{"id":905,"date":"2024-10-07T19:07:07","date_gmt":"2024-10-07T17:07:07","guid":{"rendered":"https:\/\/audeladestoiles.com\/?p=905"},"modified":"2024-12-09T15:17:37","modified_gmt":"2024-12-09T14:17:37","slug":"la-disparition-du-mot-tibet-dans-les-musees-parisiens","status":"publish","type":"post","link":"https:\/\/audeladestoiles.com\/index.php\/2024\/10\/07\/la-disparition-du-mot-tibet-dans-les-musees-parisiens\/","title":{"rendered":"La disparition du mot \u00ab Tibet \u00bb dans les mus\u00e9es parisiens"},"content":{"rendered":"

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Manifestation d\u2019\u00e9tudiants tibetains devant le musee Guimet, \u00e0 Paris, France. <\/span><\/em><\/span>\u00a9<\/span> Photo Maeva Destombes\/Hans Lucas\u00a0<\/span><\/em><\/span><\/p>\n

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Depuis quelques mois, un v\u00e9ritable d\u00e9bat fait rage autour de la modification des \u00e9tiquettes et descriptions des objets tib\u00e9tains dans deux grands mus\u00e9es parisiens : le Mus\u00e9e du Quai Branly-Jacques Chirac<\/a><\/span> et le Mus\u00e9e national des arts asiatiques-Guimet<\/a><\/span>, tous deux reconnus pour leur riche collection d\u2019art asiatique. Ce qui a provoqu\u00e9 la pol\u00e9mique ? L\u2019usage du terme “Xizang” pour d\u00e9signer le Tibet et la transformation de l\u2019espace consacr\u00e9 \u00e0 l\u2019art tib\u00e9tain en “Monde himalayen” au Mus\u00e9e Guimet, ce qui a \u00e9t\u00e9 per\u00e7u comme un effacement de la culture tib\u00e9taine et une soumission \u00e0 la pression du gouvernement chinois.<\/span><\/p>\n

Un contexte de tensions g\u00e9opolitiques<\/span><\/h4>\n

Pour comprendre l\u2019ampleur de cette controverse, il faut remonter aux relations tendues entre la Chine et le Tibet. Depuis l\u2019annexion du Tibet par la Chine en 1950, P\u00e9kin tente de r\u00e9\u00e9crire l\u2019histoire de cette r\u00e9gion en la pr\u00e9sentant comme une partie int\u00e9grante de la Chine. Cette r\u00e9vision historique ne s\u2019arr\u00eate pas aux fronti\u00e8res du Tibet. Elle s\u2019\u00e9tend \u00e0 la culture tib\u00e9taine \u00e0 travers des efforts de “sinisation”, c\u2019est-\u00e0-dire une int\u00e9gration forc\u00e9e de la culture tib\u00e9taine dans la culture chinoise dominante.<\/span><\/p>\n

Dans ce cadre, le terme “Xizang”, utilis\u00e9 pour d\u00e9signer le Tibet en chinois, est une composante cl\u00e9 de cette strat\u00e9gie. Pour P\u00e9kin, imposer l\u2019usage de ce terme dans les institutions culturelles internationales renforce l\u2019id\u00e9e que le Tibet fait partie de la Chine depuis toujours. C\u2019est dans ce contexte que les modifications apport\u00e9es par les mus\u00e9es parisiens ont d\u00e9clench\u00e9 l\u2019ire des d\u00e9fenseurs de la culture tib\u00e9taine, qui y voient une forme de complicit\u00e9 avec cette r\u00e9\u00e9criture de l\u2019histoire.<\/span><\/p>\n

Des mus\u00e9es sous pression<\/span><\/h4>\n

Le Mus\u00e9e du Quai Branly et le Mus\u00e9e Guimet, en raison de leurs importantes collections d\u2019art asiatique, sont des lieux de diffusion culturelle majeurs. C\u2019est pr\u00e9cis\u00e9ment cette position qui les rend vuln\u00e9rables aux pressions diplomatiques. Le gouvernement chinois exerce une influence croissante sur les institutions culturelles occidentales, notamment en France, et la gestion des collections tib\u00e9taines en est un exemple frappant.<\/span><\/p>\n

Les deux mus\u00e9es ont initialement adopt\u00e9 des termes vagues ou alternatifs pour d\u00e9signer le Tibet. Le Mus\u00e9e Guimet, par exemple, a rebaptis\u00e9 son espace consacr\u00e9 \u00e0 l\u2019art tib\u00e9tain “Monde himalayen” tandis que le Mus\u00e9e du Quai Branly utilisait “Xizang” dans ses \u00e9tiquettes. Ces changements ont \u00e9t\u00e9 per\u00e7us comme une fa\u00e7on de “diluer” l\u2019identit\u00e9 tib\u00e9taine, tout en r\u00e9pondant aux desiderata de P\u00e9kin.<\/span><\/p>\n

