Abstract Among advanced countries, such as in the US, West Europe, and Japan, attending artistic activities have long been the daily life of ordinary people. It is also prevalent of businesses in these countries to sponsor artistic activities or art institutes, through which businesses can feed back society and enhance their company images. In Taiwan, it has been a history for decades of enterprises sponsoring artistic activities and collecting arts. The traditional sponsorship of art originated from the friendships between business owners and artists or business owners¡¦ collection of artistic works. The corporate sponsorship of art in Taiwan can date back to Japanese Occupation (A.D. 1895~1945). In Japanese colonial days, Tai-chung entrepreneur, Zao-Jia Yang, was a renowned art supporter to island-wide artistic activities. During Yang¡¦s younger days, possessed with strong Taiwanese Awareness and literary penchant, he co-funded, with Pei-huo Tsai, the construction of Tai-Yang Fine Art Association. This famous fine art association had encouraged well-known painters of older generation like Shih-Chiao Lee¡BMei-shu Lee¡BCheng-Po Chen¡BChi-Chun Liao¡BSan-Lang Yang¡BShui-Long Yen to fully develop their talents, and pioneered the modern arts in Taiwan at then. Mr. Zao-Jia Yang could be deemed as the guardian god of early Taiwanese artists. Yang¡¦s followers like Mr. Pao-Thou Lin, former Chairman of Taiwan Cement Corporation¡BMr. Chen-fu Koo, former Chairman of Straits Exchange Foundation and Mr. Wen-Lung Hsu, the founder of Chi-Mei Corporation, and etc., have all contributed greatly to local artistic activity fund raising and arts collection in the past decades. To gain a better understanding on various types and paradigms of corporate sponsorship of artistic activities and arts collection, this study focus on the study of Chi-Mei Corporation, in hope that we could advocate the interaction between arts and businesses through deep interview and comprehensive analysis on the creation of Chi-Mei Museum. Through analysis,it is obvious that: Arts are no more the privilege or captive of the rich, enterprises through the operation of their funds or museums can assist academics, artists, and more ordinary people exposure to arts, thereby expanding art population as well as fulfilling the social obligation and citizenship of enterprises. Meanwhile, the resulting ideal economic environment will benefit enterprises themselves. Enterprises should treat arts investment in the same way with regular profitable business operations. The invisible arts value will have economic benefits from all sides. Aside from acknowledging that enterprises are an efficient private factor to promote government policy, government should recognize the essence of nation competitiveness¡Xthe substance of its people including culture development as well as academic credential and economic strength. The present pan-politics environment is against culture development. Government should expedite of legislation of Museum Law and related stipulations improvement to help private museum operation. If art collections are concealed from the public as treasures, the collections are preserved for its own value. The construction of private museum is necessary. It can play complementary role to public museum. According to David Throsby, art collector can be traced by their aesthetic value, spiritual value, social value, historical value, real value, i.e., a series of cultural characteristics, to study the arts collection behavior. Through the beauty, harmony, race uniqueness of artistic works, it helps human understanding of social substance, identity. It also helps reflect the status quo of a society. Artistic works convey meaning of itself and the culture valuation and symbolism of arts collectors. From the above perspectives, the author thinks that arts collection is an extreme passion for human spirit and culture. The difficulties of running private museum should not prevent us from encouraging its setup. According to Bruno S. Frey, investments on arts are tax avoidance in many countries. Although it is a truth known to the public, the tax incurred from owning art works is seldom treated in related study. It is impossible to neglect tax when calculating the profits. In different countries and time, taxation is various. Perfect arts collection, in author¡¦s opinion, aside from fond of arts, and need intellectual tactics more of financial strengths, market information, knowledge, aesthetic taste, and ideal seeking. Therefore, arts investment and its taxation leave ample room for successor to study further.

of History of the chapel at the Konopiště castle The deal of work is a trial to give an assistance in exploring of chapel at the Konopiště castle and to bring a comprehensive scene of its history, interferences of particular holders, inner equipment's changes and to outline spiritual life of the former centuries. The work contains six parts. The first one briefly informs about the history of the Konopiště castle from its foundation to expropriation by the Czechoslovak republic. The second part analyzes architectural evolution of the chapel, that presents basic and the oldiest part of whole object. The following chapter describes inventory of the chapel. The main attention is given to rococo inventory and to collections of Franz Ferdinand d'Este, which are at the chapel in the majority part still today. In the fourth chapter there is written the church celebrations and feasts, made during the days of Franz Ferdinand d'Este. In rich photographical inventory fund there has been preserved many photographs from these occasions, mainly from the celebration of Corpus Christi, which had been periodically organized. In the present this tradition has been returned. By this I come to write of the fifth chapter, the present. The castle is now in keeping of National heritage institut and it is opened for...

