With the development of a global museum culture since the eighties, called ‘curationism’ by David Balzer, the question of how to show ancient art both in newly founded institutions and in refurbished historic displays, is more than ever relevant. As much as contemporary art, artistic heritage participates in the new cultural discourse defining nations and communities, channelled through world-class museums and galleries. In that context, the Islamic artistic traditions gained tremendous visibility, as venues like the Museum of the Islamic Art in Doha or the Louvre’s new scenography in Paris, put these traditions on the forefront of the international stage. This article examines this museology in transcultural perspective, through a comparison between Islamic and Korean ceramics installations in the renovated Ashmolean Museum in Oxford, and in the Leeum, in Seoul. The former privileges an archaeological narrative, the latter an aesthetic phenomenological approach. In revealing a qualitative asymmetry between the exhibitory practices in the areas of Islamic and East Asian art, this comparison allows for further discussion about museological issues such as the tension between didacticism and aesthetics, or the competitive relationship between architecture, design, and art in the displays’ space. Ultimately, the comparison posits East Asian experimentalism as a model from which to draw inspiration for reinventing the curation of Islamic art.

中文翻译：

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“伊斯兰艺术策展的视角：通过利姆三星博物馆的案例与东亚模式的比较”

随着八十年代以来全球博物馆文化的发展，大卫·巴尔泽（David Balzer）称之为“策展主义”，如何在新成立的机构和翻新的历史展览中展示古代艺术的问题比以往任何时候都更加重要。与当代艺术一样，艺术遗产也通过世界一流的博物馆和美术馆参与了定义国家和社区的新文化讨论。在这种情况下，伊斯兰艺术传统获得了巨大的知名度，因为诸如多哈伊斯兰艺术博物馆或卢浮宫在巴黎的新场景之类的场所将这些传统置于国际舞台的最前沿。本文通过对经过翻修的牛津大学阿什莫林博物馆中伊斯兰和韩国陶瓷装置的比较，从跨文化的角度考察了这种博物馆学，还有在Leeum，在首尔 前者优先考虑考古叙事，后者则优先考虑美学现象学方法。在揭示伊斯兰和东亚艺术领域的展览实践之间的质的不对称性时，这种比较可以进一步讨论博物馆学问题，例如说教与美学之间的张力，或建筑，设计与艺术之间的竞争关系。展示空间。最终，这种比较将东亚的实验主义作为一个模型，从中可以汲取灵感来重塑伊斯兰艺术的策展。这种比较可以进一步讨论博物馆学问题，例如教学论与美学之间的张力，或展示空间中建筑，设计与艺术之间的竞争关系。最终，这种比较将东亚的实验主义作为一个模型，从中可以汲取灵感来重塑伊斯兰艺术的策展。这种比较可以进一步讨论博物馆学问题，例如教学论与美学之间的张力，或展示空间中建筑，设计与艺术之间的竞争关系。最终，这种比较将东亚的实验主义作为一个模型，从中可以汲取灵感来重塑伊斯兰艺术的策展。