Margaret Mead and Gregory Bateson were iconic figures whose contributions to visual anthropology are well documented, but what is less well known is their role as collectors and curators of Indonesian objects. The American Museum of Natural History (AMNH) houses a large Balinese collection with numerous textiles, paintings, carvings, and puppets. Some of these objects were housed in permanent exhibits, such as the AMNH’s Hall of Pacific People (HOPP), curated by Mead, or displayed temporarily in the Museum of Modern Art’s traveling exhibit, curated by Bateson. Against this backdrop, this article adds to the critical discussion of curating, anthropological history, and categorization schemes in Western museums by exploring how Bali and Java came to be so prominent in the AMNH’s Indonesian alcove. Stimulated by visitor responses to exhibits, museum archives, ethnographic notes, and actual physical displays, it traces how Mead and Bateson’s study (1936–1938) of “culture areas” and traits such as “art” in Bali influenced the representation of Indonesia. The alcove’s emphasis on art and aesthetics as forms of cultural equanimity and consistency can be related to prevailing hierarchies of religion and technological development as well as how ahistoricism became an anthropological device of freezing, categorizing, and representing. [Bali, Margaret Mead, Gregory Bateson, art, ahistoricism]

中文翻译：

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美国自然历史博物馆的印度尼西亚壁龛：艺术、文化区和 Mead-Bateson 巴厘岛项目

玛格丽特·米德 (Margaret Mead) 和格雷戈里·贝特森 (Gregory Bateson) 是标志性人物，他们对视觉人类学的贡献有目共睹，但鲜为人知的是他们作为印度尼西亚物品的收藏家和策展人的角色。美国自然历史博物馆 (AMNH) 收藏了大量巴厘岛藏品，其中包括大量纺织品、绘画、雕刻品和木偶。其中一些物品被安置在永久性展览中，例如由 Mead 策划的 AMNH 的太平洋人民大厅 (HOPP)，或者在由 Bateson 策划的现代艺术博物馆的巡回展览中临时展出。在此背景下，本文通过探讨巴厘岛和爪哇如何在 AMNH 的印度尼西亚壁龛中如此突出，增加了对西方博物馆策展、人类学历史和分类方案的批判性讨论。受到参观者对展品的反应的刺激，博物馆档案、民族志笔记和实际实物展示，它追溯了 Mead 和 Bateson 对巴厘岛“文化区”和“艺术”等特征的研究（1936-1938 年）如何影响印度尼西亚的代表性。壁龛对艺术和美学作为文化平静和一致性形式的强调可能与宗教和技术发展的普遍等级制度以及非历史主义如何成为冻结、分类和代表的人类学手段有关。[巴厘岛，玛格丽特米德，格雷戈里贝特森，艺术，非历史主义] 壁龛对艺术和美学作为文化平静和一致性形式的强调可能与宗教和技术发展的普遍等级制度以及非历史主义如何成为冻结、分类和代表的人类学手段有关。[巴厘岛，玛格丽特米德，格雷戈里贝特森，艺术，非历史主义] 壁龛对艺术和美学作为文化平静和一致性形式的强调可能与宗教和技术发展的普遍等级制度以及非历史主义如何成为冻结、分类和代表的人类学手段有关。[巴厘岛，玛格丽特米德，格雷戈里贝特森，艺术，非历史主义]