Abstract:The world's largest collection of Indonesian puppets (wayang), assembled between 1973 and 2011 by Swiss collector Walter Angst and now in the Yale University Art Gallery, is a product of a zoological passion for preserving the diversity of an art form, the ongoing modernization of puppetry in Indonesia, and the active involvement of Angst's agents in Indonesia—including both dealers and some of Indonesia's most famous puppeteers. Drawing on Marshall Sahlins' concept of "structure of the conjuncture," this article looks at the Dr. Walter Angst and Sir Henry Angest Collection of Indonesian Puppets (as the Angst collection is now known) as both structure and event. In a period of increasing standardization due to the influences of media, education, and globalization, Angst endeavored to capture the variety of traditional puppet forms in western Indonesia and salvage endangered and extinct wayang arts through his collecting of representative sets of figures. His collection defines the different styles and substyles of puppetry practiced in the twentieth century, and also maps out his personal relationships with Indonesian practitioners—who were often both his employees and personal tutors in the art. While Angst expressed little interest in wayang's experimental offshoots, the collection nonetheless demonstrates how wayang has constantly responded to social change over two centuries.

中文翻译：

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Walter Angst 博士和 Henry Angest 爵士收藏的印度尼西亚木偶：结合的结构

摘要：1973 年至 2011 年间由瑞士收藏家沃尔特·昂斯特 (Walter Angst) 收藏，现收藏于耶鲁大学美术馆，是世界上最大的印度尼西亚木偶 (wayang) 收藏品，是动物学对保护艺术形式多样性的热情的产物。印度尼西亚木偶戏的现代化，以及昂思特在印度尼西亚的代理商的积极参与——包括经销商和印度尼西亚一些最著名的木偶演员。本文借鉴 Marshall Sahlins 的“结合结构”概念，将印度尼西亚木偶的 Walter Angst 博士和 Henry Angest 爵士收藏（现在称为 Angst 收藏）视为结构和事件。在媒体、教育和全球化的影响下，标准化程度不断提高的时期，Angst 努力捕捉印度尼西亚西部传统木偶形式的多样性，并通过收集具有代表性的人物形象来挽救濒临灭绝的瓦扬艺术。他的收藏定义了 20 世纪木偶戏的不同风格和子风格，也描绘了他与印度尼西亚从业者的个人关系——他们通常既是他的雇员，又是艺术领域的私人导师。虽然 Angst 对 Wayang 的实验性分支表示兴趣不大，但该系列仍然展示了 Wayang 如何持续响应两个世纪以来的社会变化。他的收藏定义了 20 世纪木偶戏的不同风格和子风格，也描绘了他与印度尼西亚从业者的个人关系——他们通常既是他的雇员，又是艺术领域的私人导师。虽然 Angst 对 Wayang 的实验性分支表示兴趣不大，但该系列仍然展示了 Wayang 如何持续响应两个世纪以来的社会变化。他的收藏定义了 20 世纪木偶戏的不同风格和子风格，也描绘了他与印度尼西亚从业者的个人关系——他们通常既是他的雇员，又是艺术领域的私人导师。虽然 Angst 对 Wayang 的实验性分支表示兴趣不大，但该系列仍然展示了 Wayang 如何持续响应两个世纪以来的社会变化。