scholarly journals Influence of microclimate control scenarios on energy consumption in the Gallery of the 19th-Century Polish Art in the Sukiennice (the former Cloth Hall) of The National Museum in Krakow

2018 ◽  
Vol 415 ◽  
pp. 012026 ◽  
Author(s):  
A Sadłowska-Sałęga ◽  
J Radoń ◽  
J Sobczyk ◽  
K Wąs
Keyword(s):  
Energy Consumption ◽  
19Th Century ◽  
National Museum ◽  
Polish Art ◽  
The 19Th Century

scholarly journals De islandske museers placering i kulturdebatten

1970 ◽  
pp. 39
Author(s):  
Ragnheiður H. Þhorarinsdóttir
Keyword(s):  
Cultural Identity ◽  
19Th Century ◽  
Public Culture ◽  
Nordic Countries ◽  
The Other ◽  
National Museum ◽  
World War ◽  
World War 2 ◽  
Romantic Movement ◽  
The 19Th Century

Icelandic museums and their position in public culture Icelandic museums are rooted in the national romantic movement of the 19th century and - as in the other Nordic countries - in the romantic search for a cultural identity. The National Museum was founded in 1863 in a period when the struggle for independence from Denmark culminated. Icelandic nationalism was again challenged in World War 2 which was also coincided with a period of an accelerated modernization. 

scholarly journals Collections of Japanese Art in Ukraine

2020 ◽  
Vol 3 (2(6)) ◽  
pp. 109-123
Author(s):  
Alla Ozhoha-Maslovska
Keyword(s):  
19Th Century ◽  
Political System ◽  
Art Museum ◽  
National Museum ◽  
Literature Information ◽  
Professional Literature ◽  
Art Collections ◽  
Japanese Art ◽  
Post War ◽  
The 19Th Century

The stages of the formation of Japanese art collections on the territory of Ukraine from the beginning of the 19th century to the present are highlighted on the basis of archival materials, periodicals and professional literature. Information about Japanese collections of the pre-war and post-war periods are systematized, while their composition and sources of formation are determined. The influence of the socio-political system on the development of the process of collecting Japanese art in Ukraine is also analysed. The sources of the formation of collections of Japanese art in the collections of The Bohdan and Varvara Khanenko National Museum of Arts in Kyiv, Odessa Museum of Western and Oriental Arts, the Chinese Palace of “Zolochiv Castle” Museum-Reserve, as well as Kharkiv Art Museum are explored. Finally, modern tendencies in the collection of Japanese art in Ukraine are determined.

scholarly journals Three Sabers with Wooden Hilts of the 17th – Mid 19th Centuries from the National Museum of the Republic of Kazakhstan

2019 ◽  
Vol 18 (3) ◽  
pp. 146-158
Author(s):  
L. A. Bobrov ◽  
Daniyar Ismailov
Keyword(s):  
Structural Analysis ◽  
19Th Century ◽  
Distinctive Feature ◽  
National Museum ◽  
Museum Collection ◽  
Central Asian ◽  
The Republic ◽  
Metal Tip ◽  
The 19Th Century ◽  
Written Sources

Purpose. The article provides a detailed description of three sabers with wooden hilts stored in the funds of the National Museum of the Republic of Kazakhstan (PMO 3025-1.2, PMO 6265, PMO UK 8227), Astana. Results. Based on the structural analysis of the items and their design, we identified that Saber 1 from the NMRC (PMO 3025-1.2) is one of the varieties of Persian Shamshirs. The blade with the shank, garda and a wooden sheath with hoop could have been made by Iranian or, less likely, Central Asian armorers in the 18th – middle of the 19th centuries. The wooden hilt with rivets, leather-covered scabbard and a metal tip were added while the saber was in the museum collection. A distinctive feature of Saber 2 of NMRC (PMO 6265), which originates from the territory of Southern Kazakhstan, is a relatively small bending of an acute-angled blade, an authentic wooden hilt and a leather case covering the hilt. The last two elements are not typical for products of Persian craftsmen but are quite often found on the weapons of the Uzbek and Kazakh soldiers of the New Age. According to the construction and design we conclude that Saber 2 could have been made by Central Asian, or, less likely, Iranian armorers in the 18th – mid 19th centuries (in the latter case, the hilt and the cover might have been made by Uzbek or Kazakh masters). Saber 3 (ПМО УК 8227) combines the classic “shamshirs” blade and a pommel with a wooden hilt and a relatively rare version of the guard. Based on the design features, the saber is dated to the end of the 18th – mid 19th centuries. The fastening system of its “cheeks” indicates that the wooden hilt might have been made and added in the 19th century. Conclusion. The weapons of the series under review vividly illustrate the data from written sources on the prevalence of sabers with long blades imported from Iran and Central Asia among Kazakh soldiers during the 18th – 19th centuries.

