Paper short abstract:

Telling a story has been the other side of History since its beginnings, and in both (stories and history) some objects enact as reference material. Those objects might be presented in a museum-like environment or manoeuvred in performances; they can be acknowledged as art or validated by antiquity. In any of these scenarios Authenticity is deeply intertwine with what is being done and told. But do we grasp the subtle yet different notions of authenticity coming together from art history theory, heritage practices, the tourism sphere and the people who claim it for their identity status?

Paper long abstract:

This paper grew from the experience of working as a guide-interpreter in one of the major exhibitions of art objects of the 21st century so far: the version of "Encompassing the Globe: Portugal and the World in the 16th and 17th centuries" presented in Lisbon in 2009 (conceived in 2007).

As an art historian I was faced with an awkward situation, one where publics expected a certain story to be told, and not so much the story of each object. The offer being made (and eagerly consumed) where the one we might call "first globalization", in which the identities both of the Portuguese and the peoples they encountered were diluted by a sort of global imagination.

The paradox ambushed us in the corners of perception. Objects as authentic signs of the encounters actually mean that we had impoverished them of any verbal ability other than the euphoric one. They are agents of today's perspective on what that moment had been (the prelude for our post-globalized condition), struggling to maintain their legitimacy as art and history at the same time they are exhibited in such an ideological charged atmosphere.

Paper short abstract:

The British rule of the nineteenth century brought a renaissance in every aspect of life,art and culture.'Shilpaguru' Abanindranath tagore was the first artist of the oriental art in India.But Rabindranath tagore was the first proper artist of modern Indian art in various context.

Paper long abstract:

Rabindranath Tagore is the first proper modern artist of modern India.Tagore was able to express through his paintings what he could not in his literature, music or theatre. Hence 'form' was developed from the random criss-crosses and doodles drawn while writing poetry- 'intertextuality'gave birth to illustration. He overcame the restrictions of conventional painting procedures and gave expression to what can be called the country's first of modern art.

Though the British rule of the nineteenth century brought a renaissance in every aspect of life, art and culture was relatively deprived. It was in the second decade of the twentieth century when traditional oriental art was captured in the genre of art that was practiced by Abanindranath Tagore, on whom was conferred the title of 'Shilpaguru'. Orientalism in those days was not used in the context in which it is used today. With the advent of great artists like Okakura, Indian art too became a part of "Asia is one". However the question of determining the originality of Indian art recurred in the letters of Rabindranath. The nous of the Nobel winner was seeking a way out of this concern. By 1930 Rabindranath's paintings achieved structural maturity from the decoration of Doodles art nouveau type. In 1930 an exhibition of 220 pictures of Tagore at the GaleriePigalle in Paris moved the art critics of Europe. The expression of vulnerability of the modern human race gave Tagore a permanent place in the world of international modern art.

Paper short abstract:

This panel is concerned with the remaining of local roof tiles production of Pattani people, native Muslim Malays in southern Thailand, and ability to survive sustainably while the majority prefers the development towards modernization.

Paper long abstract:

This aim of this panel is to look up at the remaining of local roof tiles production of Pattani people, native Muslim Malays of southern Thailand, and ability to support their way of life while the majority of people develop towards modernization with preferable of modern product supplies and increasing of new style of construction materials.

Historically, Pattani has been rise up as a trading state by development of maritime contacts between India and China. Prosperity of Pattani can be observed through material cultures appearing in building construction of mosques, palaces, and especially densely houses in the city as a massive community. Focusing, the production of earthen baked flat rectangular roof tiles as part of building construction material has widespread used in common throughout the region for more than 400 years and become a unique vernacular of the region in the present day.

Influences of modernization lead to the increasing of new style of construction materials in the market in contrary to the declining of local earthen tiles. My observation for 25 years in this case have come across the struggle of these tile makers and found out how they manage their productions to go along with the limited market need. However, the rousing of modern concept in conservation of remaining traditional buildings either through the government policy or private sector is caused in demanding the product, resulting in sustaining this Muslim Malays' way of life and community.