Items of jewelry art of pre- Mongolian Russia in the collections of Russian museums

2016 ◽  
Vol 10 (4) ◽  
pp. 122-131
Author(s):  
Зоя Макаренко ◽  
Zoya Makarenko ◽  
Юлия Жилкова ◽  
Yuliya Zhilkova ◽  
Марина Бережная ◽  
...  
Keyword(s):  
General Public ◽  
Russian Empire ◽  
Public And Private ◽  
State Museum ◽  
Private Museums ◽  
Historical Commissions ◽  
Museums And Collections ◽  
The Russian Empire ◽  
Private Collections ◽  
Public Museum

The article deals with the question of exhibiting of jewelry art items of pre-Mongolian Russia in Russian museums. Public and private museums that were opening in the Russian Empire contributed to preservation of the cultural heritage of the country. When they were emerging, many private collectors donated part or all of their collections to state. This was especially promoted by opening of the Historical Museum in 1883 for the general public. Exhibits of public museum were replenished by the collections of Uvarovs, Kropotkins, Shcherbatovs, Golitsyns. The fate of collection of the outstanding collector M. Botkin is noteworthy. Masterpieces of jewelry art of ancient Russia may be exhibited in only a few museums in the country, including two sites in the Moscow Kremlin, which show such kind of items. Collection "Russian gold and silverware of beginning of XII-XVII centuries" is located in the exposition hall 1 of Armory Chamber. The glass case 2 presents gold and silver items, made by goldsmiths of Kiev, Chernigov, Ryazan, Suzdal, Novgorod. Museum affair after the October Revolution in the country was significantly reformed. Museums and collections of the palaces were declared as the national property. For registration, accounting and secure of all artistic and cultural treasures, the artistic and historical commissions and the State Museum Fund were created. Majority private collections were nationalized. Russian Museum, located in the Mikhailovsky Palace in Sankt Petersburg has one of the largest collections of pre-Mongolian Russian treasures and individual items of jewelry art of X-XIII centuries. Thousands of works of jewelry art of ancient Russia are collected in the expositions and funds of Russian museums. Today collections of not only central but also local museums are multiplied, facilities and exhibitions are quality improving.

scholarly journals V. M. Ploshchansky — researcher of the history of Galician Rus and Kholm Rus (a review of unpublished materials from the manuscript collection of the researcher in Vilnius)

2021 ◽  
pp. 386-406
Author(s):  
Yuriy A. Labyntsev ◽  
Keyword(s):  
Public Library ◽  
Russian Empire ◽  
Public And Private ◽  
Handwritten Documents ◽  
Long Time ◽  
History Of ◽  
The Russian Empire ◽  
Xix Century ◽  
Political Persecution ◽  
Private Collections

The article provides a general overview of the extensive manuscript heritage of one of the most prominent figures of Eastern Galicia who migrated to the Russian Empire in the XIX century — Venedikt Mikhailovich Ploshchansky (1834–1902). After being forced to leave Lviv with his family in fear of political persecution, in the spring of 1888 he became a member of the Vilna Commission for the Analysis and Publication of Ancient Acts. Here, in Vilna, he spent the last 14 years of his life, actively working, among other things, on the basis of the sources that he had collected on the territory of the Austro-Hungarian Empire. All these numerous materials, as well as the personal archive of the researcher, were apportioned after his death by a number of indigenous repositories. The main part of them immediately end up in the Vilna Public Library, although in scattered form. For a very long time, starting from the 1970s, we have been searching and analyzing the handwritten documents collected and compiled by V. M. Ploshchansky, including extensive handwritten notes and additions left by the researcher on the pages of books from his library, which appeared in various public and private collections.

scholarly journals The Interaction of the State Museum Fund and Museums of the Tatar ASSR in the 1920s

2018 ◽  
Vol 15 (6) ◽  
pp. 754-763 ◽  
Author(s):  
Natalia V. Gerasimova
Keyword(s):  
Fine Arts ◽  
The State ◽  
Public And Private ◽  
Art Collections ◽  
Art Collection ◽  
State Museum ◽  
Scientific Principles ◽  
History Of ◽  
Private Museums ◽  
First Time

