scholarly journals Kazan art exhibitions of the 19th – 20th centuries as sources of formation of the city’s museum collections

2020 ◽  
Vol 5 (3) ◽  
pp. 373-387
Author(s):  
Dina I. Akhmetova ◽  
Keyword(s):  
Fine Arts ◽  
Art Exhibitions ◽  
New School ◽  
State Museum ◽  
The Republic ◽  
Academic School ◽  
First Time ◽  
The City ◽  
Private Collections ◽  
Important Milestone

The creation of an art school in 1895 under the patronage of the Academy of Arts is an important milestone in the life of the Kazan Province center. As a result, Kazan combines various vectors of cultural activities: getting an art education, organizing exhibitions, and uniting the local creative intelligentsia. For the first time, rare but already regular exhibitions are held in the city. Initially, these were exhibitions of the academic school masters of the capital. Later, united by the school, Kazan artists felt up to the task of organizing their own exhibitions. The result of these events is the formation of the school’s museum, as well as the development of the city’s private collections. The City Museum also acquired works of art for its own funds. Artist A. Kandaurov laid the foundation of the school museum and presented two of his paintings in 1896. Afterwards it became a tradition – artists donated their works to the school museum. As a result, in 1902, the school petitioned the Academy “to create a museum and a gallery in the new school building using the stock of the Academy of Arts”. Many of the works purchased at such exhibitions were included in the collection of the Republic of Tatarstan State Museum of Fine Arts. The organization of art exhibitions made Kazan a part of the all-Russian cultural space of those years.

scholarly journals From the Experience the Scientific Library N.I. Lobachevsky of the Kazan Federal University and the State Museum of Fine Arts of the Republic of Tatarstan Cooperation: Joint Projects With the Department of Old Russian Art

2020 ◽  
Vol 23 (5) ◽  
pp. 914-922
Author(s):  
Anna Kalina
Keyword(s):  
Fine Arts ◽  
The State ◽  
Joint Work ◽  
Russian Art ◽  
Old Russian ◽  
State Museum ◽  
Museum Of Fine Arts ◽  
Rare Books ◽  
The Republic ◽  
The City

The article describes the exhibitions prepared by the Department of Old Russian Art of the State Museum of Fine Arts of the Republic of Tatarstan together with the Department of Manuscripts and Rare Books of the Scientific Library N.I. Lobachevsky of the Kazan Federal University in the period from 2013 to 2016. These projects reflect only a small part of the joint work of the State Museum of Fine Arts of the Republic of Tatarstan with the Department of Manuscripts and Rare Books of the Scientific Library N.I. Lobachevsky, all of them became significant events in cultural life of the city and the republic.

Rekonstruktion des Ursprungs und Neudatierung zweier magischer Gemmen mit Hilfe einer Zauberzeichensequenz

2020 ◽  
Vol 147 (2) ◽  
pp. 153-163
Author(s):  
Kirsten Dzwiza
Keyword(s):  
Comparative Study ◽  
Fine Arts ◽  
17Th Century ◽  
The State ◽  
Roman Period ◽  
16Th Century ◽  
New Findings ◽  
State Museum ◽  
Museum Of Fine Arts ◽  
First Time

SummaryThere are only a few sequences of ancient magic signs known to us today that have been preserved on multiple artefacts. A previously unnoticed sequence of 17 signs on a gem in the Museum of Fine Arts in Vienna occurs with minor but significant variations on two other gems in the State Museum of Egyptian Art in Munich. The Viennese gem is dated to the 16th century and is documented as a drawing in a 17th century publication. The first Munich gem has been assigned to the Graeco-Roman period. The second gem, which, according to the inventory card of the museum, also belongs to the Graeco-Roman period, is published here for the first time. A comparative study of the three gems and the drawing has lead to a number of new findings, including the re-dating of the Munich gems.

