Reviews
Oxford anthropologist Harris provides a highly readable discussion of the ways in which political power has shaped perceptions of Tibet and its material culture, and how contemporary Tibetans are appropriating the 'soft power' of art as a political tool. . . . Highly recommended., Harris' account of Tibetan contemporary art is by far the most comprehensive and incisive published to date. . . . The Museum on the Roof of the World is a book that richly rewards the reader, including those who have made it their business to study Tibet, its history, and its culture, with new and fascinating insights., Harris' account of Tibetan contemporary art is by far the most comprehensive and incisive published to date. . . . The Museum on the Roof of the World is a book that richly rewards the reader, including those who have made it their business to study Tibet, its history, and its culture, with new and fascinating insights., In The Museum on the Roof of the World: Art, Politics, and the Representation of Tibet , Clare Harris treats us to a beautifully written, carefully documented, and pleasantly devious sally into the troubled currents and feedbacks linking Tibetans, British imperialists, Chinese communists, and, in the post-Mao, post-modern art world, Tibetans again, through the sharing and appropriation of images. Harris is a canny and subtle interpreter of this visual culture, its intended messages and inadvertent innuendos. Full of brilliant and illustrative stories uncovered by thorough archival work and intimate knowledge of the relevant sources and collections, The Museum on the Roof of the World explores the various techniques instrumentalized by the imperial powers of Great Britain and China to control their colonies, as well as others' knowledge of them, by the dislocation and appropriation of artifacts, and the effective transformation of the colonized society into a museum. In this mature work of scholarship, whose imagistic riches should open one's eyes to fresh perspectives in the interpretation of contemporary culture, Clare Harris achieves that rare contribution in which the reader discovers new learning while reveling in the delights of a page-turner., A fascinating study of how Tibet's art and imagery was pressed into the service of two imperial powers, Britain and Communist China, to provide the rationalizations for their respective ' missions civilisatrice ' into Tibet-the Younghusband expedition of 1904, and China's 'Peaceful Liberation' of 1950 and ongoing occupation. Clare E. Harris's instructive art history does not lack in entertaining anecdotes and arcana, of which 'the Skull of Confucius' alone is worth the price of the book., In The Museum on the Roof of the World , Clare E. Harris provides a coherent, wonderfully readable, gripping account of the modern encounter with Tibet, in which she brings together a wealth of detail couched in a rhetorical framework of postcolonialist anthropology and museology. This is an important, original book with a timely focus., Exceptionally original and superlative in terms of the sheer range of its research materials, the sensitivity of its approach and content, the nuanced style of the writing, and its contributions to various theoretical concerns. . . . Harris's book is a remarkable work that reveals how one state and its culture can have changing and even multiple identities when placed in different national and political contexts over time., Clare Harris's works are consistently novel and full of unique ironic twists and marvelous insight, a treat for the world-weary on roads far too traveled. Innovation and creativity are rare in modern Tibet studies, so it is with eager anticipation that one should always approach Harris's writings. The reader of The Museum on the Roof of the World will not be disappointed. She is as magical in this book as reindeer flying through the skies and as entertaining as Santa squeezing through the chimney., Clare Harris's works are consistently novel and full of unique ironic twists and marvelous insight, a treat for the world-weary on roads far too traveled. Innovation and creativity are rare in modern Tibet studies, so it is with eager anticipation that one should always approach Harris's writings. The reader of The Museum on the Roof of the World will not be disappointed. She is as magical in this book as reindeer flying through the skies and as entertaining as Santa squeezing through the chimney., The Museum on the Roof of the World overturns old stereotypes, makes new discoveries, and is filled with insights about the many sad ironies in the historical experience of Tibet between the late eighteenth century and the present. Clare E. Harris knows Tibet, its history and culture, contemporary life of Tibetans in exile, and Tibetans still in the Tibet Autonomous Region. She strikes a wonderful balance between generalized observations and detailed explication, successfully documenting the aims of Tibetan museums and revealing the dubious claims of ownership of Tibetan art. Well illustrated and accessible, this book will appeal to audiences in critical museology, Tibetology, history of photography, anthropology, and postcolonial studies., "Written with elegance, clarity and passionate objectivity . . . Harris takes us from skull drums and thangkas to New Buddhism and the world of contemporary Tibetan artists at home and in exile, explicating the crisis of Tibetan identity and culture. Harris gives us a highly focused contribution to the discourse on the postcolonial world that is also a pleasure to read." , A fascinating study of how Tibet's art and imagery was pressed into the service of two imperial powers, Britain and Communist China, to provide the rationalizations for their respective ' missions civilisatrice ' into Tibet--the Younghusband expedition of 1904, and China's 'Peaceful Liberation' of 1950 and ongoing occupation. Clare E. Harris's instructive art history does not lack in entertaining anecdotes and arcana, of which 'the Skull of Confucius' alone is worth the price of the book., The Museum on the Roof of the World is a welcome addition to the literature on museums and nationalism, and makes a substantial contribution to our understanding of how the leadership of the modern Chinese state used European imperialist techniques, like building museums, to gain control of the multi-ethnic Qing territories., Written with elegance, clarity and passionate objectivity . . . Harris takes us from skull drums and thangkas to New Buddhism and the world of contemporary Tibetan artists at home and in exile, explicating the crisis of Tibetan identity and culture. Harris gives us a highly focused contribution to the discourse on the postcolonial world that is also a pleasure to read., A fascinating study of how Tibet's art and imagery was pressed into the service of two imperial powers, Britain and Communist China, to provide the rationalizations for their respective ' missions civilisatrice ' into Tibet--the Younghusband expedition of 1904, and China's 'Peaceful Liberation' of 1950 and ongoing occupation. Clare E. Harris's instructive art history does not lack in entertaining anecdotes and arcana, of which 'the Skull of Confucius' alone is worth the price of the book.
