scholarly journals LEGALIMPLICATIONS OF STREET ART AS A ‘DEMOCRATIZED’/’OPEN’ FORM OF ART

2020 ◽  
Vol 18 (28) ◽  
pp. 210
Author(s):  
Fernando Loureiro Bastos
Keyword(s):  
Cultural Heritage ◽  
Theoretical Concept ◽  
Street Art ◽  
Legal Concept ◽  
Works Of Art ◽  
Control Production ◽  
History Of ◽  
The Creation ◽  
Ephemeral Art ◽  
Legal Concepts

The prestige of street art as an artistic expression has increased year after year. The analysis of its legal implications must take into account the difficulties in reaching a general operative concept of street art and the need to legally frame the creation, preservation and transaction of street art productions. Since the legal concept is not equivalent to the theoretical concept or the history of art, each State and even each municipality can create their own legal concepts, acting in accordance with these specific concepts in order to control production, to punish execution as vandalism or, in contrast, to protect works produced as part of their cultural heritage. Although street art is created in and for open spaces, usually as an ephemeral art, the commercial interest in street art productions raises questions of due diligence during its transaction, such as those related to ownership, authenticity and even provenance. As an expression of an artistic movement started about half a century ago, can street art works be equated with “traditional” works of art (such as “goods” or “merchandises”), being subject to ownership, commercial sale and copyright, or must they be appreciated as artifacts that can be preserved as part of the cultural heritage or, alternatively, starting from the specific artistic and creative intent of the artist, be understood as a type of works of art that require the creation of new legal categories and forms of understanding its meaning?

Russian Museum of Emperor Alexander III as a place of memory

2020 ◽  
Vol 2020 (11-1) ◽  
pp. 132-147
Author(s):  
Dmitry Rakovsky
Keyword(s):  
Comparative Analysis ◽  
Historical Consciousness ◽  
Russian Society ◽  
Museum Collection ◽  
Works Of Art ◽  
History Of ◽  
The Creation ◽  
Historical Representations

The main purpose of this article is to study the role of the Russian Museum in the formation of the historical consciousness of Russian society. In this context, the author examines the history of the creation of the Russian Museum of Emperor Alexander III and its pre-revolutionary collections that became the basis of this famous museum collection (in particular, the composition of the museum’s expositions for 1898 and 1915). Within the framework of the methodology proposed by the author, the works of art presented in the museum’s halls were selected and distributed according to the historical eras that they reflect, and a comparative analysis of changes in the composition of the expositions was also carried out. This approach made it possible to identify the most frequently encountered historical heroes, to consider the representation of their images in the museum’s expositions, and also to provide a systemic reconstruction of historical representations broadcast in its halls.

The Scientific Value Of Research On Mirmukhsin Fikriy

2020 ◽  
Vol 2 (08) ◽  
pp. 583-589
Author(s):  
Umriniso Rahmatovna Turaeva
Keyword(s):  
Political Environment ◽  
Continuous Development ◽  
The Past ◽  
Works Of Art ◽  
Literary Heritage ◽  
History Of ◽  
The Creation ◽  
Scientific Value

The history of the Turkestan Jadid movement and the study of Jadid literature show that it has not been easy to study this subject. The socio-political environment of the time led to the blind reduction of the history of continuous development of Uzbek literature, artificial reduction of the literary heritage of the past on the basis of dogmatic thinking, neglect of the study of works of art and literary figures. As a result, the creation of literary figures of a certain period, no matter how important, remained unexplored.

