourse concerning the role and the work of the artist Walter Spies in relation to Bali, Balinese art and the Balinese in the inter-war Dutch Colonial period. Drawing from a wide variety of sources, the thesis examines the development and characteristics of a new artistic form in the area of painting, variously described as 'Balinese Modernism', 'New Balinese painting' or 'Tourist art'. I also investigate the origins and the perpetuation of the popular myth regarding the perceived role of Walter Spies as the instigator of this art. Through examining his cultural position in relation to the Balinese, I examine Spies' role as a colonial figure and as a 'servant' of colonial cultural policy. This post-colonial examination takes into account the broader historical, political, cultural and economic realities of colonial Bali at that time. I deal with theoretical and methodological issues some of which make such a study problematic. In particular, how to deal with the 'subaltern' in historical discourse and the dangers of either essentialising the 'Other' or diminishing hegemonic imperial processes through a cultural relativism which seeks to value the importance of the 'subaltern' voice. In addition to this, the problematic and sometimes misleading use of biography is also investigated. I have synthesised a number of concepts to develop my post-colonial approach, based around the ideas of contact, contact languages and influence. These are used to explain the development of new artistic forms, as well as the discourse and processes which both moulded and reflected them. The study contributes to knowledge through the fresh analysis of the discourse of 'texts' and parts of 'texts' not previously used or explored in a postcolonial theoretical framework. Interviews with Balinese artists and the correspondence of Spies are deconstructed, as well as the films and paintings of Spies which are analysed as colonial discourse rather than as isolated aesthetic products. This project provides a new critique of the creation and perpetuation of colonial discourse through biography and imagery which I propose has much broader implications in the 'post-colonial' world.
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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.
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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West.
In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.published_or_final_version
Fine Arts
Master
Master of Philosophy
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Ma, So Mui. "Post-colonial identities and art education in Hong Kong." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/10007431/.
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This thesis is an inquiry into art educators and art curricula within the context of the reunification of Hong Kong and China. Theoretically it draws specifically on post-colonial theories. Additionally, issues of personal identities and aesthetic preferences were examined by means of questionnaires given to pre-service art teachers. The design of the instruments was inspired by 'border pedagogy' and 'critical theory', as outlined by Henry Giroux (Giroux, 2005: 24). Reflections on the research design were offered. The thesis seeks to uncover the impact of colonialism and post-colonialism on art education and on participants' perceptions of their own identities. This includes participants' reflections on cultural and gender stereotypes; their responses to conceptions associated with modernist, postmodernist and feminist art; and the impact of modernist progressive thought on their values towards contemporary and traditional life-styles. The impact of colonialism on art curricula in Hong Kong schools prior to 1997 was investigated through analysis of historic documents and archives. Perceptions of participants of their prior art training were also examined. An overview ofliterature related to Art and culture; post-colonial and identity theories were discussed at the outset. Literature related to the relevant data was analysed qualitatively to provide additional insights. The results suggest that post-colonial Hong Kong continues III the colonial condition with the persistence of Western influences on art education. With the shift to China, the subordination of Hong Kong identity remains, and established stereotypes were still evident amongst participants. However the growing influence of globalisation has increased the complexity of the hybrid, East-West Hong Kong identity. Implications and recommendations suggest ways forward for visual arts education in Hong Kong.
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Boldt, Janine Yorimoto. "The Art of Plantation Authority: Domestic Portraiture in Colonial Virginia." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1530192717.
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This dissertation critically examines the political and social significance of colonial portraiture by focusing on domestic portraits commissioned for Virginians between the mid-seventeenth century and 1775. Portraiture was a site where colonial and imperial identity was negotiated and expressed. Portraits also supported the construction of social relationships through the acts of representation, erasure, and reception. Chapter one focuses on portraits painted in England for Virginians before ca. 1735 and the use of English portrait conventions to suit the political needs of colonists and to express visions of themselves as agents of empire. This chapter reveals some of the ways Virginians used portraits to engage in transatlantic politics and social networks. Chapter two uncovers the regional preferences for expressing elite, community values centered around gender and family before 1770 in portraits of men, women, and children. It argues that portrait collections had dynastic purposes and visualized women as sexual beings and men as masters over colonial and female nature. Chapter three discusses the influence that enslaved Africans had on portraits of Virginians throughout the colonial period. It argues that the physical presence of enslaved people as audiences caused colonists to erase them from portraiture in order to construct and enforce a plantation complex system of visuality. Planters also disavowed the realities of slavery to emphasize their British civility. The last chapter uncovers the rapid changes in portraiture in the 1770s as colonists and artists confronted imperial crises and responded in diverse ways. The fracturing of gentry planter cohesion and the greater availability of artists changed portraiture in the colony. Virginians left behind the conventionalized nature of portraiture from earlier decades and many began including messages of resistance to imperial policy and partaking in pan-colonial modes of representation. This dissertation combines archival research with visual analysis to shed light on portraiture from a region typically overlooked by art historians. By focusing on a specific region over a long period of time, this project emphasizes the varied and important roles that portraits played in shaping colonial culture and society.
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Flores, Judy. "Art and identity in the Mariana Islands : issues of reconstructing an ancient past." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300724.
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The Marianas, a chain of small tropical islands in western Micronesia, were the first to be subjected to colonisation in the Pacific and are among the last to move into self-governance. The islands were administered as a Spanish colony for 230 years following establishment of a Jesuit mission in 1668. The United States claimed Guam during the Spanish-American War in 1898, while Germany then Japan and finally the United States governed the Northern Marianas. This long period of colonisation largely obliterated the native Chamorros' consciousness of an indigenous past. Rapid social changes that began in the 1960s had severely undermined the Chamorro sense of identity by the beginning of the 1980s. Counterforces, however, were beginning to take shape, driven by local as well as international movements. Using Chamorro art as a theme, this thesis traces the history of the native people and their cultural transformations which defined their identity as a continuing cultural group, despite their loss of an indigenous history. Recent social, economic and political changes have triggered a movement to express their identity as a people separate from their colonisers. Indigenous artists are involved in a renaissance of artistic creation that draws on perceptions of their pre-contact culture for inspiration. Chapters explore the beginnings of a self-conscious cultural awareness and subsequent reconstruction of their ancient history, expressed through neo-traditional creations of song, dance and visual art forms. Their sources of inspiration and processes of creating identity symbols from an ancient past are revealed through extensive interviews and fieldwork. Indigenous ways of looking at history and perceptions of both insiders and outsiders regarding validation of these art forms are discussed in terms of local examples which are compared to Pacific and global movements of decolonisation and identity formation. The text is referenced by an appendix of over 150 photographic examples of Chamorro art and artefacts from museums, historical documents and fieldwork
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Chang-Rodríguez, Raquel. "Exhibición: "Guaman Poma de Ayala. The Colonial Art of an Andean Author"." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/122047.
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Storey, Ann Elizabeth. "The identical synthronos Trinity : representation, ritual and power in the Spanish Americas /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6228.
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Morehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Ross, Douglas E. "Domestic Brick Architecture in Early Colonial Virginia." W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539626356.
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Jones, David John. "The Australian ‘Settler’ Colonial-Collective Problem." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/365954.
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This studio-based project identifies and interrogates the Australian denial of violent national foundation as a ‘settler’ problem, which is framed by the contemporary clinical and social concept of a ‘vicious cycle of anxiety’. The body of work I have produced aims to disrupt the denial of invasion and the erasure of Aboriginal culture through accepted narratives of European settlement of Australia. By aligning collective denial with anxiety, it presents a pathway for remediation through situational exposure; in this case, through works of art. The critical perspective on the invasion and colonisation of Australia is presented in the discursive and nondiscursive modes of communication of the coloniser not to arbitrate or appease but to amplify the content. The structure of the exegesis also draws from Aboriginal narrative methodology and integrates with, and is informed by, the studio production in printmaking using demanding traditional European graphic techniques such as etching and aquatint.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Lespes, Marlène. "De l'orientalisme à l'art colonial : les peintres français au Maroc pendant le Protectorat (1912-1956)." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20098/document.