scholarly journals Textiles and environment in the showcase containing Saint Canute the Holy († AD 1086): Radiocarbon dating and chemical interactions

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Poul Grinder-Hansen ◽  
Ulla Kjær ◽  
Morten Ryhl-Svendsen ◽  
Maria Perla Colombini ◽  
Ilaria Degano ◽  
...  
Keyword(s):  
19Th Century ◽  
Radiocarbon Dating ◽  
Protestant Reformation ◽  
National Museum ◽  
National Importance ◽  
Human Bones ◽  
Air Chemistry ◽  
History Of ◽  
Decaying Wood ◽  
The 19Th Century

Abstract The cathedral in Odense, Denmark, has for nine centuries held the relics of the Danish King St Canute the Holy and his brother Benedikt. They were both murdered in the predecessor church at the site in AD 1086, and Canute was sanctified in already in AD 1100. The history of the relics has been that of turmoil at times, varying from initial worship of the Catholic believers, to being walled up and hidden away after the protestant reformation in AD 1536, and since the 19th Century on display as important heritage objects of national importance. In the present work we have characterised some of the textiles and analysed the air inside the glass showcases exhibiting the 11th Century wooden coffins holding the remains of St King Canute the Holy and his brother together with some precious textiles. Contrary to previous belief, we now prove that all the textiles analysed have the same age, which is consistent with the time of the enshrinement of the King and his brother in AD 1100. It is also shown that some of the textiles were treated with paraffin wax, most likely during attempts at conservation at the National Museum in the nineteenth century. The results of the air chemistry analyses show the problematic side of simultaneously storing of slowly decaying wood, fine textiles, and human bones in rather airtight environments. The wood continuously releases organic acids, the soaring concentrations of which are potentially harmful to the 11th Century textiles and probably also to the bones.

scholarly journals The Adoption and Development of the Gu’s Embroidery in Late-Joseon embroidery

2021 ◽  
Vol 311 ◽  
pp. 45-86
Author(s):  
sujeang Yang
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Social Economic ◽  
Cultural Norms ◽  
National Museum ◽  
Royal Court ◽  
Private Homes ◽  
The 19Th Century ◽  
Figure Paintings ◽  
Early Source

This article uses the idioms of embroidery appreciation as depicted in narrative figure paintings in the collection of the National Museum of Korea, to examine the effects of Gu-style embroidery, which reached Korea during the late Joseon period, on the development of late Joseon embroidered pictures enjoyed by the royal court. The late Joseon period saw unprecedented developments in social, economic and cultural norms. Among these were friendly relations with Qing, allowing Koreans access to new imported culture including various regional Chinese embroidery styles. Gu embroidery became an early source of influence on change and production of embroidery in the royal court. By the 18th century, embroidered everyday items had spread into the private homes of aristocrats and commoners as part of a luxury trend. Expert producers created masterpieces specifically for viewing, which were collected for this purpose. Decorative embroidered screens were created featuring Taoist hermit and narrative figure paintings, driving artistic growth based on motifs of elegance and appreciation of luxury. Characteristics relating to Gu found in these works include: first, the filling of parts corresponding to Gu-style mixed embroidery and painting with long and short stitches and irregular long and short stitches; second, the development of a type of decorative stitching capable of the same elaborate expression as Gu; third, the replacement of untwisted thread, in which Gu style was used to achieve gradation, with twisted thread; fourth, the tracing of the outlines of all pictorial elements with outline stitch, unlike in Gu, emphasizing neatness; fifth, the use of contrasting complementary colors rather than intermediate colors; and sixth, the production of Taoist hermit paintings such as Banquet at Jade Pond and narrative figure paintings as screens. In sum, it can be said that this series of phenomena developed into a formal idiom in Joseon embroidery, which had become more highly renowned than that of China by the 19th century.

