Tropical mathematics and the financial catastrophe of the 17th century. Thermoeconomics of Russia in the early 20th century

2010 ◽  
Vol 17 (1) ◽  
pp. 126-140 ◽  
Author(s):  
V. P. Maslov
Author(s):  
Aleksey A. Soloviev

On the history of the first public libraries in the province towns of Vladimirskaya and Kostromskaya provinces in the second half of the 17th century - early 20th century. The author considers main statistical data of libraries and analyses necessity and influence of these libraries and reading rooms on the native population.


Author(s):  
A. G. Avdeev

The Russian historiographic sources recognize three probable birth dates of Hadrian, the last Patriarch of Moscow and all Russia in 17th century, i.e.1627, 1637 and 1639. The fourth date, 1636, is not widely recognized. Two epitaphs to the Patriarch Hadrian, both written by Karion Istomin, a major court poet of that time, serve as the main source of information about the life of the head of the Russian Church. The first epitaph is prosaic, mounted on his tomb in the shrine of the heads of the Russian Church in the Assumption Cathedral in the Moscow Kremlin, and the second is poetic, preserved in the papers of the poet. . This paper establishes that the cause of chronological differences were errors in reading and interpreting the date of the Patriarch's death in the prosaic epitaph, which were made in historical studies of the 19th - early 20th century and without cross-checking with the gravestone inscription were reproduced in various publications. A visual study of the prosaic epitaph, conducted by the author in March 2014, indicates that Patriarch Hadrian died on October 2, 1700 at the age of 62 . The same date is written in the poetic epitaph. The “birthday” of Patriarch Hadrian (October 2), also raises doubts; most likely this date originated in the 19th century on the basis of the day of his baptism. The conducted research on the base of combination of archival sources and critical analysis of the writings of historians of the 19th - early 20th centuries established that Patriarch Hadrian was born in 1638.


Author(s):  
M.A. Vazhkaya

There are two collections of icons in the Department of Private Collections — the M.I. Chuvanov collection and the T.A. Mavrina collection. Despite the fact that the time of their formation is the 20th century and the subject of the collections is icon, the collections differ significantly: the personalities of the collectors — the old believer and the artist — impacted their collections in full. Mikhail I. Chuvanov was a chairman of the Preobrazhensky congregation of Old Believers, a bibliophile and a palaeographer. The collection includes icons from the middle of the 15th century to the early 20th century. The icons correspond to the canons of the Old Russian icon painting. Tatyana A. Mavrina was a painter, a graphic artist, an illustrator. The collection includes the icons of the 15th – 17th century — the icons of “northern writing”, and the icons of Novgorod and Moscow icon painting. The research includes wonderful samples of icons, which characterize the personalities of the collectors most brightly: M.I. Chuvanov found and saved prayer images for descendants of the icons; T.A. Mavrina with her love to colour collected icons-pictures, icons-tales. В собрании отдела личных коллекций Государственного музея изобразительных искусств им. А.С. Пушкина хранятся две коллекции иконописи: старообрядца М.И. Чуванова и художника Т.А. Мавриной. Несмотря на то, что время их формирования — XX век, а предметом собирания является икона, обе коллекции разные по характеру. Личности старообрядца и художника в полной мере проявились в их собраниях. Михаил Иванович Чуванов — председатель Преображенской старообрядческой общины, библиофил, палеограф. В коллекции представлены иконы середины XV – начала XX века. Татьяна Алексеевна Маврина — живописец, график, иллюстратор. В коллекции собраны иконы XV–XVII веков. В исследовании представлены образцы иконописи, наиболее ярко характеризующие личность собирателя: М.И. Чуванов нашел и сохранил для потомков иконы — молитвенные образы; Т.А. Маврина с ее любовью к цвету собрала иконы — картины, рассказы.


Author(s):  
Maureen Perrie

The concept of ‘peasant wars’ in 17th- and 18th-century Russia was borrowed by Soviet historians from Friedrich Engels’ work on the Peasant War in Germany. The four peasant wars of the early modern period were identified as the uprisings led by Ivan Bolotnikov (1606-1607), Sten’ka Razin (1667-1671), Kondratiy Bulavin (1707-1708) and Emel’ian Pugachev (1773-1775). Following a debate in the journal Voprosy istorii in 1958-1961, the ‘first peasant war’ was generally considered to encompass the period c.1603-1614 rather than simply 1606- 1607. This approach recognised the continuities in the events of the early 17th century, and it meant that the chronological span of the ‘first peasant war’ was virtually identical to that of the older concept of the ‘Time of Troubles’. By the 1970s the term, ‘civil wars of the feudal period’ (based on a quotation from Lenin) was sometimes used to define ‘peasant wars’. It was recognised by Soviet historians that these civil wars were very complex in their social composition, and that the insurgents did not exclusively (or even primarily) comprise peasants, with Cossacks playing a particularly significant role. Nevertheless the general character of the uprisings was seen as ‘anti-feudal’. From the 1980s, however, R.G. Skrynnikov and A.L. Stanislavskiy discarded the view that the events of the ‘Time of Troubles’ constituted an anti-feudal peasant war. They preferred the term ‘civil war’, and stressed vertical rather than horizontal divisions between the two armed camps. Western historians, with the notable exception of the American historian Paul Avrich, generally rejected the application of the term ‘peasant wars’ to the Russian uprisings of the early modern period, regarding them as primarily Cossack-led revolts. From the 1960s, however, Western scholars such as Teodor Shanin (following the American anthropologist Eric Wolf) began to use the term ‘peasant wars’ in relation to the role played by peasants in 20th-century revolutionary events such as those in Russia and China. Some of these Western historians, including Avrich and Wolf, used the term not only for peasant actions in the Russian revolutions of 1905 and 1917, but also for peasant rebellions against the new Bolshevik regime (such as the Makhnovshchina and the Antonovshchina) that Soviet scholars considered to be counter-revolutionary banditry. The author argues that, in relation to the ‘Time of Troubles’ in early 20th-century Russia, the term ‘peasant war’ is not entirely suitable to describe peasant actions against the agrarian relations of the old regime in 1905 and 1917, since these were generally orderly and non-violent. The term is more appropriate for the anti-Bolshevik uprisings of armed peasant bands in 1918-1921, as suggested by the British historian Orlando Figes.


2021 ◽  
pp. 198-215
Author(s):  
E.O. Tyagunova ◽  

There are known periods of development of Japanese traditional ukiyo-e engraving: from its origin in the 17th century and its flourishing in the 18th — first half of the 19th century to the “decline” in the second half of the 19th century. The period of Meiji Restoration (1868–1912) was marked by the opening of Japan after more than two hundred years of self-isolation, acquaintance with Western achievements in the field of industry, science and art. The article discusses the search of combination of Western and national traditions by Japanese artists. Familiarity with the new artistic language and intention to introduce it into the space of traditional ukiyo-e engraving became the basis for the masters of this period. Changes in the field of traditional genres are noted: instead of images of actors (yakusha-e), beauties (bijinga) and landscapes (fukeiga), there were appeared images of foreigners with their manners (yokohama-e), Japan’s modernization (kaika-e), as well as the battle genre (senso-e) dedicated to the events of the Japanese-Chinese (1894–1895) and Russian-Japanese (1904–1905) wars. These attempts to transform the national art allowed to form the ground for the creativity of young masters in the 20th century, who brought traditional engraving to a new level.


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