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À travers l’étude des peintres français partis au Maroc pendant le Protectorat, cette thèse examine la structuration et le développement de l’art colonial, courant qui succède à l’orientalisme au tournant des XIXe et XXe siècles. Loin d’être un phénomène isolé, le séjour dans ce pays pendant la période coloniale concerne des centaines d’artistes. Ces voyages sont encouragés et parfois même financés par des sociétés artistiques métropolitaines et par les gouvernements coloniaux. À Paris, des Salons et des expositions, comme les Expositions coloniales ou universelles, réservent des espaces spécifiques aux œuvres sur les colonies. Plusieurs artistes, critiques et conservateurs tentent par ailleurs de montrer de quelle manière l’art colonial est utile pour la propagande colonialiste. Après avoir retracé l’expérience marocaine des peintres français, il s’agira de présenter les principales institutions artistiques et culturelles occidentales dans le Protectorat. L’art colonial reprend certains thèmes orientalistes, mais leur apporte davantage de sobriété, de pondération et de vraisemblance. L’iconographie coloniale marocaine se distingue de celles des autres colonies par le nombre important d’œuvres consacrées aux cavaliers, aux Berbères et aux monuments historiques. Cette spécificité est due en partie à la politique culturelle menée par Lyautey, au développement de l’ethnographie marocaine et aux objectifs assignés à l’art colonial. Cette analyse est complétée par un dictionnaire des artistes du corpusThrough the study of French painters gone to Morocco during the Protectorate, this thesis reviews the structures and the emergence of Colonial art, which followed Orientalism at the turn of the century. Far from being an isolated phenomenon, hundreds of artists stayed in this country during the colonial period. The journey is motivated and even sometimes founded by artistic metropolitan societies and by colonial governments. In Paris, Salons and exhibitions such as World's Fairs and Colonial exhibitions dedicate specific areas to works on the colonies. Many artists, critics or curators also attempt to demonstrate how Colonial art can be useful to colonial propaganda. After outlining the French painters’ Moroccan experience, the main artistic and cultural occidental institutions during the Protectorate will be presented. Colonial art continues to represent some Orientalist themes but integrate them with more restraint, moderation and realism. Moroccan colonial iconography can be distinguished from the other colonies by the amount of work dedicated to horse riders, to Berbers and to historical monuments. This particularity is partly due to the cultural policy pursued by Lyautey, to the development of Moroccan ethnography and to the specific goals targeted for Colonial art. This analysis is followed by a dictionary of the artists corpus
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Cooper, Simon. "The Colonial Shaman: Animism, Contemporaneity and the Boundaries of Enlightened Prejudice." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25856.
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If contemporary visual art is to tell us anything about current society and culture, then its treatment of animist cultural production is of great interest. This doctoral research highlights visual art’s bias surrounding what and who it considers to be contemporary. That is, a Western-centric bias privileging a materialistic, inanimate view of the world where each person has their own unique subjectivity and personhood is reserved solely for humans. The research charts how this bias excludes from the contemporary, a worldview which embraces an animate universe populated with non-human persons and considers subjectivity as something that can be transferred and exchanged. It will show that this animist worldview is often rejected by or removed from contemporary visual art in line with the colonial imperial perspective that animism is naive, ignorant, outdated, pre-modern and traditional. Furthermore, it will show that this bias extends to Western artists appropriating animist cultural perspectives and using them as radical tactics in the production of contemporary visual art without challenging the status of animism as the antithesis of the contemporary. In other words, this research exposes a Western-centric flaw in contemporary visual art’s conception of the contemporary.
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Torres, Anita Jacinta. "The Flora and Fauna in Eighteenth-Century Colonial Mexican Casta Paintings." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5210/.
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The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.
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Koh, Bee Kim. "Coming into Intelligibility: Decolonizing Singapore Art, Practice and Curriculum in Post-colonial Globalization." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397669338.
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Johnson, Patrick. "Vengeance with Mercy: Changing Traditions and Traditional Practices of Colonial Yamasees." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1530192790.
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This dissertation argues that colonial Yamasee communities moved hundreds of miles throughout the present-day Southeastern United States, often to gain influence, and maintained traditions such as names they more closely associated with their ethnicity and authority than ceramics. Self-identification by Yamasees in censuses, speeches, and letters for a century and archaeological evidence from multiple towns allows me to analyze multiple expressions of their identity. their rich rhetoric demonstrates the mechanics of authority—they dictated terms to Europeans and other Native Americans by balancing between, in their words, vengeance and mercy. I focus on a letter and tattoo from a warrior called Caesar Augustus who justified his valor and the writings of a diplomat named andres Escudero who justified retribution. Combined, these and other leaders demonstrate the flexibility in their offices of authority. their political rhetoric—both ritual speech understood throughout the region as well as their specific titles and town names—demonstrates continuities between the sixteenth and eighteenth centuries. In addition, multiple movements of Yamasee communities across hundreds of miles demonstrates their agency and connections to their neighbors. These movements allowed Yamasees to dictate terms to Europeans and maintain town names, signs, and rhetoric for centuries. However, as a result of these community movements, Yamasees adopted the ceramic traditions of their neighbors. Considering the authority and ethnicity of Yamasees in their own words allows analysis of continuity and change in Yamasee landscapes of ceramic practice in Georgia, South Carolina, and Florida. More specifically, I analyzed materials from my own excavations at Mission San Antonio de Punta Rasa in Pensacola, Florida as well as assemblages excavated by the City of St. Augustine Archaeology Program and in South Carolina by Brockington and Associates. I quantify the extent to which Yamasees adopted the ceramic practices of their neighbors, including Guale, Mocama, Timucua, Apalachee, and Creek Indians. In a sense, this material flexibility reflects the very mobility and social connections that allowed them to maintain geopolitical influence. However, given their authority in Spanish documents and at times invisibility in the archaeological record, Yamasees show only indirect connections between authority and daily ceramic practice. Further, these ceramic practices, as well as Yamasee multilingualism, represent hybrid practices between multiple Native American groups rather than the influence of Europeans.
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Blake, Kate M. "Drawing All the Way: The Confluence of Performance, Cultural Authority, and Colonial Encounters in the Painting of Rover Thomas." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371721339.
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Rodriguez, Linda Marie. "Artistic Production, Race, and History in Colonial Cuba, 1762-1840." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10467.
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This dissertation addresses the works of art of two free men of color, Vicente Escobar (1762-1834) and José Antonio Aponte (date of birth unknown-1812), who lived in late eighteenth and early nineteenth-century Havana. I offer the first consideration of these two artists together in order to illuminate the scope of visual artistic practice of free people of color prior to the foundation of the fine arts academy, the Academia de San Alejandro, in 1818. Creole and Spanish elites who supported the foundation of the school expressed concern that blacks had been “dominating” the arts and excluded them from studying there. I posit that both Escobar and Aponte worked as self-aware artists prior to the elite project of the fine arts academy, which followed an unclear path after its foundation. Escobar painted the portraits of colonial society’s Spanish and creole elites. The works span the dates from 1785 to 1829. Aponte’s only known work of art – a so-called libro de pinturas (book of paintings) found in 1812 – no longer exists. However, a textual description of the book survives in the court record that documents his trial for conspiring to plan slave rebellions across the island. Aponte collaged together an array of images to depict a “universal black history” that we are now forced to imagine as the original work of art has been lost. I argue that both artists, through their artistic practices, embodied a self-awareness as artists that they directed to transformative ends. These artistic practices – as advanced by the works themselves as well as how they were produced and received – involved the articulation of two axes. The first axis moved from the representation of the visible, in the case of Escobar’s portraits, to the representation of the invisible, in the case of Aponte’s book of paintings. The second axis measures how the works themselves could be “historically effective” – following T.J. Clark – and transform a colonial black identity, operating on the scale of the individual to that of a larger community. For Escobar, his artistic practice was personal; for Aponte, his artistic vision extended beyond himself.History of Art and Architecture
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Lukezic, Craig. "The Effect of Soils on Settlement Location in Colonial Tidewater, Virginia." W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625336.
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Jamieson, Ross W. "The Potential for Colonial Period Archaeology in La Libertad, Peru." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625578.
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OUSMANOU, ZOURMBA. "Colonial Built Remains in Douala (Cameroon): Approaches to the Enhancement of Dissonant Heritage." Doctoral thesis, Università degli studi di Genova, 2021. http://hdl.handle.net/11567/1057913.