scholarly journals O posmrtné historii mozku historika a politika Františka Palackého

2021 ◽  
Vol 190 (1) ◽  
pp. 5-44
Author(s):  
Petr Benda ◽  
Eliška Fulínová ◽  
Vítězslav Kuželka ◽  
Milena Běličová
Keyword(s):  
19Th Century ◽  
National Museum ◽  
Historical Building ◽  
History Of ◽  
Liquid Preparation ◽  
Czech Society ◽  
The 19Th Century ◽  
The Brain

František Palacký (1798–1876), a historian and politician, was one of the most eminent personalities of the Czech society of the 19th century. He died on 26 May 1876 in Prague and on 30 May 1876, in the evening before the burial, the Palacký’s head was dissected and his brain was extracted and preserved as a liquid preparation. Then, it was deposited in the Museum of the Kingdom of Bohemia (present National Museum) in Prague; currently it is stored in a jar concealed in a wall niche of a column (next to a large statue of Palacký) in the Pantheon hall of the historical building of the National Museum on the Wenceslaus square in Prague. The investigation of the Museum archive brought some documents which elucidate certain parts of the history of the Palacký’s brain preparation, although its whereabouts during other periods still remain hidden. For several years after its extraction, the Palacký’s brain was deposited in the Museum library, and between the years 1878–1899 (most probably in 1892 at the latest), it was handed over to the Department of Zoology of the Museum, where it remained until 1931. Next fate of the brain is uncertain until 1958, when it was installed in the wall niche in the Pantheon hall, where it remains till now (with an interruption in the last five years), but again under the responsibility of the Department of Zoology and Department of Anthropology, respectively.

scholarly journals Antikvarer og oldforskning på Grundtvigs tid

2006 ◽  
Vol 57 (1) ◽  
pp. 99-109
Author(s):  
Christian Adamsen
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Full Text ◽  
Royal Commission ◽  
National Museum ◽  
Local Perception ◽  
Amount Of Knowledge ◽  
The 19Th Century ◽  
Scientific Archaeology

Antikvarer og oldforskning på Grundtvigs tid[Antiquarians and the Study of Antiquity during Grundtvig’s Lifetime]By Christian AdamsenWhile the 17th and 18th centuries were dominated by the so-called antiquarianism, the 19th century saw the dawn of scientific archaeology. The Danish Royal Commission of Antiquities in Copenhagen, established 1807 (much later to become the National Museum), sent out a questionnaire to every clerk in the country in order to collect information about various antiquities. The answers, recently published in full text, reflect not only the local perception of Antiquity all over the country, but also the amount of knowledge available to the commission members in Copenhagen. Central persons in the Danish development are Frederik Munter, Rasmus Nyerup, Christian Jurgensen Thomsen and J. J. A. Worsaae. The relations between Grundtvig and the professional antiquarians were however distant but heartful, still Grundtvig’s lifelong efforts probably constitute the most important contribution to the 20th century status of archaeology as the most widespread Danish hobby.

