HISTORICAL AND CULTURAL IMPORTANCE OF GRAVESTONES OF THE JEWISH CEMETERY OF GLUKHOV TOWN

2019 ◽  
pp. 135-141
Author(s):  
Vera Nazarova

In 2018 the author of this article carried out field works at the Jewish cemetery of Glukhov town which consisted of searching of the remained gravestones, including basis fragments and also the whole monuments or their parts which went deeply to the ground and grassed. Cleaning and photofixing of all found objects were made. On the basis of these field works, the author of the article revealed 1040 objects that are in varying degrees of preservation. From them 438 objects are completely preserved gravestoness, which are among the historical burials and date from the beginning of the XIX century - 1930 year. Based on a number of works on the history of Glukhov town and the local Jewish community, as well as Jewish necropolis, ethnography, linguistics and epigraphy, the author of the article conducted (based on general scientific methods and a special method - identification) a comprehensive study of the Jewish cemetery of Glukhov and its gravestones as objects of cultural heritage. The purpose of this publication is to present the results of this research. Absolutely all these monuments of Glukhow Jewish cemetery can serve as a source of genealogical information and are of interest to genealogical researchers and descendants searching for the graves of their ancestors, and also, due to their concentration, can serve as invaluable material for various studies in the field of necropolis, socio-demographic and sanitary - municipal history. At the same time, the epitaphs of the surviving ancient Jewish gravstones are the specific literary phenomenon, occupying an intermediate position between traditional rabbinic and folk literature and culture. During this research, 2 monuments which epitaphs have literary value were revealed. These are the gravestones of the Jewish writer, publicist and the teacher Lazar Davidovich Tsveyfel and the merchant of the 2nd guild, the public official of Glukhov City Council, the juror of Glukhov district Zalman Ariev Esmansky. In addition, the gravestone inscriptions of these monuments have value in terms of the totality of the personalities of the deceased and the epitaphs on their gravestones. The carved decor of the gravestones of Glukhov Jewish cemetery is an example of original folk decorative and applied art, it has a peculiar style, figurative language and has artistic value. Of the total number of tombstones of Glukhov Jewish cemetery, 46 steles have ornaments that are distinguished by a complex, time-consuming development of carving and artistic taste.These monuments are of interest for various art criticism studies and have significance as exhibits demonstrating the most interesting elements of the art of decorative carving of gravestones, its connection with the culture and religion of the Jewish people and the influence of local factors on this type of decorative and applied art. As a historical source, the gravestones of Glukhov Jewish cemetery are confirmed by the well-known historical events of that time - the Jewish riots in Glukhov and the influx of refugees in the period 1914-1916. Of particular interest for researches are data on a concrete personnel. At the Jewish cemetery of Glukhov town, many prominent personalities who made a great contribution to the culture, economy and other spheres of the town’s life are buried. Among them are the Jewish writer, publicist and teacher Lazar Davidovich Tsveyfel, Abram Isaakovich Rusakov - the grandfather of the outstanding Soviet painter and graphic artist Alexander Isaakovich Rusakov and many others.At the time of the end of this research, at least 30 gravestones, due to the historical and cultural significance of the persons buried under them, are of interest to researchers of regional history and can be used for various genealogical, local history and historical studies, as well as in the development and conduct of lecture and sexursion programs on the Jewish places of Glukhov town and specifically on the Jewish cemetery. From the total number of surviving ancient gravestones, a group of monuments which are of interest were identified by one or by a set of criteria. Three types of criteria were taken into account: the value of an epitaph as a historical source or literary phenomenon; art value of carved decor; historical or cultural significance of buried. According to the results of the study, 76 gravestones were included in this group. The article provides a list of gravestones that can be fully considered as objects of cultural heritage and should take the appropriate place in the memorial protection activities of Ukraine.

2021 ◽  
Vol 66 (05) ◽  
pp. 154-159
Author(s):  
Asiya Xasay qızı Osmanova ◽  

The people of Azerbaijan have created a rich and different culture, an important part of which is decorative and applied art. It can be said that the growing interest of young creative people in batik over time is the greatest support for the preservation of our national customs and traditions. Continuing the traditions of this art in their future activities is an indication that Azerbaijani national art and batik will always be in the center of attention. Considering that the art of kalagai is a UNESCO non-profit organization under the title "Traditional kalagai art and symbolism, preparation and use of women's silk headdresses". The Representative List of Intangible Cultural Heritage was included in the 9th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage in Paris on November 24-28, 2014, and therefore in modern times batik and kalagai are already of interest to local scholars as well as foreign scholars. was. As we know, the breadth of opportunities created by art in the modern era, many artists express their individual style in different ways. Among such artists there are currently working batik masters. Key words: Batik, kalagai, modernity, tradition, plot, composition, color