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Douala is a Cameroonian city located on the banks of the Wouri River, that experienced various economic, social, and spatial evolution due to the succession of colonial systems: German protectorate from 1884 to 1916, Franco-British condominium from 1916 to 1919, Mandate then Trusteeship regimes under the French supervision from 1919 to 1960. These Successive colonial systems have reshaped the urban space of Douala, through numerous projects and town planning initiatives. Some of these urban projects have been designed on the basis of massive expropriation of local populations, as well as urban segregation, for reasons of so-called hygiene. Urban construction and architectural forms in colonial Douala were conceived to impose Western hegemony. True support of power, colonial architecture in Douala reflects antagonistic urban initiatives, opposing the locals to the German and then French administration. Some of these buildings bear memories of forced labour, assassinations, racism, the imposition of cultural values, whips, and other inhuman and humiliating treatment that colonial administrators inflicted on local populations. On the other hand, within the former colonial powers in the postcolonial context, the imperial past in Cameroon is often equated with a glorious past of empire, which arouses nostalgia contrary to the difficult and painful tendencies of colonial memories in Africa. It is in this logic that the colonial past is subjected to selective oblivion, and idealisation aiming at its polishing. In this regard, the colonial buildings in Douala are the object of memory tensions that complexify their enhancement.
Colonial memory discrepancies can be explained by the dissonant heritage approach, theorised to highlight the tensions likely to affect the enhancement of historic sites in relation to atrocities. These are the sites of painful memories, with which various interest groups recognise linkages. The paradigm of Dissonant Heritage that emerged in the 1990s, inspired various other concepts in the study of heritage and heritage tourism, among which Difficult Heritage and Rejected Heritage. These evolving concepts recall the different possibilities to inspire from the Dissonant heritage, with a view to enhancing historical sites. In this logic, heritagisation models have emerged and inspired a specific heritage model applied to colonial built remains.
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Bonnet, Marcia Cristina Leao. "The transient form : source, reflection and innovation in the woodcarving of Portuguese America." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327092.
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Cox, Matthew Jon. "The Javanese self in portraiture from 1880-1955." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/16310.
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This thesis, The Javanese self in portraiture from 1880-1955 examines changing understandings and representations of the Javanese self in painted and photographic portraits spanning 75 years from 1880-1955. During this period, Indonesian modern art followed a trajectory from its 19th century beginnings within the domain of exclusive privilege, through the socially engaged Persagi painters to the opening of the first National art school, Akademi Seni Rupa Indonesia. In tandem there was a dramatic shift in the public’s understanding of two concepts: the modern individual and the nation state of Indonesia. The two however are not mutually inclusive and in many cases the modern individual precluded the nation. One must consider that the colonial state, rather than the Republic, was the defining structure into which many of the major players in Indonesian modern art were born and in which they operated. Furthermore, certain individuals crystallised their sense of national consciousness whilst living abroad and in many instances working in conjunction with the Dutch. In some cases the modern individual was situated in an isolated position, far outside any notions of a shared experience with an imagined community. Whilst this thesis is concerned with the biographies of individuals and is deeply committed to a social history of art, the focus on individuals is not made in order to reveal broader assumptions regarding society, but rather to reveal nuanced and sometimes very personal expressions of modernism. Because the appearances of modernism were not always concurrent or consistent with societal modernity, we cannot plot an uninterrupted or continuous path for Indonesian modern art. Yet a number of societal changes that came about during the period from high colonialism to independence affected class structure and gender, giving rise to altered states of selfhood and new methods of artistic expression. It is precisely the complex set of transactions between the individual, larger society and the economic and political conditions of the time that this thesis sets out to articulate in order to reveal a number of significant characteristics regarding the possibilities of self representation in portraiture. First, the early history of Indonesian modern art is plotted in terms of cooperative relationships between Javanese aristocrats and Dutch men. Secondly, that whilst appearing conservative and pro-Dutch, these Javanese artists were critical in initiating a discourse on modern art and in establishing a position of cultural nationalism, domestically and abroad. Finally, the conjunction of the first two points demonstrates that the history of modern Indonesian art began much earlier than previously believed and, perhaps even more significantly, was attached to the idea of Indonesian cultural and national self-determination at a very early stage of its development.
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Hebble, John. "The Vassall-Craigie-Longfellow House of 1759: From Colonial America to the Colonial Revival and Beyond." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/603.
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The Longfellow House in Cambridge, Massachusetts is one of America’s best known historic homes. Built in 1759 by Major John Vassall, the grand house exemplified Colonial English tastes and was at the center of a cycle of Colonial Royalist mansions. After the American Revolution, however, the house quickly became a symbol of American patriotism. Occupants ranging from General George Washington and Henry Wadsworth Longfellow each added to the legacy of the house. Early in the nineteenth century, the Longfellow House’s distyle portico- pavilion traveled to Canterbury, Connecticut, becoming a colloquial house-type. Aided by its connection to General Washington and its appearance in two World’s Fairs, the house gained further popularity around the American Centennial. This thesis provides the most expansive history of the house’s impact on American architecture to date and is the first to connect the house to both the Greenhouse at Mount Vernon and Connecticut’s “Canterbury Style.”
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Mihok, Lorena Diane. "Cognitive dissonance in early Colonial pictorial manuscripts from Central Mexico." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001352.
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Silva, Valéria Piccoli Gabriel da. "Figurinhas de brancos e negros: Carlos Julião e o mundo colonial português." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-08062010-142248/.
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Carlos Julião (1740-1811) é um militar de origem italiana a serviço do exército português a quem são atribuídos documentos iconográficos conservados em coleções brasileiras e portuguesas. Na medida em que esses documentos incorporam representações de tipos sociais provenientes de várias partes do mundo colonial português, eles ultrapassam o campo estrito do desenho militar e ganham um novo interesse para os estudos da História da Arte. Especialmente no caso do Brasil, as figurinhas desenhadas por Julião precedem o registro dos tipos sociais operado pelos artistas viajantes do século XIX. Este trabalho visa examinar a obra de Julião sob pontos de vista diversos, na tentativa de entendê-la dentro do contexto histórico em que se situa. Dessa forma, recorre-se à reconstituição da trajetória biográfica do autor, ao exame da prática do desenho em Portugal no Setecentos, bem como ao estabelecimento de relações com tradições da representação em vigência na arte européia. Em última instância, esta tese buca encontrar para Julião um lugar no contexto da História da Arte no Brasil colônia.Carlos Julião (1740-1811) is an Italian born military man, serving under the Portuguese Army. He is supposed to be the author of iconographical documents preserved in Brazilian and Portuguese collections. Once those documents are related to the depiction of social characters from different Portuguese colonies, all over the world, they go beyond the specificity of the military drawing, reaching an interesting status as Art History. Concerning Brazil, specifically, the human figures by Julião are far ahead the social types depicted by the traveler-artists of the 19th century. The present work intends to examine the oeuvre of Carlos Julião under several points of view, with the aim of understanding it within its historical context. Concerning such approach, the reconstitution of the artist biography has been searched, the use of the drawing in Portugal during the 18th century has been examined, as well as possible relations linking his work to representational traditions of European art. Ultimately, this thesis searches to place Julião within the History of Art in colonial Brazil.
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West, Sharon Ann, and sharon west@rmit edu au. "A pictorial historical narrative of colonial Australian society: examining settler and indigenous culture." RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091104.102857.
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This exegesis covers a period of research and art practice spanning from 2004 to 2007. I have combined visual arts with theoretical research practice that considers the notion of Australian colonialism via a post colonial construct. I have questioned how visual arts can convey various conditions relationships between settler and Indigenous cultures and in doing so have drawn on both personal art practice and the works of Australian artists of the 19th and 20th centuries. These references demonstrate an ongoing examination of black and white relations portrayed in art, ranging from the drawings of convict artist, Joseph Lycett, through to the post federation stance of Margaret Preston, whose works expressed a renewal of interest in Indigenous culture. In applying a research approach, I have utilised a Narrative Enquiry methodology with a comparative paradigm within a Creative Research framework, which allows for various interpretations of my themes through both text and visuals. These applications also express a personal view that has been formed from family and workplace experiences. These include cultural influences from my settler family history and settler historical events in general juxtaposed with an accumulated knowledge base that has evolved from my personal and professional experience within Indigenous arts and education. I have also cited examples from Australian colonial and postcolonial art and literature that have influenced the development of my visual language. These include applying stylistic approaches that incorporate various artistic aspects of figuration and the Picturesque and literal thematic mode based on satire and social commentary. Overall, my research work also expresses an ongoing and evolving process that has been guided and influenced by current Indigenous and non-Indigenous Australian postcolonial critical thinking and arts criticism, assisting within the development of my personal views and philosophies .This process has supported the formation of a belief system that I believe has matured throughout my research and art practices, providing a personal confidence to assert my own analytical stance on colonial history.
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Pulido, Rull Ana. "Land Grant Painted Maps: Native Artists and the Power of Visual Persuasion in Colonial New Spain." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10394.
