This paper examines the representation of Himalayan art and heritage from Nepal and Tibet in Western museums, with a focus on the Musée national des arts asiatiques Guimet (Paris), home to one of Europe’s most significant Asian art collections. The research addresses how curatorial practices create a narrative around non-Western art, historically shaped by colonial biases. Drawing on interdisciplinary approaches that combine anthropological, museological, and curatorial theories, this study investigates the complex dynamics of cultural presentation and the evolving role of museums in the twenty-first century.

The history of collecting Himalayan art in Western contexts is deeply intertwined with colonial expansion, missionary endeavours, and the fascination of early travellers. Many artefacts were acquired under questionable circumstances, purchased hastily, misappropriated, or looted from monasteries. These objects, often removed from their original cultural and religious contexts, were recontextualised in museum settings as “art” for Western audiences, framed by Orientalist perceptions and ethnographic interpretations. This paper explores how these historically dominant narratives persist in museum displays today, despite efforts to move towards more inclusive and decolonial practices.

The study critically examines the challenges faced by curators working with Himalayan collections, including issues of provenance, dating artefacts, limited funding, and presenting fragmented knowledge in a coherent and engaging way. By focusing on the Guimet’s collections, this paper evaluates the museum’s attempts to balance historical narratives with contemporary efforts to engage diverse audiences. Comparative analysis with other Western institutions reveals common trends and distinctive approaches grappling with similar issues, providing a broader understanding of the ongoing challenges in decolonising museums.

A central theme of this research is the tension between the Western concept of “art” and the cultural specificity of Himalayan objects, many of which hold sacred and functional significance in their original contexts. Historically, these artefacts were displayed through an anthropological lens, emphasising their “exotic” qualities rather than their cultural or spiritual meanings. This paper critiques this legacy and highlights the need for curatorial strategies that prioritise cultural authenticity, audience inclusivity, and collaborative engagement with communities. It also explores the potential of new media and digital technologies to reshape museum narratives, making them more participatory and accessible. The role of the curator emerges as a critical focus of this study. Curators are not only cultural mediator but also ethical stewards tasked with addressing colonial legacies and fostering cross-cultural understanding. This paper investigates how curators at Western museums navigate these responsibilities, proposing strategies to reconcile the past with the present. By reframing Himalayan art in ways that respect its origins and challenge elitist connotations, museums can create spaces for meaningful dialogue about cultural heritage. The aim of this study is to spark a critical dialogue about the responsibilities and transformative potential of museums in today’s multicultural world.