Archaeological Museums

Versatile relationship between tourism and culture that has been continuing from the past to the present, leads to the emergence of cultural tourism concept as a result of the fact that people travel for cultural purposes. Cultural tourism is defined as “learning historical and cultural sides of destination sand enjoying the values belonging to a nation”. One of the most important elements of cultural tourism, museums, connect people to the past by exhibiting cultural and historical objects from the past times and reflecting the historical formation of countries and empires. Museums are leading among the most attractive places in the countries where tourists travel. Istanbul Archaeological Museums are connected to The Ministry of Culture and Tourism. They are situated on Osman Hamdi Bey slope between Gulhane Park and Topkapi Palace, in the district of Sultanahmet. The reason of naming after museums as plural is the fact that it consists of 3 different museums. In these museums hosting a lot of masterpieces left behind at old empire times, all the works are exhibited in 3 different buildings which are Archaeological Museum, Museum of Oriental Antiquities, and Tiled Pavilion Museum. Istanbul Archaeological Museums are accepted among the first ten museums designed to be a museum building in the world. Cuisine culture that contributes gastronomy to develop cumulatively, is the combination of daily lifestyles, beliefs, traditions, and national consciousness. Cuisine culture that could not attract attention sufficiently in the past, became more important today with the rapid development of gastronomy and it was found out that cuisine culture is an element directly supporting the concept of culture. In this context, the aim of this article is to evaluate gastronomical elements in Istanbul Archaeological Museums within the scope of cultural tourism. Within this scope, visual materials which were got through one of the qualitative research methods, observation technique, and other findings were presented.

RIASSUNTO Dal 2014 il Museo Archeologico di Udine ha iniziato un percorso orientato all'accessibilità della struttura museale, degli allestimenti e delle iniziative culturali organizzate, che è approdato, grazie ai finanziamenti del progetto europeo COME-IN! ad una nuova fase di rivisitazione in termini di accessibilità e inclusività. Questo processo ha riguardato non solo l'allestimento del Museo Archeologico, inaugurato nel 2013, ma ha interessato l'intera struttura e in generale i servizi forniti dai Civici Musei di Udine. L'obiettivo di inserire in maniera armoniosa ed equilibrata tutti gli interventi previsti da progetto si è concretizzato nel coinvolgimen-to di professionisti e associazioni che hanno collaborato in base alle proprie competenze. Gli interventi sono stati presentati e promossi agli operatori del settore e ai non addetti ai lavori attraverso una mostra "Donne, Madri, Dee: linguaggi e metafore universali nell'arte preistorica". Parole chiave: accessibilità, inclusività, museografia partecipata, progettazione partecipata. ABSTRACT In 2014, the Archaeological Museum of Udine started a journey towards the accessibility of the museum, its setup and cultural initiatives. Thanks to the COME-IN! European project funds, it reached a new phase of revisiting the structure in terms of accessibility and inclusion. This process concerned not just the setup of the Archaeological Museum, inaugurated back in 2013, but the whole structure and, on a general level, the services provided by the Civic Museums of Udine. The goal was to implement all the project interventions in a balanced and harmonious way by involving professionals and associations who collaborated according to their expertise. The interventions have been presented and promoted to the field operators and the public audience through the exhibition "Women, Mothers, Goddesses: Universal Languages and Metaphors in the Prehistoric Art".

Published for the first time is this the entire collection of a small Museum in the Mugello Area in northern Tuscany, with a rich photographic documentation of the archaeological objects (from Prehistory to the Modern Age), as well as views of the landscapes of the western Mugello area. The volume also offers a selection of eleven papers focused on key issues of the territory.

The looting and trafficking of cultural objects is an ongoing moral issue within the international art market. These looted objects end up in high-profile collections and museums, without any recorded provenance, resulting in the silencing of their unique cultural histories. This paper focuses on one looted object, a 5th century BCE cult statue of a Grecian goddess, and compares the different didactic narratives of display used by the Getty Villa and the Archaeological Museum of Aidone, in Sicily. I argue that the Getty Villa's choices of display and didactic material actively prevented the statue from communicating its history, by overwriting its identity with a false narrative, and by refusing to acknowledge or investigate any uncertainty about the statue's origins. Now displayed in the Sicilian town of Aidone, nearby the ruins of ancient Morgantina, the statue can speak for itself while being grounded in other objects that share its history. Unfortunately, however, the full context and history of looted objects such as the goddess is impossible to fully reconstruct. Additionally, this paper emphasizes that museums must value honesty and moral responsibility over fame and international recognition when considering the purchase and display of cultural objects.