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This dissertation analyzes the social function of native art in colonial New Spain through the examination of a genre of maps painted by Indian artists known as Land Grants or Mapas de Mercedes. Land Grant maps constitute the response of the native population to a Spanish land distribution practice implemented in the sixteenth century to allocate the territory among its dwellers in an orderly fashion and prevent the illegal occupation of the land. One remarkable feature this program adopted in New Spain was its strong visual component; the viceroy requested a painted map as part of each lawsuit's evidence. This is unique to the viceroyalty of New Spain and did not happen anywhere else in the Americas. It is reflective of the Indigenous deep-rooted tradition of thinking visually and dealing with everyday matters through the use of painted manuscripts. It was also stimulated by the Spaniard's belief in the truth-value of native pictorials. The result was a vast production of maps of which approximately 700 have survived. Since they were produced for the specific context of land grants and have their own distinctive characteristics, it is possible to say that this was also the birth of a new artistic genre. The present work examines how Indians in the colonial period created these artworks that enabled them to negotiate with the colonizers, defend their rights, and ultimately attain a more favorable position in society. This project demonstrates that the Indians took up this opportunity to design maps that were an essential component of their defense strategy. My research is based on a thorough examination of the originals at the National Archives in Mexico. I combined visual analysis with the transcription and paleography of the case’s files, and a review of primary and secondary historical sources. This interdisciplinary approach enabled me to demonstrate that native artists not only described the contested site in their maps but also translated their own ideas about this space into visual form. My research underscores Indian agency and illustrates how they used Spanish laws to their advantage in preserving their possessions, sometimes to the twenty-first century.History of Art and Architecture
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Whittaker, Daniel Joseph. "Re-imaging antiquities in Lincoln Park| Digitized public museological interactions in a post-colonial world." Thesis, Illinois Institute of Technology, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10007515.
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The study of an architecture of autonomy consists of theoretical investigations into the realm of building types where a sole use or purpose is manifest in a structure that could, site provided, be constructed. However, provisions that conventional architecture traditionally provide are not present in these explorations. Technological advancements such as indoor plumbing, electric lights, and vertical conveyance systems in the form of elevators and escalators are excluded. Platonic geometric form-making are instead thoroughly investigated, imagined, and manipulated for the purposes of creating new spatial experiences. The desired resultant is an architecture of singularity, an architecture of fantastical projection.
Through a series of two theoretical ritual-based investigations, three-dimensional form manipulation and construction of proportioned scale models, the essence of elements that compose a spatial experience contributed to a collection of metaphorical tools by which the designer may use to build a third imagined reality: the re-imagination of the archetypal museum. A building whose purpose is not solely to house ancient objects in a near hermetically-sealed environment, free of temperature, humidity and ultra-violet light aberrations, but is a re-imagined. A structure meant to engage the presence of two seemingly divergent communities: the local patron/visitor and the extreme distant denizen.
This paper also examines key contemporary global artists’ work and their contributions to the fragmentation / demolition of architectural assemblages for the purposes of re-evaluating the familiar vernacular urban landscape while critically positioning the rôle of both the artifact and gallery in shaping contemporary audience’s museum experiences.
The power of the internet and live-camera broadcasting of images utilizing both digital image recording and full-scale screen-projections enable the exploration of “transporter-type” virtual-reality experiences: the ability to inhabit an art work’s presumed original in situ location, while remaining in Chicago as a visitor within a vernacular multi-tenant masonry structure: vacated, evicted, and deconstructed for the purposes of displaying art amidst a new urbane ruin. The complexities of this layered experience is meant to simultaneously displace and interrupt a typical set of so-called a priori gallery expectations while providing the expectant simulacrum that video cameras and screens provide, whetting a contemporary patron’s appetite.
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Vytrhlik, Jana. "The Journey of the Dutch Silver Rimmonim to The Great Synagogue in Sydney: The Search for Australian Jewish Visual Legacy, 1838–1878." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/24541.
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Jewish ritual objects, Judaica, are significant for their symbolism and the meanings they convey through their use and art forms. The synagogue architecture can provide insights into a city’s past and reflect community’s aspirations. Mid-nineteenth-century Jewish heritage in Australia represents a rich historical and art historical field marked by a group of Judaica objects and synagogue architecture. Yet, the art history of Jewish Australia has, until now, remained an understudied subject. Inspired by a pair of exceptional and unattributed silver Torah finials (rimmonim in Hebrew) from The Great Synagogue in Sydney, this thesis investigates their provenance, and the emerging visual dimension of Jewish history in Australia. It offers a new context for understanding the role that visual expression played in the construction of Jewish identity. The thesis opens with an investigation of the rimmonim’s intricate provenance pointing to the late eighteenth-century Dutch silversmith and the Portuguese Synagogue in Amsterdam. The trail then vanishes until 1839, when Sydney’s Jewish leaders purchased the rimmonim in London. From this point on, the thesis examines the Jews' motivations to build a strong visual identity. It explores what inspired them in the design of Sydney’s two oldest synagogues – the York Street Synagogue (1844) and The Great Synagogue (1878). The Egyptian style of the York Street Synagogue sought to convey a message of ancient Israelites' independence. In contrast, the ornamented design of The Great Synagogue signified the merging of a new Jewish social conformity with the prevalent Victorian taste. Ultimately, this thesis instigates the method of documenting Jewish history in Australia through a visual-focused approach. It builds on the research of Australian historians, and moves into the mostly unexplored territory of Jewish art history in Australia.
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Mattes, Sarah. "Canary Red: Preserving Cochineal and Contrasting Colonial Histories on Lanzarote." W&M ScholarWorks, 2015. https://scholarworks.wm.edu/etd/1539626784.
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Lin, Yu-Ta. "Représentations des aborigènes de Taïwan au musée : entre art et ethnographie dans un contexte post-colonial." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA164/document.
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La représentation des aborigènes qu’elle soit due à des artistes aborigènes ou à un regard extérieur fait partie de la construction d’une identité, notamment lorsque l’acte de création est pensé comme un mode de transmission culturelle (afin de retrouver leurs esprits ancestraux), la première étape pour aborder les œuvres des artistes aborigènes consiste à multiplier les points de vue sur la question de l’identité culturelle (la dimension politique d’affirmation de soi) et à remettre en question leur intention d’être artiste. Le fait que l'artiste aborigène se pense comme artiste dénote déjà une tentative d’inscription dans un monde social non aborigène. Cette posture ne va cependant pas sans tensions. Après le tournant ethnographique (tournant contextuel et identitaire), l’artiste aborigène s’est obligé à réfléchir à son statut, à sa manière de créer et au pourquoi de ce choix de devenir un artiste. La voie choisie par les quatre artistes étudiés ici ne les a pas conduits à apprendre des choses (acte de construire ou se construire). Il s’agit plutôt d’un effort de désapprendre, afin d’exprimer la juxtaposition culturelle et la simultanéité de l’Autre dans un monde global et mobile. En conséquence, l’artiste en tant qu’aborigène-voyageur provoque un court-circuit des interprétations. Dans cette perspective, chaque présentation au musée noue une relation avec le visiteur ou le spectateur dans un espace temporaire ou parallèle à l’espace réel.Cette recherche s’appuie à la fois sur l’analyse de la situation socio-culturelle de quatre artistes aborigènes ( Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man ), l’analyse esthétique de leurs oeuvres et l’analyse historique du contexte de production, de diffusion et d’exposition des œuvres aborigène en général entre 1895 et 2017. Elle tente de cerner une vision post-coloniale entre l’art et l’ethnographie et de développer une pratique de l’analyse qualitative bâtie sur trois questions fondamentales : comment les oeuvres des artistes aborigènes ont-elles été représentées et « encadrées » dans un discours identitaire ? Comment l’artiste aborigène met-il en lumière la traçabilité de son appartenance (comme identité traçable) à travers sa représentation ? Comment cette représentation introduit-elle un court-circuit des interprétations culturelles dans les modes de réception ?The representation of the aborigines, whether due to aboriginal artists or based on an outside perspective, is an integral part of the construction of an identity, in particular when the act of creation is conceived as a mode of cultural transmission (in order to find their ancestral spirits). The first step to approaching the works of the aboriginal artists consists of multiplying points of view on the question of the cultural identity (the political dimension of self-affirmation) and the questioning of their intent to be considered an artist. The fact that the aboriginal artist regards himself as an artist, had already been attempted in the non-aboriginal community. However, this position has not been without controversy. After the ethnographical turn (contextual turn into specific identity), the aboriginal artist is obliged to think about his/her status, the way to create and the reason why (s)he would become an artist. The approach chosen by the four artists studied here has not led them to learn anything (act of construction or building of themselves) ; it is rather a question of unlearning, in order to associate with the cultural juxtaposition and the simultaneity of the others in the global and mobile world. Therefore, the artist as an aborigine-traveler causes a short-circuit in the interpretations. In this perspective, each presentation at the museum builds a relationship with the ‘visitor-viewer’ in a temporary or parallel space as it relates to the real space.This research is based at the same time on the analysis of the socio-cultural situation of the four artists (Rahic Talif, Walis Labai, Sapud Kacaw et Chang En-Man), the aesthetic analysis of their works and the historical analysis of the context of production, diffusion and exhibition of the aboriginal works in general between 1895 and 2017. By relying on a sociocultural and artistic representation, our research is designed to build a strategic vision for the post-colonial studies between art and ethnography. Developing a practice of the qualitative analysis, we wish to focus on three fundamental questions : How were the works of the aboriginal artists represented and « framed » in a control of identity discourse? How does the aboriginal artist consider the traceability of his/her feeling of belonging (like a trackable identity) through his/her representation? How does this representation introduce a short circuit of the cultural interpretations in the different modes of expression, perception, evolution and reception?