A pesquisa tem por objetivo refletir sobre a questão da documentação das artes cênicas e fornecer subsídios para a constituição de um patrimônio documental na área. Isso envolve a discussão de conceitos relacionados à natureza das artes cênicas e ao papel da documentação especializada, levando-se em conta o caráter efêmero e fugidio da encenação e a ausência de políticas, programas, metodologias e ações que estimulem a produção e a preservação de registros documentais na área. Discute-se o papel da documentação como bem artístico e cultural, assim como a noção de patrimônio cultural desde a sua origem até a contemporaneidade, quando as dimensões imaterial e documental da cultura passam a ser contempladas pelas políticas oficiais de patrimônio. Visando à formulação de políticas específicas para a constituição de um patrimônio documental das artes cênicas, por meio do desenvolvimento de coleções especializadas em artes cênicas, apresenta-se aqui uma tipologia documental, elaborada a partir do levantamento e análise das metodologias de pesquisa mais comuns em artes cênicas, especificamente daquelas que têm como foco a encenação teatral. Essa tipologia mapeia, define e discute os diversos tipos de documentos passíveis de serem produzidos para e a partir de encenações. Esses conjuntos documentais estão reunidos de acordo com as fases de produção de um espetáculo cênico: processo de criação, encenação, repercussão, estudos e pesquisas, registros sistemáticos e produção executiva. A fim de comprovar a validade e efetividade dessa tipologia, buscou-se testá-la levantando-se exemplos em algumas coleções especializadas em artes cênicas no Brasil e no exterior. A tipologia, além de permitir elaborar diagnósticos das coleções existentes, mostrou-se adequada para orientar a formação e o desenvolvimento de coleções especializadas em artes cênicas. / The research aims to reflect on the question of documentation of performing arts and provide elements to the constitution of a documental heritage in that field. That involves the discussion of concepts related to the nature of performing arts and the role of specialized documentation, taking into account the ephemeral and fugacious nature of staging and the absence of policies, programmes, methodologies and actions that could stimulate the production and preservation of documental records in the field. The role of documentation as an artistic and cultural asset is discussed, as well as the notion of cultural heritage since its origin till present time, when intangible and documental dimensions of culture start to be comprehended by the official heritage policies. Having as a goal the formulation of specific policies for the constitution of a documental heritage of performing arts, by means of the development of performing arts collections, a documental typology is presented at this point, elaborated upon the study and analysis of the most common research methodologies in performing arts, specifically of those that have as a focus the theatrical staging. This typology maps out, defines and discusses the various types of document that can be produced for and upon staging. Those documental sets are grouped according to the production phases of a performing show: process of creation, staging, repercussion, study and research, systematic records and executive production. In order to prove the validity and effectiveness of that typology, it has tested by collecting examples from some performing arts collections in Brazil and abroad. The typology, besides enabling the elaboration of diagnoses on the existing collections, has proved adequate to guide the formation and development of performing arts collections.

A pesquisa tem por objetivo refletir sobre a questão da documentação das artes cênicas e fornecer subsídios para a constituição de um patrimônio documental na área. Isso envolve a discussão de conceitos relacionados à natureza das artes cênicas e ao papel da documentação especializada, levando-se em conta o caráter efêmero e fugidio da encenação e a ausência de políticas, programas, metodologias e ações que estimulem a produção e a preservação de registros documentais na área. Discute-se o papel da documentação como bem artístico e cultural, assim como a noção de patrimônio cultural desde a sua origem até a contemporaneidade, quando as dimensões imaterial e documental da cultura passam a ser contempladas pelas políticas oficiais de patrimônio. Visando à formulação de políticas específicas para a constituição de um patrimônio documental das artes cênicas, por meio do desenvolvimento de coleções especializadas em artes cênicas, apresenta-se aqui uma tipologia documental, elaborada a partir do levantamento e análise das metodologias de pesquisa mais comuns em artes cênicas, especificamente daquelas que têm como foco a encenação teatral. Essa tipologia mapeia, define e discute os diversos tipos de documentos passíveis de serem produzidos para e a partir de encenações. Esses conjuntos documentais estão reunidos de acordo com as fases de produção de um espetáculo cênico: processo de criação, encenação, repercussão, estudos e pesquisas, registros sistemáticos e produção executiva. A fim de comprovar a validade e efetividade dessa tipologia, buscou-se testá-la levantando-se exemplos em algumas coleções especializadas em artes cênicas no Brasil e no exterior. A tipologia, além de permitir elaborar diagnósticos das coleções existentes, mostrou-se adequada para orientar a formação e o desenvolvimento de coleções especializadas em artes cênicas. / The research aims to reflect on the question of documentation of performing arts and provide elements to the constitution of a documental heritage in that field. That involves the discussion of concepts related to the nature of performing arts and the role of specialized documentation, taking into account the ephemeral and fugacious nature of staging and the absence of policies, programmes, methodologies and actions that could stimulate the production and preservation of documental records in the field. The role of documentation as an artistic and cultural asset is discussed, as well as the notion of cultural heritage since its origin till present time, when intangible and documental dimensions of culture start to be comprehended by the official heritage policies. Having as a goal the formulation of specific policies for the constitution of a documental heritage of performing arts, by means of the development of performing arts collections, a documental typology is presented at this point, elaborated upon the study and analysis of the most common research methodologies in performing arts, specifically of those that have as a focus the theatrical staging. This typology maps out, defines and discusses the various types of document that can be produced for and upon staging. Those documental sets are grouped according to the production phases of a performing show: process of creation, staging, repercussion, study and research, systematic records and executive production. In order to prove the validity and effectiveness of that typology, it has tested by collecting examples from some performing arts collections in Brazil and abroad. The typology, besides enabling the elaboration of diagnoses on the existing collections, has proved adequate to guide the formation and development of performing arts collections.