THE MAIN PROBLEMS OF COLLECTING THE DOCUMENTARY HERITAGE AND CREATING THE STATE ARCHIVAL FUND OF THE USSR IN 1917–1930S

2021 ◽  
pp. 82-99
Author(s):  
Nina I. Khimina ◽  
Keyword(s):  
Cultural Heritage ◽  
The State ◽  
Record Keeping ◽  
History Of Collecting ◽  
Russian State ◽  
Archival Documents ◽  
History Of ◽  
The Creation ◽  
State Archives ◽  
Effective Use

The article examines the history of collecting documentary and cultural heritage since 1917 and the participation of archives, museums and libraries in the creation of the Archival Fund of the country. In the 1920s and 1930s, archival institutions were established through the efforts of outstanding representatives of Russian culture. At the same period, the structure and activities of the museums created earlier in the Russian state in the 18th – 19th centuries were improved. The new museums that had been opened in various regions of Russia received rescued archival funds, collections and occasional papers. It is shown that during this period there was a discussion about the differentiation of the concepts of an “archive”, “library” and a “museum”. The present work reveals the difficulties in the interaction between museums, libraries and archives in the process of saving the cultural heritage of the state and arranging archival documents; the article also discusses the problems and complications in the formation of the State Archival Fund of the USSR. During this period, the development of normative and methodological documents regulating the main areas of work on the description and registration of records received by state repositories contributed to a more efficient use and publication of the documents stored in the state archives. It is noted that museums and libraries had problems connected with the description of the archival documents accepted for storage, with record keeping and the creation of the finding aids for them, as well as with the possibilities of effective use of the papers. The documents of the manuscript departments of museums and libraries have become part of the unified archival heritage of Russia and, together with the state archives, they now provide information resources for conducting various kinds of historical research.

The Origin and Heritage of Kesi Technique

2013 ◽  
Vol 821-822 ◽  
pp. 382-386
Author(s):  
Yan Zhang ◽  
Long Di Cheng
Keyword(s):  
Cultural Heritage ◽  
Song Dynasty ◽  
Yangtze River ◽  
High Grade ◽  
Republican Period ◽  
Southern Song ◽  
Works Of Art ◽  
Ming And Qing Dynasties ◽  
History Of ◽  
Textual Research

Although Chinese Kesiorigin is being recognized in various ways at present, yet its history of textual research lasts at least more than two thousand years. Moreover, a change occurred in Song Dynasty that high-grade works of art of Kesi paintings and calligraphies emerged, which formed the peak of Chinese Kesi art. In Ming and Qing Dynasties, the Kesi in the south region of Yangtze River inherited the skill of that in the Southern Song Dynasty, but it gradually declined after the Republican Period. After new China was founded, Kesi developed vigorously in Suzhou, and it had already been enrolled to the National Non-material Cultural Heritage list. This paper aims to explain the origin, the mutation, and the inheritance carrying of Chinese Kesi, then make a summary concerning the regulation. Not only will a clear cognition be made based on the previous research, but also it might be usible for reference about the protection of non-material cultural heritage in the future.

scholarly journals An Electronic Сatalogue of Slobozhanshchina Icons of the Late 18th – Early 20th Centuries: Prerequisites for Creation, Purposes, Functions

2021 ◽  
pp. 109-117
Author(s):  
И.В. Краснова
Keyword(s):  
Twentieth Century ◽  
Cultural Heritage ◽  
Significant Part ◽  
History Museum ◽  
Documentary Sources ◽  
Great Patriotic War ◽  
History Of ◽  
The Creation ◽  
Private Collections ◽  
The Way

В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.

Art and New Technology in Mexico: The National Center for the Arts

Leonardo ◽  
2006 ◽  
Vol 39 (4) ◽  
pp. 371-372 ◽  
Author(s):  
Andrea Di Castro
Keyword(s):  
Cultural Heritage ◽  
Mexico City ◽  
New Technologies ◽  
New Technology ◽  
The Internet ◽  
Changing Environment ◽  
Creative Practice ◽  
The Arts ◽  
History Of ◽  
The Creation

The author chronicles the history of Mexico's Centro Nacional de las Artes (National Center for the Arts) in Mexico City, and in particular the Multimedia Center, a space dedicated to the creation and teaching of the arts and preservation of cultural heritage through the use of new technologies such as CD-ROMs, the Internet and teleconferencing, as well as exhibitions. After 10 years of operation, the Multimedia Center faces new types of challenges as the new technologies become successfully integrated into creative practice. In response to the changing environment, the center is moving toward collaborations with similar institutions internationally and toward new funding models.

