Question 1
A museum is a place where valuable objects and traditional artifacts such as paintings, pictures and other scientific and historical objects are kept for public viewing. According to the concept of Lubumbashi, a museum is a compact and moving show of paintings that provides diverse ways in which pictures of a prominent person are kept and reinvented after his death. Museums also provide ways of storing ancient cultures and preserving them for the present and future generations.
Jewsiewicki attempts to adapt to Lubumbashi museum by organizing an urban art genre. Here artists use traditional materials such as reeds to emulate the ancient paintings of the African way of life. The small painted pictures showing the traditional way of life are educational and helps Africans to know about their past (Arntzen, Robert, Max, and Alex 224). Small pictures of a past way of life are painted using ink, and some are made using papyrus reeds.
Question 3
In 1949, China had only 25 museums which were destroyed during the cultural revolution of 1966-1976. However, due to the rapid industrial growth in China, several museums have come up with almost every state having its museum (Blumenfield, and Helaine 14). China had a goal of having about 3500 museums by 2015, but it achieved its goal three years earlier. By 2015, it had added 451 more museums to bring the total number to 3,866 museums. The museums in China are built by the government, states, and even individuals. State-owned museums are being run by national and local governments or universities while private individuals run private museums.
According to Winnie Wong, most museums in China are public museums. Public money is used in starting up the museums, and they are left under the watch of local government. This is a motivational factor for the opening of new museums (Blumenfield, and Helaine 17). The new Chinese museums are mostly public museums, and anybody is free to visit the museums. This is in cohesion with the Karsten Schubert’s discussion of “the new museum as a laboratory and the public is invited to participate.
Works Cited
Arntzen, Etta, Robert Rainwater, Max Marmor, and Alex Ross. Guide to the Literature of Art History. , 1980. Print.
Blumenfield, Tami, and Helaine Silverman. Cultural Heritage Politics in China. New York, NY: Springer, 2013. Print.