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Passos, Maria José Spiteri Tavolaro [UNESP]. "Imaginária retabular colonial em São Paulo: estudos iconográficos." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/136748.
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000859569.pdf: 37650731 bytes, checksum: ee247ee6da934d04de6123921b3da4fe (MD5)Diversas linguagens artísticas se desenvolveram no período colonial brasileiro e, entre elas, ainda se encontram preservados numerosos exemplares remanescentes da tradicional técnica da escultura aplicada à construção de imagens religiosas. Destinadas a espaços religiosos ou civis, a produção tridimensional de caráter escultórico abrangeu desde a elaboração de elementos ornamentais até a realização de figuras de santos (imagens sacras). Imbuído dos rígidos princípios da Contrarreforma, o culto aos santos se tornou um poderoso instrumento evangelizador e catequético, sendo difundido a partir do século XVI, pela atividade das ordens religiosas no Brasil, que em muito favoreceram a popularização das imagens inicialmente importadas de Portugal e posteriormente, também produzidas na própria colônia. Essas imagens ocupariam os tronos nos nichos dos retábulos de altares das igrejas, capelas, oratórios domésticos e, nos dias de festa, sairiam às ruas em procissões. É importante destacar quão fundamental foi a contribuição das ordens terceiras e irmandades para a difusão e consolidação deste vasto trabalho, desenvolvido entre as comunidades locais. A partir do século XIX, mudanças de ordem política, econômica e social, favoreceram a entrada de novos padrões estéticos vindos da Europa, fazendo com que muitas igrejas optassem por realizar reformas, chegando a substituir os exemplares executados em barro ou em madeira, por novas peças, agora executadas em série, conduzindo à perda de muitos dos antigos originais. No entanto, embora pouco estudado, um significativo número de obras executadas segundo as técnicas tradicionais, ainda permanece guardado em templos católicos do Estado de São Paulo, seja na capital, no interior, ou no litoral. O presente trabalho, por meio do levantamento de uma representativa parte desse acervo, estuda a imaginária religiosa remanescente do período colonial...
everal artistic languages flourished during the Brazilian colonial period and, among them, numerous samples reminiscent from the traditional sculpting technique applied to the construction of religious images may still be found. Designed for religious or civil spaces, the tridimensional production of sculpture character ranges from the elaboration of ornamental elements to the making of figures of saints (sacred images). Imbued by the rigid principles of the Counter-Reformation, the cult of saints became a powerful instrument of evangelization and catechesis, being disseminated after the 16th century by the activity of the religious orders in Brazil, which widely favored the popularization of the cult images, initially imported from Portugal and later produced in the very colony as well. These images would occupy the thrones in the niches of altarpieces in churches, chapels, household oratories and, on festivities, would gain the streets in processions. It is important to emphasize how fundamental the contribution of the third orders and brotherhoods were to disseminate and consolidate this vast work developed among local communities. From the 19th century on, changes in Brazilian politics, economy and society favored the entrance of new esthetic standards coming from Europe. This fact lead many churches to opt for reforms, including the replacement of pieces in clay or wood for new ones executed in series, which resulted in the loss of several ancient originals. However, even though frequently disregarded by studies, a significant number of works executed according to the traditional techniques is still maintained in catholic temples across the state of São Paulo, both in the capital and the interior or the coast. Through the inventory of a representative part of this collection, this work studied the religious imagery reminiscent of the colonial period, with emphasis in the erudite production for ...
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Passos, Maria José Spiteri Tavolaro 1968. "Imaginária retabular colonial em São Paulo : estudos iconográficos /." São Paulo, 2015. http://hdl.handle.net/11449/136748.
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Orientador: Percival TirapeliBanca: Alcindo Moreira Filho
Banca: Cleide Biancardi
Banca: Maria Ângela Vilhena Furquim de Almeida
Banca: Renata Maria Martins
Resumo: Diversas linguagens artísticas se desenvolveram no período colonial brasileiro e, entre elas, ainda se encontram preservados numerosos exemplares remanescentes da tradicional técnica da escultura aplicada à construção de imagens religiosas. Destinadas a espaços religiosos ou civis, a produção tridimensional de caráter escultórico abrangeu desde a elaboração de elementos ornamentais até a realização de figuras de santos (imagens sacras). Imbuído dos rígidos princípios da Contrarreforma, o culto aos santos se tornou um poderoso instrumento evangelizador e catequético, sendo difundido a partir do século XVI, pela atividade das ordens religiosas no Brasil, que em muito favoreceram a popularização das imagens inicialmente importadas de Portugal e posteriormente, também produzidas na própria colônia. Essas imagens ocupariam os tronos nos nichos dos retábulos de altares das igrejas, capelas, oratórios domésticos e, nos dias de festa, sairiam às ruas em procissões. É importante destacar quão fundamental foi a contribuição das ordens terceiras e irmandades para a difusão e consolidação deste vasto trabalho, desenvolvido entre as comunidades locais. A partir do século XIX, mudanças de ordem política, econômica e social, favoreceram a entrada de novos padrões estéticos vindos da Europa, fazendo com que muitas igrejas optassem por realizar reformas, chegando a substituir os exemplares executados em barro ou em madeira, por novas peças, agora executadas em série, conduzindo à perda de muitos dos antigos originais. No entanto, embora pouco estudado, um significativo número de obras executadas segundo as técnicas tradicionais, ainda permanece guardado em templos católicos do Estado de São Paulo, seja na capital, no interior, ou no litoral. O presente trabalho, por meio do levantamento de uma representativa parte desse acervo, estuda a imaginária religiosa remanescente do período colonial...
Abstract: everal artistic languages flourished during the Brazilian colonial period and, among them, numerous samples reminiscent from the traditional sculpting technique applied to the construction of religious images may still be found. Designed for religious or civil spaces, the tridimensional production of sculpture character ranges from the elaboration of ornamental elements to the making of figures of saints (sacred images). Imbued by the rigid principles of the Counter-Reformation, the cult of saints became a powerful instrument of evangelization and catechesis, being disseminated after the 16th century by the activity of the religious orders in Brazil, which widely favored the popularization of the cult images, initially imported from Portugal and later produced in the very colony as well. These images would occupy the thrones in the niches of altarpieces in churches, chapels, household oratories and, on festivities, would gain the streets in processions. It is important to emphasize how fundamental the contribution of the third orders and brotherhoods were to disseminate and consolidate this vast work developed among local communities. From the 19th century on, changes in Brazilian politics, economy and society favored the entrance of new esthetic standards coming from Europe. This fact lead many churches to opt for reforms, including the replacement of pieces in clay or wood for new ones executed in series, which resulted in the loss of several ancient originals. However, even though frequently disregarded by studies, a significant number of works executed according to the traditional techniques is still maintained in catholic temples across the state of São Paulo, both in the capital and the interior or the coast. Through the inventory of a representative part of this collection, this work studied the religious imagery reminiscent of the colonial period, with emphasis in the erudite production for ...
Doutor
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Battle, ShaDawn D. "''Moments of Clarity'' and Sounds of Resistance: Veiled Literary Subversions and De-Colonial Dialectics in the Art of Jay Z and Kanye West." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1479820190751642.
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Lozère, Christelle. "Mises en scènes de l'objet dans les "salons coloniaux" de province (1850-1896) : vers l'emergence de modèles d'expositions coloniales." Bordeaux 3, 2009. https://hal.science/tel-04204839v1.