The article is devoted to one of the Soviet State’s policy directions at the first stage of its existence, aimed at the preservation of cultural va­lues and the formation of museum art collections. The poorly studied question about the features of this policy implementation is revealed on the example of the TASSR (Kazan Province — before May 1920), where in the 1920s a whole network of museums was created; almost in each of them, an art department was organized. The appeal to this topic is relevant in connection with the opening of a large number of public and private museums, which face similar challenges, as well as the active scientific activities of museums to study their own collections, in the framework of creation of the State Catalogue of the Museum Fund of the Russian Federation. For the first time, the article introduces into scientific circulation a number of sources, on the basis of which the main directions of this activity, as well as the museums’ art collections themselves, are analyzed. In the TASSR, the interaction with the State Museum Fund (SMF) was carried out by the Department for Museums and Protection of Monuments of Art, Anti­quities and Nature, employees of which (P.M. Dulsky and P.E. Kornilov) were engaged not only in organization of the artworks’ transferring to museums, but also in their selection. The article states that, thanks to the SMF, the Central Museum of the TASSR had the most complete and valuable art collection, and an interesting collection was formed in the Kozmodemyansky District Museum, which was part of the Kazan Province until 1920. This study shows that the SMF was an important and effective mechanism for the implementation of state policy in the field of culture: its activities contributed to the creation of provincial museums’ collections, based on scientific principles and aimed at presenting the history of fine arts development.

“State”, “public” and “private” in the practice of financial support of migrants during the First World War

2021 ◽  
pp. 203-209
Author(s):  
Elena V. Nikolaeva
Keyword(s):  
Financial Support ◽  
Russian Empire ◽  
First World War ◽  
World War ◽  
Public And Private ◽  
Government Aid ◽  
The First World War ◽  
The Government ◽  
The Russian Empire ◽  
First World

We address one of the episodes of the First World War revealing the problem of financial support of the residents of frontline territories who found themselves in the inner governorates of the Russian Empire due to their voluntary flight. The refugee wave was heterogeneous, it included different categories of migrants, which led to the fact that the government aid was often distributed in an uneven manner. It caused the desire on the part of some refugees to derive maxi-mum value from the grants provided under equal conditions established by law. Additional oppor-tunities for such actions were created by a large number of organizations that provided assistance to people who had left their homes and an overlap of their functions. It resulted in the emergence of numerous conflicts and the search for compromises in the context of uneven state support, which in its turn generated discontent and disbelief in the justice of the existing measures.

scholarly journals Who was collecting Hebrew books in the capital of Russian Empire and why

2021 ◽  
Vol 18 (1) ◽  
pp. 74-83
Author(s):  
Shimon M. Iakerson
Keyword(s):  
20Th Century ◽  
Russian Empire ◽  
Printed Books ◽  
History Of ◽  
The Subject ◽  
The Russian Empire ◽  
Biblical Scholar ◽  
Private Collections

By the beginning of the 20th century a unique collection of Hebrew manuscripts (more than 20000 units) and first printed books was formed in the capital of the Russian Empire. These books ended up in St.Petersburg as part of several private collections, such as the collection of a Protestant paleographer and Biblical scholar Konstantin von Tischendorf, of the Karaite leader Avraam Firkovich, of the Archimandrite Antonin Kapustin, of the Barons Gnzburg, of a First Guild merchant Moses Aryeh Leib Friedland and of an Orientalist Professor Daniel Chwolson. The history of these collections and the motives of the collecting activity of their owners are the subject of this article.

scholarly journals Shihabaddin Mardjani and the Muslim Archive in Russia

Islamology ◽  
2019 ◽  
Vol 9 (1-2) ◽  
pp. 138
Author(s):  
Alfrid Bustanov
Keyword(s):  
Russian Empire ◽  
Production Of Knowledge ◽  
The Past ◽  
Islamic Tradition ◽  
The Russian Empire ◽  
In Fire ◽  
Private Collections ◽  
Muslim Scholars

Shihabaddin Mardjani (1818-1889) was one of the first Muslim scholars in the Russian empire to approach conceptually the challenge of Russian imperial scholarship (Kemper, 1998, pp. 462-465). Despite his readiness to speak to audiences beyond the circles of Muslim elites (for example, by participating in the scholarly proceedings at Kazan University), Mardjani largely remained in the confines of Islamic tradition with its specific approaches to the production of knowledge. As the library of Mardjani either have been lost in fire or dispersed in many private collections, his works in the manuscript and published form remain the main source of analysis for historians of today. Still, there are documents from the personal archive of Mardjani that allow us to judge about the nature of his approach to remnants of the past, i.e. his view on the Muslim concept of legacy.