This article aims to address the issue of cataloguing reused specimens by a museum institution. To this end, special emphasis will be placed on the document system developed by the state administration and implemented in most Spanish museums: Domus. More specifically, some individuals will be addressed on the handling of this tool and the limitations it presents when cataloguing pieces with signs of reuse.

Since the 1990s the Museum of Archaeology and History of Art of the National and Kapodistrian University of Athens has played a significant educational role, facilitating the theoretical and practical training of students of the Department of History and Archaeology
in the documentation and interpretation of its collections.
In 2010, the transportation and study of the prehistoric pottery from the Minoan cemetery at Livari (East Crete) in the premices of the museum, resulted, for the first time, in the transformation of the museum from a rather passive or indiferent exhibition hall into a lively laboratory of archaeological practice on excavated archaeological material.

Il volumetto – curato da Paola Pascucci e Fabio  Rossi – guida il lettore alla scoperta di 21 musei archeologici del Lazio (Roma esclusa) che hanno aderito al Sistema museale archeologico PROUST-Alla ricerca del tempo perduto, istituito e coordinato dalla Regione Lazio. Suddivisi in quattro aree geografiche, i musei vengono presentati dai rispettivi Direttori, con una particolare attenzione alla storia del territorio e al rapporto con i siti archeologici, alle popolazioni antiche che vi abitavano, alle peculiarità che invitano alla visita.

Published for the first time is this the entire collection of a small Museum in the Mugello Area in northern Tuscany, with a rich photographic documentation of the archaeological objects (from Prehistory to the Modern Age), as well as views of the landscapes of the western Mugello area. The volume also offers a selection of eleven papers focused on key issues of the territory.

In the second half of the 20th century, archaeological and restoration sciences took a significant step forward. Furthermore, the museum industry and the way in which monuments should be displayed was also changed. In recent decades, museums that mainly exhibit an immovable archaeological monument emerged. It seems that the creation of such exhibition spaces requires special approaches, methods and planning techniques that enable to display the monument in the most successful way, to ensure its preservation and to organize the immovable archaeology inside the building, the route of its examination and the rest of the exposition harmoniously.
Today no special justification is required for the fact that any work with the monument must be carried out in accordance with the principles of the Venice Charter and modern restoration and archaeology. In this context, we consider a variety of techniques for reconstruction of the monument’s unfinished parts and for reconstruction of its three-dimensional characteristics, ranging from the widely known and used anastylosis to modern unique solutions, which are peculiar "scientific installations". Such techniques can, on the one hand, demonstrate the nature of the monument’s exterior image or interior space to the viewer without claiming historical authenticity, and, on the other hand, form an exposure’s route when it is possible to enter the interior of a preserved archaeological dig.
However, the most interesting aspect of the topic under consideration is what the image of architectural space (against which an archaeological monument will be perceived) should be. We analyzed about 70 archaeological and historical museums built in the 19th-21st centuries and concluded that the main trends in the formation of their architectural patterns are not very different from those of the architecture of this period in general, but there are some peculiarities related to their historical specificities.
The stylistics of the examined museums can be divided into four main directions:
- Development of the heritage, when the archaeological museums’ architecture contains quotes from the cultures that are mainly exhibited inside.
- Creation of neoclassical spaces unrelated to the national color of objects that are displayed in the museum.
- Very simple and functional modernist architecture, which is essentially a neutral background for exhibits.
- Images of the building, formed from postmodernist metaphors, which, in this case, are closely related to the informal redefinition of the museum’s specificities and cultural features.
The main purpose of the report is to consider all the "pros" and "cons" of the approaches described above to the architectural solutions of archaeological museums. It seems that all directions are valid and the choice is always relatively subjective and depends on a variety of factors, including the specifics of the museum exposition, the volumetric-spatial characteristics of the monument, the context surrounding the museum building, etc.