The Icon of the Holy Unmercenaries (Greek: Άγιοι Ανάργυροι) Cosmas and Damian, as Bequeathed by Zofia Ruebenbauer, in the Collection of the National Museum in Cracow

Ikonotheka ◽  
2018 ◽  
Vol 27 ◽  
pp. 27-54
Author(s):  
Mirosław P. Kruk
Keyword(s):  
19Th Century ◽  
Paint Layer ◽  
National Museum ◽  
Northern Greece ◽  
Work Of Art ◽  
14Th Century ◽  
John Chrysostom ◽  
The Gift ◽  
Restoration Work ◽  
The 19Th Century

In 2011 the National Museum in Cracow received a bequest that had been specified in the last will and testament of Zofia Ruebenbauer from Ottawa. The gift was described as a 19th century Russian icon. Comparative stylistic analysis complemented by restoration work and a material study revealed an exquisite paint layer, for which analogies may be found in the mid-14th-century Greek art of the Paleologian period. The icon was probably painted in the third quarter of the 14th century in one of the centres in northern Greece including Kastoria, Veria, Mt. Athos, Thessalonike and Constantinople itself. The collection of the Byzantine Museum in Kastoria includes many icons of the holy physicians depicted in a similar pose. Iconographical details such as the surgical knives in the hands of the physicians and in the open tool case find close analogies in the 14th-century wall paintings in Peloponnese, e.g. in the Church of Saint Paraskevi (Αγία Παρασκευή, Agia Paraskevi) and Saint John Chrysostom (Άγιος Ιωάννης Χρυσόστομος, Agios Ioannes Chrisostomos) in Geraki, as well as in the Orthodox Church of the Holy Unmercenaries (Άγιοι Ανάργυροι, Agioi Anargyroi) in Nomitsi. The conclusions of the analysis regarding the icon’s provenance find indirect corroboration in the recently discovered fact that in the first half of the 19th century the work of art was owned by Haryklia Mavrocordatos-Serini, Sas-Hoszowska (1836–1906), a member of the Lvov line of the Greek princely family of Mavrocordatos. The names of her children with the exact dates of their birth appear on the reverse side of the icon. The work of art was passed down to Jerzy Ruebenbauer, who carried it away from Lvov during the Second World War, taking it first to Warsaw, where he met his future wife Zofia, and after the war to Canada via Belgium.

‘The purest examples from antiquity’ – Old Museums in a Modern World

2005 ◽  
Vol 13 (4) ◽  
pp. 649-659
Author(s):  
RUURD B. HALBERTSMA
Keyword(s):  
At Risk ◽  
19Th Century ◽  
Ancient World ◽  
Modern World ◽  
National Museum ◽  
The 19Th Century ◽  
Private Collections

Archaeological museums often came into existence from private collections of curiosities. When official museums were created in the course of the 18th and 19th centuries, the question of which cultures belonged to the ‘ancient world’ (and which not) was hotly debated, as the example of the National Museum of Antiquities in Leiden shows us. In addition, the role of an archaeological collection in society could be regarded in various ways. In the 19th century the ‘purest examples from antiquity’ were used as models for architects, artists and artisans. Nowadays antiquity seems to inspire many aspects of our culture, but much can be argued against the feeling that the classical spirit is enlightening our lives. An important role can be played by archaeological museums and their curators in a world in which the humanities are severely at risk.

scholarly journals Rukopisný Litevský slovník v kontextu české baltistiky první poloviny 19. století: koncepční záměr slovníku a otázka autorství

2020 ◽  
Vol 65 (1-2) ◽  
pp. 5-18
Author(s):  
Anna Tollarová
Keyword(s):  
19Th Century ◽  
National Museum ◽  
Handwriting Analysis ◽  
Printed Books ◽  
New Findings ◽  
The 19Th Century

This study focuses on the manuscript Litevský slovník [Dictionary of the Lithuanian Language] (shelf mark IV A 11), kept at the Department of Manuscripts and Early Printed Books of the National Museum Library. This handwritten lexicographic relic is dated to the first half of the 19th century and contains 1,701 entries. The nature of the Lithuanian Dictionary determines its significance. It is a comprehensive and complete philological study (organised alphabetically from A to Ž) that tries to answer crucial questions of Balto-Slavic relations. This article places the Lithuanian Dictionary within the context of Czech Baltic studies, particularly focusing on the matter of its authorship. Concerning this question, the article builds on previous research, in which F. L. Čelakovský was suggested as the likely author of the Dictionary. It updates previous research and adds new findings revealed by a professional handwriting analysis. A separate chapter focuses on the nature of the work, demonstrating the character of the Lithuanian Dictionary on several examples.

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