scholarly journals Akaki Tsereteli’s unknown letter about repressions of year 1906

enadakultura ◽  
2021 ◽  
Author(s):  
Nana Pruidze
Keyword(s):  
Russian Empire ◽  
Revolutionary Movement ◽  
Interesting Observation ◽  
National Autonomy ◽  
Reasonable Suspicion ◽  
Revolutionary Movements ◽  
The Government ◽  
The Russian Empire ◽  
The One ◽  
Private Collections

Part of Akaki Tsereteli’s creative legacy is still spread in different foundations or private collections. Difficulty about finding these writings is that some documents in various binders do not have description. Currently foundations are intensively being studied in order to create digital catalogues and whenever this process is finished, many interesting documents will be displayed. “Burning down Imereti during movement” is one of Akaki’s public letters which remained unknown until today. It will be published after 115 years in corresponding value of the writer's new academic publication of his works. Manuscript is being held at Kutaisi’s historic museum.“Burning down Imereti during movement” is about revolutionary movements and its echoes in Georgia, which took place in the years 1905-1907. On the one hand it is a bold protest against King’s cruel policy; Also, the article contains Akaki Tsereteli’s especially significant observations and thoughts about ongoing political processes.In the first paragraph of the article there is a very interesting observation of the author. According to his words, the Russian empire from the very beginning intended absolute occupation and annexation of Georgia. According to that, the friendly condition which led King Irakli of Kartli-Kakheti to let Russians in our country without war and blood, was definitely going to break. Akaki thought that everything that was done by Russian governance in our country, was provocative and its goal was to drag Georgian people into armed conflict.Events occurred in 1905 led to logical conclusions. Georgian nobles decided to officially demand national autonomy. On their emergency gathering they created an appropriate document and presented it to the emperor. Surely, the empire would not let Georgia restore their autonomy. They needed a reason to finally destroy us and the reason found out to be that revolutionary movement which was widespread not only in Russia, but also its subordinate countries including Georgia.According to Akaki Tsereteli, a significant part of society was against Georgia’s partaking in revolt from the beginning. They had reasonable suspicion that if the revolutionary movement would be defeated, this would totally change the perspective of Georgian-Russian relationship. Unfortunately, following events proved the correctness of this assumption - Georgians were pled guilty for separatism and it led to very brutal repressions. The events that occurred in Georgia were outrageous for Akaki. That is why he makes fun of Russia in his article and boldly declares that the decision of the government - campaigning against unarmed and helpless people, is worthless and unseemly.

scholarly journals The Transcendental Subaltern

2020 ◽  
Vol 5 (3) ◽  
pp. 354-371
Author(s):  
Byron Taylor
Keyword(s):  
Immanuel Kant ◽  
Russian Empire ◽  
Historical Records ◽  
Public And Private ◽  
The Public ◽  
The Enlightenment ◽  
The Russian Empire ◽  
Gayatri Chakravorty Spivak ◽  
The Way

Abstract Was Immanuel Kant Russian? More striking than the fact itself is the length of time it was overlooked: following historian Alexander Etkind’s research on the topic, this paper details Königsberg’s occupation by the Russian Empire, considering the possibilities of reinstating Kant’s thought in the postcolonial tradition, more specifically that of the subaltern (as framed by Gayatri Chakravorty Spivak). Taking this colonial context into account via a range of historical records and correspondences, I argue for a postcolonial reinterpretation and re-evaluation of the philosopher’s work, beginning with his famous essay on the topic of enlightenment. In what ways does this pertain to the enlightenment, as Kant sees it, and the way he distinguishes between the public and private spheres? Furthermore, how does Spivak’s reading of Kant overlook the subaltern status that she herself defines?

scholarly journals The role of patronage in popularizing the work of Stanislav Zhukovsky

2021 ◽  
Vol IX(254) (46) ◽  
pp. 18-21
Author(s):  
A. Zadoia ◽  
I. Syzonenko
Keyword(s):  
Russian Empire ◽  
Cultural Phenomenon ◽  
The Will ◽  
The Russian Empire ◽  
Private Collections

The article is devoted to the study of the peculiarities of patronage as a socio-cultural phenomenon, the forms of its manifestation in Russia at the end of the 19th and the beginning of the 20th centuries, as well as the influence on the formation of the creative fate of a particular person - the Polish artist Stanislav Yulianovich Zhukovsky (1873-1944), who, by the will of historical destinies, in the period under review lived on the territory of the Russian Empire in Moscow. The role of individual patrons of art in supporting the artist through the acquisition of his paintings is analyzed. The fate of individual works of the artist, which have survived to this day thanks to the private collections of Russian patrons of art, has been investigated.

Sign in / Sign up

Export Citation Format

Share Document