Cependant, apr\u00e8s la pression exerc\u00e9e par des experts et la communaut\u00e9 tib\u00e9taine, le Mus\u00e9e du Quai Branly a rapidement fait marche arri\u00e8re, reconnaissant une “maladresse” et s\u2019engageant \u00e0 retirer le terme “Xizang” pour r\u00e9tablir la mention de “Tibet”. Le Mus\u00e9e Guimet, de son c\u00f4t\u00e9, fait encore face \u00e0 des critiques pour son choix d\u2019une terminologie plus neutre.<\/span><\/p>\n

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\u00a9 P<\/span>hotos Maeva Destombes\/Hans Lucas<\/span><\/span><\/em><\/span><\/p>\n

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La r\u00e9action des tib\u00e9tains et des chercheurs<\/h4>\n

La modification du terme “Tibet” dans les mus\u00e9es parisiens a imm\u00e9diatement d\u00e9clench\u00e9 des protestations. Non seulement en France, mais \u00e9galement \u00e0 l’international, au sein de la communaut\u00e9 tib\u00e9taine. Le pr\u00e9sident du gouvernement tib\u00e9tain en exil, Penpa Tsering, a exprim\u00e9 sa profonde d\u00e9ception. Il accuse ces mus\u00e9es de complicit\u00e9 avec les efforts chinois pour effacer l\u2019identit\u00e9 tib\u00e9taine. De plus, plus de 700 Tib\u00e9tains et militants ont manifest\u00e9 \u00e0 Paris, brandissant des pancartes contre la “sinisation” de leur histoire.<\/p>\n

En parall\u00e8le, 20 tib\u00e9tologues et sinologues fran\u00e7ais ont sign\u00e9 une tribune dans Le Monde<\/em>. Ils d\u00e9noncent la soumission de ces mus\u00e9es aux diktats chinois. Selon eux, ce choix menace l\u2019int\u00e9grit\u00e9 des collections et encourage une r\u00e9\u00e9criture historique.<\/p>\n

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L\u2019art, terrain de diplomatie<\/h4>\n

Cette affaire pose une question plus large : l’influence de la diplomatie sur les mus\u00e9es. Ces derniers, garants du patrimoine, se trouvent parfois pris au milieu de pressions g\u00e9opolitiques. Certains d\u00e9fendent ces changements comme une n\u00e9cessit\u00e9 pour maintenir de bonnes relations avec la Chine. D’autres, au contraire, y voient une menace pour l\u2019ind\u00e9pendance culturelle et la v\u00e9rit\u00e9 historique.<\/span><\/p>\n

Une controverse qui r\u00e9sonne au-del\u00e0 de Paris<\/h4>\n

Cette situation rappelle d’autres pol\u00e9miques dans l’art, o\u00f9 des choix terminologiques ont suscit\u00e9 des d\u00e9bats sur la souverainet\u00e9 culturelle. Le fait que cette affaire concerne deux grands mus\u00e9es parisiens montre \u00e0 quel point la culture devient un enjeu dans les relations internationales.<\/span><\/p>\n

Une identit\u00e9 en p\u00e9ril ?<\/h4>\n

Au-del\u00e0 de la politique, cette controverse souligne l’importance des mots dans la transmission de la culture. En renon\u00e7ant \u00e0 d\u00e9signer directement le Tibet, ces mus\u00e9es ont contribu\u00e9, volontairement ou non, \u00e0 l\u2019effacement symbolique de cette identit\u00e9. Cela montre aussi l’importance pour les institutions culturelles de rester ind\u00e9pendantes face aux pressions ext\u00e9rieures, et de prot\u00e9ger leur mission : pr\u00e9server l’histoire et la diversit\u00e9 culturelle.<\/span><\/p>\n

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\u00c0 d\u00e9couvrir<\/strong><\/h1>\n

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Quand la culture devient un enjeu g\u00e9opolitique<\/p>\n","protected":false},"author":1,"featured_media":907,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"2880","footnotes":""},"categories":[10],"tags":[],"class_list":["post-905","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"yoast_head":"\nLa disparition du mot \u00ab Tibet \u00bb dans les mus\u00e9es parisiens - Au-del\u00e0 des toiles<\/title>\n<meta name=\"description\" content=\"D\u00e9couvrez la pol\u00e9mique autour de la disparition du mot "Tibet" dans les mus\u00e9es parisiens, soulevant des d\u00e9bats sur l'influence chinoise.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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