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.

scholarly journals Book graphics in the creation of the plastic artist Liudmyla Kozhokar

2021 ◽  
Author(s):  
Victoria Rocaciuc ◽  
Keyword(s):  
Fine Arts ◽  
Art Museum ◽  
Art Exhibitions ◽  
Full Member ◽  
Republic Of Moldova ◽  
Illustrated Books ◽  
The Arts ◽  
Publishing Houses ◽  
The Republic ◽  
Children's Stories

The fine arts artist Liudmyla Kozhokar had professional studies in Ukraine: the Arts Studio in Kherson (1975–1978) and the Ukrainian Polygraphic Institute „I. Fyodorov” in Lvov (1978–1983). Since 1984, Liudmyla Kozhokar participates in fine art exhibitions in Chisinau and abroad. Since then, the artist has collaborated with various Moldovan publishing houses, combining publishing with teaching in the field of fine arts. Since 1999 Liudmyla Kozhokar is a full member of the UAP of the Republic of Moldova, and since 2001 – a member of the A.I.A.P. UNESCO, Paris, France. Liudmyla Kozhokar’s works are in the collections of the National Art Museum of Moldova and in private ones in Romania, the Republic of Moldova, France, USA, Iraq, Italy, Germany, Japan, England, etc. The graphic designer illustrated books of different kinds: ABC books, textbooks, children’s stories, encyclopedic literature, etc. Liudmyla Kozhokar perceives each graphic book separately, finding new plastic formulas and stylistic methods, delving into the text and studying it to the last sentence.

scholarly journals “…People Would Seek for Light and Find Joy in Art”: the First World War and Revolution in the Krasnoyarsk Art Life

2019 ◽  
pp. 1035-1047
Author(s):  
Marina V. Moskaljuk ◽  
Lilia R. Stroy
Keyword(s):  
First World War ◽  
World War ◽  
Art Exhibitions ◽  
The First World War ◽  
City Culture ◽  
History Of ◽  
Art Community ◽  
First Time ◽  
The City ◽  
First World

The article is devoted to the art processes that took place in Siberia, Krasnoyarsk, during 1914–1920. The main methodology of scientific study on the creative component of the city during the First World War and Revolution is based on the principles of historicism, objectivity, a systematic approach and unique archival data that allowed reconstructing the history of the art life in the city during the First World War and learning about war prisoner artists who brought the traditions of European art into the Krasnoyarsk creative architectonics. For the first time ever, there was found information not used earlier in the analysis of art processes; the data found incorporated the names of professional masters and amateur artists from Germany, Austria, Hungary, Slovenia, who were in military captivity and worked as designers, organized art exhibitions, taught drawing and interacted with local art community. The authors conclude that the selected directions of the creative process formed the art life of the city during the First World War and Revolution, with the participation of foreign masters not only enriching the city culture, but also helping people survive in one of the most dramatic periods of world history

scholarly journals Jaspar de Isaac’s Engraving “Narcissus”: On the Sources of Konstantin Somov’s Early Art

2020 ◽  
Vol 17 (2) ◽  
pp. 164-172
Author(s):  
Anna E. Zavyalova
Keyword(s):  
18Th Century ◽  
Fine Arts ◽  
17Th Century ◽  
The State ◽  
Contextual Analysis ◽  
French Edition ◽  
State Museum ◽  
First Time ◽  
Artistic Heritage