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Peut-on construire une histoire des « expositions coloniales » françaises sans parler de celles organisées dès 1850 à Bordeaux, Nantes, Metz, Le Havre, Lyon, Rochefort, Cherbourg, Beauvais, Nice, Montauban, Rouen, Tours, Marseille ? La connaissance des « expositions coloniales » se circonscrit encore aujourd’hui aux seuls exemples parisiens, marseillais et lyonnais. Mais qu’en est-il des autres villes de province, et en particulier des ports qui ont des liens commerciaux anciens avec les Outre-Mers ? Existe-t-il des noyaux de motivation, des ambitions, des engouements, qui poussent ces « petites patries » à ouvrir leurs modestes expositions aux colonies ? Cette thèse, dont le corpus est novateur, met en lumière le processus qui conduit au XIXe siècle de l’émergence en province du concept de « salon colonial », organisé par quelques amateurs collectionneurs, à celui d’« exposition coloniale ». Ce passage, orchestré par l’Etat, sous la IIIe République, a pour dessein de vulgariser, par la diffusion de modèles scénographiques populaires, des expositions qui, au Second-Empire, s’adressent en priorité aux élites locales. L’objet exotique, écarté peu à peu des pavillons métropolitains et des salons artistiques, qu’il occupe au départ, se trouve mis à l’écart, rassemblé parmi les produits de même origine dans une « section coloniale », dans un pavillon ou dans un village ethnographique. Ce changement de place a des conséquences sur la fonction et sur le regard porté sur l’objet. Il passe, en effet, du statut d’objet rare, curieux et lointain, à un objet colonisé, dominé, sérialisé, hiérarchisé et façonné par les imaginaires et par les discours impérialistes en constructionCan we relate an history about French colonial exhibitions without talking about the ones organised in the 1850's in Bordeaux, Nantes, Metz, Le Havre, Lyon, Rochefort, Cherbourg, Beauvais, Nice, Montauban, Rouen, Tours, Marseille? The colonial exhibitions cognition is still today limited to the cities of Paris, Marseille or Lyon. And what about the other cities, specially harbours which have ancient commercial links with The Overseas? Which motivations, ambitions or trends let these « small patries » open their modest exhibitions to colonies? This thesis, which corpus is innovator, lightens the process, which leads in the XIXth century from the emergence in small cities of “salon colonial” concept, organised by some amateur collector, to a giant “colonial exhibition”. The aim of this process, stipulated by the State during the IIIrd Republic is to popularize exhibitions dedicated first to local elites under 2nd Empire. The exotic object put aside step by step from metropolitan houses and artistic exhibitions, is put apart, gathered amongst products with same source, in a « colonial section », in a thematic house or an ethnographic village. This switching has consequences on the use and interest given to the object. Indeed first considerated as a rare, strange and foreign object, it becomes a colonized, dominated object, with a hierarchy, built by the upcoming imperialist thoughts and talks
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Pierce, Alexandria 1949. "Imperialist intent - colonial response : the art collection and cultural milieu of Lord Strathcona in nineteenth-century Montreal." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84197.
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This thesis addresses the nineteenth-century art collection of Donald Alexander Smith, Lord Strathcona (1820--1914), in relation to intersecting questions of imperialism, colonial relations, and cultural status. Both the formation of the collection and its dispersal are linked to a dialectic of cultural hegemony and national identity in nineteenth-century Canada. Smith came penniless to Montreal from Scotland in 1838, became the wealthiest man in Canada by the end of the century, and is known as Lord Strathcona after being raised to the peerage by Queen Victoria in 1897. My discussion of the rise and fall of Strathcona's collection is informed by postcolonial theory and its critical re-reading of imperialism. While British imperialism was the ideology that governed Strathcona's activities, Anthony Giddens's structuration theory is introduced to account for how personal agency remains operative within this dominant ideology.Strathcona formed a significant collection of European paintings and Asian art, which was, however, largely dispersed by the institution charged with its care, thus reducing its significance. Krzysztof Pomian's concept of collectors as select individuals who mediate symbolic cultural power through semiotic constructs provides an important methodological anchor for an analysis of the collector and his collection, as does Carol Duncan's work on the motivation to collect art and to structure cultural identity through control of museums. As well, the princely model of collecting reveals the humanist values operative throughout the centuries by comparison of Strathcona to the Medici in terms of the deployment of spectacle.
This thesis makes use of primary source materials to compare Strathcona's collection to several of his peers in order to place him in his cultural milieu during a time in Canadian history when Montreal was a British enclave in a French province. Analysis of fragmented primary source inventories, catalogues, personal letters, and records held by the Montreal Museum of Fine Arts and the National Archives of Canada, identification of paintings documented in the Notman photographs of 1914--1915, and my tracing of the public portraits of Strathcona by Robert Harris still on view in Montreal institutions allowed me to create useful inventories that previously did not exist.
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Ang, Daphne Ming Li. "Constructing Singapore art history : portraiture and the development of painting and photography in colonial Singapore (1819-1959)." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/26662/.
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Dill, Patrick W. "From Ritual to Art in the Puritan Music of Colonial New England: the Anthems of William Billings." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149583/.
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The manner in which Billings’s music contrasts with the Puritan musical ideal clearly demonstrates his role in the transition from ritual to art in the music of eighteenth-century New England. The tenets of Puritan worship included the restriction that music should serve primarily as a form of communal prayer for the congregation and in a secondary capacity to assist in biblical instruction. Billings’s stylistic independence from Puritan orthodoxy began with a differing ideology concerning the purpose of music: whereas Calvin believed music merely provided a means for the communal deliverance of biblical text, Billings recognized music for its inherent aesthetic worth. Billings’s shift away from the Puritan musical heritage occurred simultaneously with considerable change in New England in the last three decades of the eighteenth century. A number of Billings’s works depict the events of the Revolutionary War, frequently adapting scriptural texts for nationalistic purposes. The composition of occasional works to commemorate religious and civic events reflects both the increase in society’s approval of choral music beyond its nominal use in worship, both in singing schools and in choirs. With his newfound independence from Puritan ritual, Billings seems to have declared himself one of the United States of America’s first musical artists.
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Lightfoot, Dessa Elizabeth. "“God Sends Meat and the Devil Sends Cooks”: Meat Usage and Cuisine in Eighteenth-Century English Colonial America." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1530192810.
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American cuisines did not develop in isolation, but instead were influenced by a constant flow of information, individuals, and material culture between the colonies and the rest of the Atlantic world. These, in turn, interacted with the specific agricultural, social, and economic conditions and goals of residents in each colony. Food was a powerful symbol of identity in the English world in the eighteenth century, and printed English cookery books were widely available. What colonists ate, however, also reflected what was locally available, and resources could vary significantly between colonies. Meat usage is one aspect of cuisine that is directly observable in the archaeological record. This study employs a multidisciplinary approach to investigate the utility of printed eighteenth-century English cookery books to model and predict meat usage in the British American colonies, and to explore if or how meat usage and the larger cuisine varied from colony to colony. to do so, archaeologically-recovered faunal materials from sites in colonial Connecticut and colonial Virginia were compared against a model of meat usage constructed from a rigorous textual analysis of several popular printed cookery books and other texts available to colonists in the eighteenth century. The central aims of this research are to establish a baseline understanding of colonial American meat cuisine to allow for assessments of the ways the cuisine of the American colonists varied from their English peers, and to contextualize colonial British America cuisine in the ecological, political, and social worlds of eighteenth century Anglo-America.
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ABBONIZIO, ISABELLA. "Musica e colonialismo nell’Italia fascista (1922-1943)." Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2010. http://hdl.handle.net/2108/1196.
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L’esperienza coloniale italiana si esaurisce nell’arco di sessant’anni, tra la seconda metà dell’Ottocento e la prima del Novecento (1882-1943). Dopo una prima fase sotto il governo liberale, durante l’ultimo ventennio la politica imperialista dell’Italia è guidata dal governo fascista. Attraverso i potenti mezzi di propaganda del regime il discorso coloniale, già diffuso e capillare, investe ogni ambito del sapere, compresa la musica d’arte.
Solo a partire dall’ultimo ventennio del secolo scorso gli studi sul colonialismo italiano, stimolati dai cultural studies, hanno conosciuto una rinascita. Campi disciplinari tradizionalmente assenti, quali le scienze sociali e le arti, partecipano al dibattito. Tuttavia, fino ad oggi, la musicologia si è mantenuta piuttosto estranea all’argomento, limitandosi quasi esclusivamente a rilevare gli effetti delle misure sanzioniste sulla programmazione musicale, sorvolando, al di là di singoli casi isolati, sulle ripercussioni del colonialismo in ambito creativo e nell’etnomusicologia.