Author(s):  
Gabriele Rossi ◽  
Valentina Castagnolo

The object of this study is a group of architectural perspectives painted on the domes and walls of noble palaces in Apulia, in particular that the baronial palace in Botrugno, the Broquier palace in Trani, and the Manes palace in Bisceglie. The perspectives belong to the “Quadratura” genre that developed in Italy and Europe in the Baroque period, but the architectural solutions represented are specific of the Apulian regional context, of Neapolitan derivation, rather than linked to the noble models of the Emilian and Roman master experiences. These architectural perspectives can be considered belonging to that “immaterial cultural heritage,” as defined by the UNESCO Convention for the Protection of the Intangible Cultural Heritage of 2003, if we consider the cultural significance of these painting representations—as previously mentioned—for their relationship with the 16th-17th century painting season of “Quadratura,” for the massive production of treatises on perspective, as well as for the Baroque experiences and for the tradition in the use of “Festa” ephemeral architectures.


This chapter aims to discuss the dialectic relationship between interior environments of heritage buildings and users and the importance of preserving interior elements as communicators of cultural significance. Today the conservation practice and reuse proposals focus on preserving the architectural envelope of buildings rather than interior aspects. Conversely, interiors need specific safeguard and care, not only due to their cultural significance but also because they are the part most closely connected to the real life of users. In the perspective of cultural conservation, existing buildings represent the continuity of cultural values from the past to the future, and at this point, interior architecture is crucial as it provides an authentic interaction between users and spaces conveying all these values. Therefore, the conservation of interior envelope and interior elements rises as a very important issue to be discussed, affecting the occupant's well-being in a very subjective and sometimes unconscious way (considering the cultural belonging).


Author(s):  
Jonathan Sweet ◽  
Fengqi Qian

Government, tourism developers, and communities appreciate the cultural significance of historic sites from varied viewpoints. This chapter aims to provide an effective lens through which to view the development trajectory of China’s cultural heritage tourism. A central thread is the relationship between cultural heritage tourism and the shaping of the public view of history, examined using the case study of Chengde, a World Heritage Site in China. The study provides insight into the contested use of the space by different parties through analysis of Chengde’s symbolic value in promoting ethnic diversity and enhancing national unity. Although the focus on the site’s cultural significance has resulted in a variety of public programs, interpretation of the site reflects values consistent with government objectives and commercial interests. The ability of the site to incorporate multiple perspectives in heritage interpretation is limited by underdeveloped community consultation and participation in the heritage management process.


2017 ◽  
Vol 54 (6) ◽  
pp. 691-710 ◽  
Author(s):  
Craig Owen ◽  
Nicola De Martini Ugolotti

Capoeira is an Afro-Brazilian bodily discipline that has now become a global phenomenon. In 2014 the cultural significance of capoeira was recognized on the world stage when it was awarded the special protected status of an ‘Intangible Cultural Heritage of Humanity’ by the United Nations Educational, Scientific and Cultural Organisation. In the application to this organisation, and in wider advertising material and practitioner literature, capoeira is celebrated as a practice that promotes social cohesion, inclusivity, integration, racial equality and resistance to all forms of oppression. This paper seeks to problematize this inclusive discourse, exploring the extent to which it is both supported and contradicted in the gendered discourses and practices of specific capoeira groups in Europe. Drawing upon ethnographic data, produced through two sets of ethnographic research and the researchers’ 24 years of combined experience as capoeira players, this paper documents the complex and contradictory contexts in which discourses and practices of gender inclusivity are at once promoted and undermined.