The publication of this, the fiftieth, volume of Archaeologia Polona, with the theme “Looking into the Past”, is the end of a long process that goes back to 2012, when it was due to appear. A number of organizational difficulties and a double change of the editorial team have caused a delay of several years in its production. The current editors of the volume, the third team in a row, determined to make sure the volume appeared, and took over the work on the materials submitted for publication. The articles originally collected almost ten years ago were again reviewed and in 2018–2019 were supplemented by the original authors. Initially this volume was to be devoted to the activity of several distinguished figures from the history of Polish archaeology. Unfortunately, several texts had been published in other journals in the meantime. This made it necessary to obtain new articles in their place. For this reason, the topic of this volume is broader than initially intended. It presents texts on the history of archaeology from several points of view, ranging from the presentation of the activities of researchers, through the history of institutions and research undertaken as part of contemporary archaeology in Poland and wider afield. Volume 50 is also dedicated to the outstanding archaeologist Professor Stanisław Tabaczyński on the ninetieth anniversary of his birth. Aspects of his scientific profile are presented to the reader by Dorota Cyngot and Anna Zalewska through the medium of an interview (“A life in archaeology and the specificity of archaeological research: encounters with Stanisław Tabaczyński”).This conversation touches on a number of issues related to archaeological theory and research practice. Most of these issues are also discussed in the texts of other authors of the volume. Professor Tabaczyński, who has been associated with what is now the Institute of Archaeology and Ethnology of the Polish Academy of Sciences for almost half a century, also has significant achievements in the preservation of the European cultural heritage in connection with the study of early medieval archaeological sites in France and Italy (and also Algeria), and publications resulting from them. The rest of the volume consists of seven articles. Their arrangement is roughly in chronological order, based on the time of activity of the archaeological institutions, researchers and their activities they discuss. Carola Metzner-Nebelsick discusses Karol Hadaczek’s period of stay in Vienna (1897–1900) and its effect on his contribution to Polish archaeology. The author presents the beginnings of the academic career of the scholar, related to his studies at the University of Vienna, as well as the impact of these experiences on his further scientific activity at the University of Lviv. In the biographical text “A portrait of Professor
Zdzisław A. Rajewski (1907–1974), scholar of many talents”, Wojciech Brzeziński and Danuta Piotrowska consider one of the most important Polish archaeologists of the 20th century, the research he directed at the famous site of Biskupin and on the beginnings of the Polish state under the Millennium Poloniae program, and also for many years the director of the State Archaeological Museum in Warsaw. This is followed by a text on the complicated history of an institution. In the article “The Archaeological Museum of the Polish Academy of Learning in Cracow during the Second World War”, one of this volume’s editors, Marzena Woźny presents new information on the history of Polish archaeology in the dramatic times of World War II. In the following insightful text (“Scientific Capital after 1945 in German archaeology – Wilhelm Unverzagt and the archaeology of hillforts”), Susanne Grunwald discusses aspects of the history of German archaeology after 1945. This paper re-examines some current views on this subject, also in the context of the archaeology of defended settlements in the region. In the next text (“European identity and Polish culture – Tomasz Mikocki’s studies on the tradition of ancient art”), Monika Rekowska considers the academic activity of an outstanding Polish researcher on the legacy of Antiquity in European culture. Mikocki studied collections of Greek and Roman antiquities and monuments and their imitations. She summarizes the extensive legacy in these fields of the researcher who died in 2007. The development of Italian medieval archaeology is discussed by Michele Nucciotti and Guido Vannini in their article “Light Archaeology and Territorial Analysis:
Experiences and Perspectives of the Florentine Medievalist School”. The final article in this section (“Archaeology of graves: a contribution to contemporary archaeology in Poland”) by Jolanta Adamek reviews contemporary exhumations and research at the burial sites of victims of World War II and the early post-War period conducted using modern archaeological methods. The volume ends with three more texts. The first is a book review (by Paul Barford) of a work discussing the place of historical patterns of thought in the development of a modern Classical archaeology. This is followed by a report from the conference “Biskupin in the past, today and tomorrow”, which took place in 2009, on the 75th anniversary of the beginning of archaeological research in Biskupin, reported by Kamil Adamczak, Anna Grossman and Wojciech Piotrowski. Since its discovery, the site of Biskupin has been of great importance for archaeology not only because of the nature of the remains that it contained, but also the effect its excavation had on the history of the discipline in the 20th century. The obituary for the archaeologist Gerd Weisgerber by Jacek Lech brings to the attention of the reader some aspects of the work of this outstanding researcher of ancient mining. With the final publication of this volume, the editors hope that the texts that it contains will contribute to the broadening of knowledge about the development of European archaeology at the end of the 19th and the 20th centuries and its place in the contemporary context.