Nel presente lavoro, le relazioni tra la musica italiana e la politica coloniale fascista vengono indagate da quattro punti di vista: l’esportazione dell’identità culturale della madrepatria nelle colonie, l’atteggiamento colonizzatore nei confronti della cultura indigena, i riflessi sugli studi etnografici e l’attività di propaganda in favore dell’Impero. Le prime due prospettive sono esaminate prendendo come esempio il caso della Libia, la cosiddetta «quarta sponda» italiana, concepita quale “vetrina” del dominio coloniale in Africa. In Libia gli italiani costruiscono le principali istituzioni artistiche coloniali; la programmazione ricalca quella dei teatri della madrepatria offrendo inoltre spettacoli di colore locale per turisti ed indigeni. L’intensificazione degli scambi con le colonie consente un ravvicinato e prolungato contatto con le popolazioni dei domini africani; gli etnografi musicali italiani trovano nelle tradizioni indigene uno stimolo allo studio e alla conoscenza di culture extraeuropee finora sconosciuto. Le scelte di politica estera del fascismo si riflettono anche in ambito creativo: numerose sono le composizioni legate alla politica imperialista italiana, molte nate in occasione di concorsi promossi dal regime nella seconda metà degli anni Trenta.
In opposizione ai tentativi di destoricizzazione o alle operazioni di “depurazione” per lungo tempo perseguiti, abbiamo dimostrato come la musica partecipa di un più ampio contesto culturale dal quale non può astrarsi e che, al contrario, ne segna il percorso. Attraverso il nostro lavoro intendiamo aprire l’indagine musicologica ai cultural studies sul colonialismo italiano, offrendo in tal modo un nuovo tassello alla lettura della complessa realtà della prima metà del Novecento musicale italiano.The Italian colonial experience lasted just sixty years, spanning the years between the second half of 19th century and the first half of 20th century (1882-1943). During the final twenty years of this experience, Italian imperial politics was driven by the fascist regime. The colonial discourse, already diffuse, soon spread to all fields of knowledge through the regime’s powerful means of propaganda. Art music was also involved. Only in the final two decades of the twentieth century was Italian colonialism granted scholarly consideration, thanks to the development of cultural studies. Fields such as social science and arts, that were traditionally absent, joined the debate. Nevertheless, musicology has remained outside the discourse until now, limiting itself to the consideration of the effects of the Society of Nations’ sanctions on art music programming. The consequences in the creative fields have just been considered in few manifest cases; the impact of colonial politics on ethnomusicology have only been considered superficially until now. This thesis analyzes the relationship between Italian music and Italian fascist colonial politics from four points of view. It first looks at the exportation of the mother country’s cultural identity into the colonies; second, at the colonizer’s attitude towards African indigenous culture; third, at the influence on musical ethnography and finally, at the propaganda produced for the Empire. The first two perspectives are analyzed taking Libya as case-study. Libya was conceived as Italian dominated Africa’s “shop window”. In Libya, Italians built leading colonial theatres, whose programmes followed those in the motherland and offered performances of North African artists for both tourists and local. The increase of exchange between colonies allowed a closer and more extended contact with the indigenous of the African domains. Italian musical ethnographers received a, until now unknown and unrecognised, stimulus for study and knowledge from indigenous traditions. Fascist foreign political choices were mirrored in the creative sphere: with many scores connected with Italian imperial politics created for the occasion of the competitions promoted by the regime in the mid-Thirties. Opposing attempts to remove Italian music during fascism from its historical context, or operations of “purification” pursued for a long time, we demonstrate how music is part of a wider cultural context. We also prove that music cannot be left out of this context: on the contrary, it marks music’s way. Through our thesis we aim to open the field of musicology to cultural studies on Italian colonialism. In this way, we intend to offer a new contribution to the understanding of the complex situation of the Italian music in the first half of 20th century.
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Laranjeira, Lia Dias. "Mashinamu na Uhuru: conexões entre a produção de arte makonde e a história política de Moçambique (1950 - 1974)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-03112016-160238/.
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O presente estudo tem como eixo central as conexões entre a produção de esculturas em madeira, conhecidas como mashinamu ou arte makonde, e a história de Moçambique, pelo viés da atuação política e artística da população makonde deste país, entre 1950 e 1974. O recorte temporal abrange duas fases com marcas significativas nas dinâmicas sociais do referido grupo. A primeira de 1950 a 1959, pela valorização da arte makonde no mercado internacional da arte africana, pelo aumento do fluxo migratório para o Tanganyika, e pela formação de organizações de ajuda mútua e políticas lá instaladas. A segunda, de 1959 a 1974, pelos novos significados da arte makonde na luta pela independência de Moçambique e pelo projeto de consolidação de uma nacionalidade moçambicana. No intuito de compreender a referida produção artística em diálogo com a história política de Moçambique, o estudo elucidou, dentre outros aspectos, os sentidos dessa produção em diferentes contextos políticos e sociais e o papel da população makonde no processo de independência de Moçambique. A pesquisa se debruçou sobre fontes escritas constituídas por publicações e documentos do período colonial e sobre fontes orais, formadas, especialmente, por entrevistas realizadas com escultores atuantes nas esferas política e artística no período colonial.This thesis focuses on the connections between the production of wooden sculptures, known as mashinamu or makonde art, and Mozambiques history under the point of view of the makonde population and its political and artistic participation in the country, from 1950 until 1974. This period comprehends two essential moments for the groups social dynamics: the first, between 1950 and 1959, is characterized by the appreciation of makonde art in international African art markets, the growth of the migration flow towards the Tanganyika and the formation of mutual assistance organizations and policies that had been created there. The second moment, between 1959 and 1974, consists in the new significance makonde art undertakes in Mozambiques independence struggle and the project for the consolidation of a Mozambican nationality. With the intent of understanding the artistic production in relation to Mozambiques political history, this thesis elicited, among other aspects, the meanings of this production under different political and social contexts and the role of the makonde population in the countrys independence process. The research has looked into written registers consisting in documents and publications from the colonial period as well as into oral accounts, formed especially by interviews with sculptors who participated in the artistic and political spheres from the colonial period.
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Schiavo, Monika Viola. "A Room with a Viewpoint| Katharine Prentis Murphy and the Colonial Revival in the Age of Modernism, 1950-1960." Thesis, Corcoran College of Art + Design, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1561031.
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During the 1950s Katharine Prentis Murphy (1882-1967) used authentic colonial era furnishings to create a series of complex, multi-layered museum and historic house installations that highlighted the aesthetic qualities of American antiques and placed her at the forefront of the post World War II Colonial Revival movement. Murphy placed objects from the 1750s into highly patterned and brightly colored room settings, which was an unorthodox design strategy for the time but one that incorporated popular trends and tastes of the 1950s. Her post war room settings appealed to consumers who were not ready to give up traditional furniture, or the conventional values and virtues associated with it, but who also wanted modern comfort and up-to-date styling. Murphy's displays revealed her own point of view as a designer and demonstrated how the resilient Colonial Revival movement evolved and expanded in the context of 1950s modernism.
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Castelli, González Amalia. "Damian, Carol. The Virgin of the Andes. Art and Ritual in Colonial Cuzco. Grassfield Press, Miami Beach, 1995." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/121850.
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Waters, Hywell George. "Colonial photography in nineteenth century Grahamstown: an analysis of the Dr W.G. Atherstone Bequest." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002222.
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The research for this degree comprises of a theoretical dissertationand a practicalcomponent of exhibited photographs. The theoretical research investigates the original photographic prints and glass-plate negatives taken betweenthe 1840's and 1890's, by the late Dr. W.G. Atherstone - an enthusiastic, Grahamstown amateur photographer. Dr W. G Atherstone's prints and negatives were examined by the author to deduce and establish his photographic abilities, his numerous techniques, diverse subject matter and the pictorialconstructionof his images. Selected works will be examined in order to interpret and illustrate his diverse interests and approaches towards photography. The selection of these photographs was determined by their pertinence to subject matter, and to the pictorial and historical considerations of the candidate. These issues are finally examined in relation to the candidates's own approach to photography today.
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Chen, Yen-Ling. "Critique du regard colonial dans les arts plastiques de Taïwan de 1945 à 2012." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA027/document.