The research is devoted to the revival of ancient technologies with the combination of needle and bobbin lace in works of applied art. The article reveals the relevance of regional-historical, cultural, artistic and creative approaches to research in the field of embroidery and lace-making. In the course of the research, modern empirical and comparative methods were applied, as well as historical and cultural approaches to the study of the issue. The authors used unique and rare materials of Russian researchers in the field of material cultural heritage preservation. The results of the research can be applied in the course of studying the issue of the historical and cultural heritage of Russian creativity. Keywords: lace, museum, research, historical heritage, ancient technologies, recreation


2021 ◽  
Author(s):  
◽  
Rachel Murray

<p>This thesis addresses the rapid environmental degradation and socioeconomic decline to which many of New Zealand's lowland regions have succumbed. In the last 150 years, it is estimated that 90% of the country’s indigenous wetlands and swamp forests have been drained and converted to farming pastures and low-density urban sprawl. This thesis critiques existing settlement patterns, investigating innovative urban forms that work dually to reactivate the wetland environments while increasing population density to levels required for public systems to function sustainably and vitally.  These objectives are explored using design-led research, investigating a site-specific scenario in Kāpiti, Wellington region. The design project identifies a squared-off suburban conservation wetland, transforming it into a new Wetland Square: a civic heart of the region’s natural and cultural heritage with reference to the town square urban type. A Market Pier extends from the urban edge of the town square towards the central lagoon. This architectural intervention connects the new urban centre with the wider agricultural activity of Kāpiti while reinstating the historic functions and cultural significance of the wetlands which indigenous Māori historically navigated by canoe in search of food and resources.   The research rethinks land conservation practice in New Zealand’s settled regional landscapes. It advocates that conservation efforts should expand beyond current land protection measures to also consider conserving the historic relationship between early settlers and natural systems. The thesis stresses architecture’s responsibility to reconcile urban and ecological systems, with emphasis on celebrating the rich social and cultural heritage associated with New Zealand’s natural heritage to ensure environmental and community resilience in the regional landscape.</p>


2020 ◽  
Vol 14 (1) ◽  
pp. 183-195
Author(s):  
Breno Albuquerque B. Borges

AbstractThe wide railway universe, with its particular and peculiar characteristics, requires the implementation of criteria to improve the identification and conservation of cultural goods. Recently concepts of authenticity, integrity and cultural significance have been identified as fundamental in the selection of the cultural heritage of humanity. Although we find these concepts being analyzed in theory as independents, through a theoretical-methodological reflection, this PhD research argues that, in practice, they are interconnected, and therefore should be approached together. Following the contemporary theory of conservation, my doctoral research aims at contributing to the conservation of railways’ heritage using this new approach, by proposing new indicators as assessment tools so that conservation institutions will be able to identify railway goods as cultural heritage. The research uses the Railway Complex of Barreiro, in Portugal, as a case study.


Author(s):  
S. Batyreva

Изучение культурного наследия в собраниях музеев призвано зафиксировать в описании художественные традиции народов России. В условиях глобализации, в усиливающемся процессе исчезновения наследия немногочисленных этносов приходит понимание необходимости его сохранения с целью дальнейшего исследования. Российская культура не может быть полноценно изучена вне ее локальных явлений, целенаправленно вводимых в научный оборот. В междисциплинарном музееведческом подходе, сочетающем методы искусствознания, истории и этнокультурологии, анализируется декоративно-прикладное искусство тюрко-монгольских кочевников из музейных собраний Калмыкии, Санкт-Петербурга и Тувы. Экспонаты войлоковаляния, рассматриваемые через призму традиций технической и художественной обработки шерсти, дают возможность выявить архетипы сознания в построении орнаментальной композиции изделий. В декоре войлока, древнейшего материала, созданного в кочевом укладе животноводческого хозяйства, отражены особенности пространственного мировидения номадов. Статья подготовлена при финансовой поддержке РФФИ, проект 19-512-44002 Народное декоративно-прикладное искусство ойратов Монголии и калмыков России: общее и особенное в сравнительно-сопоставительном анализе.The study of cultural heritage in Museum collections is intended to record the artistic traditions of the peoples of Russia in the description. In the context of globalization, in the increasing process of disappearance of minor groups heritage we come to understanding the need to preserve it for further research. Russian culture cannot be fully examined without its local phenomena, which are purposefully involved into scientific circulation. In an interdisciplinary Museum approach that combines the methods of art history, history, and ethnoculturology. The article analyzes the decorative- applied art of the TurkicMongolian nomads from the Museum collections of Kalmykia, St. Petersburg, and Tuva. Felting exhibits, viewed through the prism of traditions of technical and artistic processing of wool, make it possible to identify archetypes of consciousness in the construction of ornamental composition of products. The decor of felt, the oldest material created in the nomadic way of animal husbandry, reflects the features of the spatial worldview of nomads. The article is prepared with the financial support of the RFBR, project No. 19-512-44002 Folk decorative-applied art of the Oirats of Mongolia and the Kalmyks of Russia: The general and the special in comparative analysis.


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