The article reveals and introduces into scientific circulation the previously unknown artistic source of Konstantin Andreyevich Somov’s early art – Jaspar de Isaac’s engraving “Narcissus”. There is traced the course of work with this one along with other art sources (works of European masters of the 16th—18th centuries depicting hunting scenes, paintings by Antoine Watteau, Jugendstil graphics), revealed the context of reference to it, and analyzed the stylistic features of including this source in Somov’s work on the watercolor “Rest after a Walk”. These tasks are addressed in the context of the role of artistic sources from the heritage of past eras in early works of Konstantin Somov. The topic’s relevance is determined by the fact that Jaspar de Isaac’s engraving “Narcissus”, made at the very beginning of the 17th century for a French edition of the “Imagines” by Philostratus the Elder, for the first time becomes the object of research as a source of Somov’s art. The scientific novelty of the work lies in the fact that for the first time it attempts to identify (basing on a combination of formal and contextual analysis), and to use a source from the artistic heritage of France of the beginning of the 17th century in the work of K. Somov on the themes of the 18th century. The reveal of the source — the engraving “Narcissus” by J. de Isaac — made it possible to reconstruct the artist’s work on the “Rest after a Walk”. The article examines not only the sketch for this work from the collections of the Pushkin State Museum of Fine Arts, but also the drawing “A Date” from the State Tretyakov Gallery. There is stated that it is a preparatory drawing for the watercolor “Rest after a Walk”, basing on the general iconography of the watercolor, sketch and engraving “Narcissus”. The author concludes that Somov’s appeal to the engraving by J. de Isaac was not conscious, it should be attributed to the phenomenon of artistic memory, and his probable acquaintance with it had taken place before the artist left for Paris in the autumn of 1897.

scholarly journals ПРЕЛЮДИИ ДЛЯ ФОРТЕПИАНО КОМПОЗИТОРОВ РЕСПУБЛИКИ МОЛДОВА В РЕПЕРТУАРЕ СТУДЕНТОВ-ПИАНИСТОВ АКАДЕМИИ МУЗЫКИ, ТЕАТРА И ИЗОБРАЗИТЕЛЬНЫХ ИСКУССТВ

2020 ◽  
pp. 281-292
Author(s):  
Инна Хатипова ◽  
Keyword(s):  
20Th Century ◽  
Teaching Practice ◽  
Fine Arts ◽  
Piano Music ◽  
The Other ◽  
Original Music ◽  
Musical Language ◽  
Republic Of Moldova ◽  
The Republic ◽  
First Time

In the present article the author presents a review of piano preludes written by Moldovan composers in the second half of 20th century which are frequently studied at the Academy of Music, Theatre and Fine Arts of the Republic of Moldova. The author seeks to characterize their imagery, musical language means and technical difficulties that can be encountered by young performers. The works analyzed are approved in the author's teaching practice. The preludes were written by Gheorghe Neaga, Vladimir Rotaru, Semion Lungul, Constantin Rusnac, Alexei and Marian Stârcea, Vitaly Sechkin. Some information about these miniatures can be found in research by musicologists E. Kletinich, A. Miroshnikova, E. Gupalova. A detailed analysis from a performer's standpoint presented in the article is made for the first time. The piano pieces indicated above are diverse. The two preludes by A. Stârcea contrast with one another: one has a lyrical character, whereas the other one differs in its drama and flustered character. The piece by Gh. Neaga bears the traces of impressionist music. C. Rusnac’s and V. Rotaru’s creations are composed using Moldovan doina stylistics, and S. Lungul’s lyrical miniature is nationally neutral. In the two preludes by M. Stârcea, modern musical language means are used, and sharp rhythms and dissonant harmonies abound. The article also presents five preludes-pictures by Vitaly Sechkin, a Ukrainian composer who spent his last period of life in Moldova. Inspired by Moldovan vivid landscapes, they differ in their imagery and tempo. Nonetheless, each of the miniatures has its own individual appearance and peculiarities of style. All the works reviewed are distinguished by bright themes and original music language. They represent a substantial enrichment of national piano repertoire and are a striking contribution of autochthonous authors to the development of the prelude genre in the world’s piano music.

scholarly journals Treasures of the Elite of the Bulgharian Ulus of the Gol­den Horde

2021 ◽  
Vol 9 (3) ◽  
pp. 520-546
Author(s):  
Konstantin A. Rudenko ◽  
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Study Results ◽  
Archaeological Materials ◽  
The Republic ◽  
First Time ◽  
Gold Coins ◽  
The Village ◽  
The City ◽  
Made In