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Cette thèse analyse les rapports entre l’idée de décolonisation et les arts plastiques à Taïwan dans la seconde moitié du XXe siècle. Le contexte historique de Taïwan est marqué par un certain nombre d’expériences de colonisation, telles que la colonisation japonaise, mais aussi la quasi-colonisation que représentent les pratiques coercitives et l’autoritarisme du parti nationaliste venu de Chine continentale, ainsi que l’impérialisme culturel américain. Un retour historique sur la situation coloniale de Taïwan reflète le caractère emboîté de sa culture. Le corpus retenu comprend sept œuvres porteuses d’un regard spécifique : le tableau Pastoral de Lee Shih-chiao en 1946 ; le portrait de Chiang Kaï-shek peint à l’huile par Li Mei-shu en 1975 ; une série de photos retravaillées Voyage dans le temps de Chen Shun-chu de 2001 à 2003 ; le portrait fusionné Unir la Chine à travers les Trois Principes du peuple de Mei Dean-e en 1991 ; Représenta.tiff de Chou Yu-cheng exposée trois fois sous des formes changeantes entre 2008 et 2012 ; l’Exposition d’Automne 1966 de Huang Hua-cheng en 1966 ; le film Frontières d’Empire de 2008 à 2009 de Chen Chieh-jen. Nous faisons l’hypothèse qu’elles sont représentatives chacune d’une époque et d’un rapport particulier à la problématique de la colonisation. Certaines expriment un point de vue colonisé : celles qui importent, par exemple les codes esthétiques japonais ou européens. Des institutions – les Expositions officielles d’art – en véhiculent les principes. D’autres œuvres réalisées par les artistes de génération suivante portent un regard critique sur ces références culturelles héritées du moment colonial. Ces artistes remettent aussi en question les valeurs dominantes.Ceci permet de poser la question : quels acteurs mettent en œuvre un processus de décolonisation des arts de 1945 à 2012 ? Cette action est-elle terminée ? En nous inscrivant dans une démarche d’histoire culturelle et en empruntant à la sociologie des arts, nous avons analysé les modes d’élaboration des œuvres et leur réception critique, ainsi que le rôle des institutions de médiation, en particulier les musées. L’analyse permet d’identifier un basculement entre des œuvres inscrites dans un contexte colonial et des œuvres qui soit les critiquent, soit s’en affranchissent, ce qui représente deux modalités du point de vue critique sur le processus colonial à l’œuvre dans les arts plastiquesThis thesis analyses the relationship between the idea of decolonization and the plastic arts in Taiwan in the second half of the twentieth century. The historical context of Taiwan has been marked by a number of colonization experiences, such as the Japanese colonization, but also the quasi-colonization represented by the coercive practices and the authoritarianism of the nationalist party of China, as well as the American cultural imperialism. A historical overview of the colonial situation in Taiwan reflects the nested character of its culture. The selected corpus includes seven works bearing a specific view: the painting Pastoral of Lee Shih-chiao in 1946; the portrait of Chiang Kai-shek painted in oil by Li Mei-shu in 1975; a series of reworked photos Journeys in Time of Chen Shun-chu from 2001 to 2003; the merged portrait The Three Principles of the People Reunite China of Mei Dean-e in 1991; Representa.tiff of Chou Yu-cheng exposed three times under different formats between 2008 and 2012; École de Great Taipei Autumn Exhibition by Huang Hua-cheng in 1966 ; the video work Empire’s Borders from 2008 to 2009 by Chen Chieh-jen. We make the hypothesis that these works are each representative of an era and has a particular relationship with the colonization issue. Some express a colonized point of view: some of them import, for example the Japanese or European aesthetic codes. Institutions – official art exhibitions – convey the principles. Other works by the following generation of artists take a critical look at these cultural references inherited from the colonial moment. These artists question also the dominant values. This raises the question: which actors implemented a process of decolonization of the arts from 1945 to 2012? Is this action completed? By entering into an approach of cultural history and borrowing the one from the sociology of arts, we have analysed the methods of the works’ elaboration and their critical reception; the role of institutions of mediation, especially museums. The analysis enables to identify a switchover between works placed in a colonial context and works that either criticize them or free themselves from. This represents two modalities of the critical point of view on the colonial process at work in the plastic art
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Mathison, Christina Sarah Wei-Szu Burke. "Identity, Modernity, and Hybridity: The Colonial Style of Taiwanese Painter Chen Cheng-po (1895-1947)." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386038314.
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Parkin, Stephanie. "The theft of culture and inauthentic art and craft: Australian consumer law and Indigenous intellectual property." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205870/2/Stephanie_Parkin_Thesis.pdf.
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This thesis addresses the 2017 Parliamentary Inquiry into the ‘growing presence of inauthentic Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise for sale across Australia’. Inauthentic art and craft is Aboriginal ‘style’ souvenir products that are created without the involvement of an Aboriginal person. This thesis prioritises the evidence of Aboriginal and Torres Strait Islander people to the 2017 Inquiry, investigates intellectual property and consumer law and explores colonial influences and power dynamics that allow inauthentic art and craft to exist. This thesis answers the question: ‘How can the law protect Aboriginal cultural expression from exploitation?’
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Hughes, Daniel B. "Circulating Ceramics in the Eighteenth Century Colonial Circum-Caribbean: Towards an Archaeological Model for Inter-Site Comparison." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4691.
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In the Caribbean, the eighteenth century symbolized a period of shifting powers in the region. Spain abandoned control of many of the smaller islands in the Caribbean, which were quickly taken over and subsequently controlled by the three major European competitors: England, France, and the Netherlands. These islands would be traded as prizes during various European conflicts that would always spread into the region. Unfortunately, most of the archaeological work that has occurred within the Caribbean has tended to largely focus on the micro-scale analysis. While development of a macro-scale analysis to assist an understanding of the past in the Caribbean is called for, not much has been done yet. This study examines the Caribbean in the eighteenth century to develop a model for inter-site comparison. I shall argue that consumptive patterns are knowable and testable through the archaeological record and may be seen through the development of a model for inter-site comparison. Finally, the connections developed from the importation of various goods, such as ceramics, provide opportunities to test ideas about contested peripheries which can be seen by means of historical data and statistical inference to understand the past relationship between global events and local acts of consumption within the Caribbean.
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Molliet, François. "Les enjeux culturels de l'architecture chrétienne : à travers l'oeuvre des missionnaires catholiques à Taiwan." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3046/document.
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Ce travail s'attache à mettre en lumière les liens inévitables entre une architecture exprimant un message universel et les terroirs culturels au milieu desquels elle s'édifie. Prenant le cas jugé exemplaire de la mission catholique à Taiwan, du milieu du XIXe siècle à nos jours, l'analyse des archives missionnaires, ainsi que l'étude de quelques monuments emblématiques, montrent les modalités de l'adaptation chrétienne à un contexte multiculturel insulaire en mutation rapide. La résistance et la malléabilité propres de l'art architectural permettent une étude originale et détaillée de ce va-et-vient constant entre la perception évolutive par les missionnaires du terroir formosan, et la réception, elle-même évolutive, du message chrétien par cette société particulière. En plusieurs étapes, cette recherche plonge au cœur de l'œuvre des Missions Etrangères de Paris dans le diocèse de Hualien, durant les années cinquante et soixante, ancrant les idées directrices de cette thèse dans la réalité d'un terrain suffisamment circonscrit pour en donner une image exhaustive. Le but poursuivi est de montrer comment un bâtiment dédié au culte peut être un objet pertinent, pour la compréhension des rapports entre les cultures et des dynamiques de la mondialisation actuelleThis study aims at bringing to light the links that are bound to exist between an architecture expressing a universal message and the cultural landscapes where the architecture is built. With the exemplary case of the Catholic mission in Taiwan, from the mid nineteenth century to today, the analysis of the missionary archives, combined with research on several emblematic buildings, will show the modality of the Christian adaptation to this multicultural background of an island undergoing rapid change. The resilience and the malleability specific to the architectural art provide for an original and detailed study of this constant toing and froing between the evolutive perception by the missionaries of the Formosan landscape, and the reception, itself evolutive, by this particular society of the Christian message. Gradually, this thesis immerses itself in the heart of the work of the Paris Foreign Mission Society, in the diocese of Hualien, during the nineteen fifties and sixties, grounding the major concepts in the reality of a field limited enough to make it possible to provide an exhaustive image. The aim is to prove how a place of worship can be relevant for a better understanding of cultural exchanges and the momentum of the current globalization process