scholarly journals A CONSTITUIÇÃO DA CIÊNCIA DA CONSERVAÇÃO E A PROJEÇÃO DA CIÊNCIA DO PATRIMÔNIO

2016 ◽  
Author(s):  
Yacy-Ara Froner
Keyword(s):  
Cultural Heritage ◽  
Early History ◽  
International Institute ◽  
Conservation Science ◽  
Scientific Methods ◽  
International Conference ◽  
Works Of Art ◽  
Heritage Science ◽  
History Of

Resumo: A integração gradual da ciência no âmbito museológico e o fortalecimento da colaboração entre conservadores-restauradores, cientistas da conservação e curadores podem fornecer as pistas necessárias para compreender a história da Ciência da Conservação e a projeção atual da Ciência do Patrimônio. Este artigo tem como objetivo discutir a Primeira Conferência Internacional para o Estudo de Métodos Científicos para o Exame e Conservação de Obras de Arte, que ocorreu em Roma, em 1930. Realizado sob os auspícios do Escritório Internacional de Museus (1926-194), do Instituto Internacional de Cooperação Intelectual (1924-1946) e por meio das ações dos comitês nacionais, este encontro pode ser considerado um marco no estabelecimento da área da Ciência da Conservação, tanto no que se refere à visibilidade dos primeiros laboratórios, quanto no que concerne as discussões de formação do Conservador-restaurador.Palavras Chave: ciência do patrimônio, ciência da conservação, conservação-restauro, epistemologia, formaçãoAbstract: SCIENCE CONSTITUTION OF CONSERVATION AND THE PROJECTION OF HERITAGE SCIENCE. The gradual integration of science into the museum and the strengthening of the collaboration between the conservators-restorers, the conservation scientists, and the curators describe the early history of the Conservation Science and the current launch of the Heritage Science. This paper aims to discuss the First International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art, which took place in Rome 1930. It was held under the auspices of the International Museums Office (1926-1946), of the International Institute of Intellectual Co-operation (1924-1946), and of the Nationals Committees. Also, it must be realised as the landmark in the discussion of the Conservation Science of the Cultural Heritage because of the visibility of the first laboratories, besides of the establishment of the debates about to the conservator-restorer training.Keywords: heritage science, conservation science, conservation-restoration, epistemology, training

scholarly journals From paleontological collections to the Paleontological Museum of Lviv University as an object of historical, cultural and natural values

2021 ◽  
Vol 30 (4) ◽  
pp. 781-793
Author(s):  
Yaryna М. Tuzyak ◽  
Аntonina V. Іvanina ◽  
Halina І. Hotsanyuk ◽  
Іhor V. Shaynoha ◽  
Аndrii Ya. Cherniak
Keyword(s):  
Earth Sciences ◽  
Global Scale ◽  
Theoretical Concept ◽  
Natural Sciences ◽  
The West ◽  
National University ◽  
Western Ukraine ◽  
History Of ◽  
The Creation ◽  
Geological Sciences

The creation of the Paleontological Museum of Lviv University is the implementation of one of many projects of scientists of geologists and paleontologists in the territory of first Eastern Europe, and later modern Western Ukraine. The foundation of the «temple of muses» of geological sciences (natural sciences, Earth sciences) and their component of paleontology in the West of Ukraine is the stage of formation of geological (paleontological) research and the Lviv geological (paleontological-stratigraphic) school at the Lviv University. The beginning and development of natural sciences – geology and paleontology on a global scale became the basis for the creation of the Geological Faculty and the Department of Historical Geology and Paleontology (1945) at the Lviv University, and the Geological/Paleontological Museum acquired importance in the study, collection, conservation, protection, and popularization of Earth Sciences among various segments of the population. The history of the foundation and the development of the Geological/Paleontological Museum of Ivan Franko National University of Lviv is covered. Prerequisites that contributed to the foundation of the Paleontological Museum are given, the scientific and theoretical concept based on it, the directions of research and the results of achievements of each stage are substantiated. The museum place in the «spectrum» of historical, cultural and natural values has been clarified. The scientific research works of different generations of geologists and paleontologists over the 200-year history and their contribution to the development of Earth Sciences were analyzed. Its significance as a cultural and spiritual center for the development of society is highlighted. The description of the activity of the scientific goals of various political systems in which the territories of the West of Ukraine were located and their contribution to the development of the Paleontological Museum is given. The structure and classification of natural objects (fossils, naturals) of museum collections and foundations by purpose and significance have been determined. Modern and further trends in the development of the Paleontological Museum have been clarified. Fundamental, research, educational and informative, cultural, propaganda aspects of the Paleontologic Мuseum are shown.

scholarly journals CHARMED BY THE KARKONOSZE MOUNTAINS: PRZEMYSŁAW WIATER (1958–2020)

Muzealnictwo ◽  
2021 ◽  
Vol 62 ◽  
pp. 68-72
Author(s):  
Bożena Danielska
Keyword(s):  
Young People ◽  
Cultural Heritage ◽  
Gerhart Hauptmann ◽  
Ww Ii ◽  
History Of ◽  
Sudety Mountains ◽  
The Creation ◽  
Historic Monuments ◽  
Lower Silesia

Przemysław Wiater PhD was a historian, art historian, museum curator, and a regionalist. In 1994–2020, he worked as a certified curator at the Carl and Gerhart Hauptmann House in Szklarska Poręba. In February 2020, he became Director of the Karkonosze Museum in Jelenia Góra. Furthermore, in 2008–2017, he ran courses at the Higher School of Management in Legnica. Committed to recovering historic monuments from Lower Silesia, he also served as a councillor for several terms of office in Szklarska Poręba, where he lived. An outstanding regionalist, Wiater focused on investigating the history of Lower Silesia, particularly the Karkonosze and Izera Mountains. He was the first to undertake research into the local tangible and non-tangible cultural heritage, popularizing it in publications describing the history of Szklarska Poręba, Walloon mineral and gem prospectors, old herbalists and laborants, history of glassworks, or the figure and legend of the Spirit of the Mountains. Having discovered the phenomenon of artistic colonies, he popularized it and adapted to harmonize with contemporary times. His idea was to culturally integrate the region basing on historical cultural contents and the heritage imported by post- -WW II settlers. Sharing his knowledge in a popular way, he infected others with his passion, particularly young people to whom he provided support and inspiration. It was at his instigation that the W.E. Peuckert Guild of the Sudety Mountains Guides was formed; member of the Chapter of the Sudety Mountains Walloon Brotherhood, he was also the knight of the informal Society of the Evening Castle, additionally cooperating with the Izery Society. Originator of the Izery Retro Run and the Flannel Rally, he inspired the formation of several tourist routes, such as the ‘Juliusz Naumonowicz Walloon Hiking Trail’, contributing to the creation of the ‘W.E. Peuckert Trail’ and the Polish-Czech ‘Laborants’ Trail’.

scholarly journals Urban interventions, memories and conflicts: black heritage and the revitalization of Rio de Janeiro's Port Zone

2013 ◽  
Vol 10 (1) ◽  
pp. 208-227 ◽  
Author(s):  
Roberta Sampaio Guimarães
Keyword(s):  
Cultural Heritage ◽  
Urban Context ◽  
History Of ◽  
The Creation ◽  
Afro Brazilian

This paper discusses the creation of an arena for political and moral recognition stirred by the "revitalization" of Rio de Janeiro's Port Zone: the landmarking of Pedra do Sal as a "historic and religious Afro-Brazilian monument" by residents who claimed legal ownership of several properties in the area, affirming that it is an "ethnic territory" and the site is "a remnant quilombo community." The Quilombo of Pedra do Sal became one of the most controversial battles for ethnic recognition in Brazil, because it explored possibilities for broadening the constitutional concept of a quilombo. These possibilities would include, the plea for recognition of an ethnic territory in an urban context; the construction of a history of territorial occupation based on mythological narrative; and a territorial demarcation based on a cultural heritage conceived as the remnant symbol of a generic "black city" and, therefore, without presumed heirs.

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