Research objectives: To analyze the materials of the most famous hoards of the Golden Horde era found on the territory of the Bulgharian ulus on the basis of a comprehensive analysis. To identify the coincidence of jewelry that they contained. To determine the similarities and differences with other finds from this territory, as well as to identify the possible place of their manufacture and their connection with archaeological sites. Research materials: Preserved jewelry from the Karasham and Juketau hoards. The former was found in 1950 near the village of Karasham in the Zelenodolsk district of the Republic of Tatarstan. The latter was found in 1924 on the outskirts of the city of Chistopol in the Chistopol district of Tatarstan, next to the medieval settlement – the remnants of the Bulgharian city of Juketau which existed from the tenth to early fifteenth centuries. In addition to jewelry, both hoards contained silver and gold coins which made it possible to determine the time when these hoards were buried. The hoard near the village of Karasham was deposited at the beginning of the fifteenth century. The Juketau hoard was deposited in the 1350–70s. Both hoards are not fully preserved. The author carefully studied jewelry from the hoards that are now stored in the National Museum of the Republic of Tatarstan, as well as in the State Hermitage. Items from other hoards of this time found in the territory of Tatarstan, as well as published materials from private collections, are also involved in the study. Results and novelty of the research: The author investigated, for the first time ever, the surviving part of the Karasham hoard, including jewelry that was not considered in the studies of other scholars. A comparative analysis of the jewelry was carried out. To find out the distribution of such jewelry, a search was made for analogies and similar jewelry that was found in other hoards as well as among the archaeological materials from settlements of the Golden Horde era. It was found that the most significant part of the Karasham hoard’s jewelry was made in the jewelry workshops of the city of Bolghar, and partly by the jewelers from other craft centers in the Golden Horde. It should be noted that jewelry was made in both gold and silver in Bolghar. The most popular products were bracelets with images of the lion’s muzzle on the ends of objects, as well as bracelets with stylized images made using niello. Such bracelets were found both in the hoard from Karasham and from Juketau. The existence of jewelry workshops in Bolghar is also confirmed by archaeological excavations. In the second half of twentieth and at the beginning of the twenty-first centuries, archaeologists found several jewelry workshops in the central part of the city dated to the fourteenth century. Crucibles, jewelry tools, and more than hundred foundry molds were discovered here. The author assumes that a famous jeweler from Bolghar named Shagidulla worked here at the beginning of fourteenth century. It was also found that the hoard from Karasham was most likely collected by several generations of the same family. In contrast, the hoard from Juketau was a personal treasure.

Probabilistic estimation of reliability values for frame buildings based on the results of certification taking into account tectonic faults

2021 ◽  
pp. 49-60
Author(s):  
Vladimir A. Lapin ◽  
Yerkin S. Aldakhov ◽  
Serik D. Aldakhov ◽  
Alimzhan Ali
Keyword(s):  
Housing Stock ◽  
Experimental Studies ◽  
Probabilistic Estimation ◽  
Tectonic Faults ◽  
Earthquake Resistant ◽  
Frame Buildings ◽  
The Republic ◽  
First Time ◽  
The City ◽  
Practical Recommendations

With budget funding for two years in 2017-2018, the total certification of the housing stock of multi-apartment buildings was carried out for the first time. A total of 8,171 buildings were entered into the database, of which 1,847 are multi-storey frame buildings of various storeys and design solutions. It is established that 1628 frame buildings are earthquake-resistant, 59-buildings with the first flexible floor are non-earthquake-resistant and 160-are located in the zone of tectonic faults on the territory of the city. The hypothesis is accepted that buildings located in the zone of tectonic faults will be destroyed. Under these conditions, quantitative estimates of the failure probability and reliability values for frame buildings of various types were obtained for the first time. The frequency of earthquakes is taken into account according to the current "Map of seismic zoning of the Republic of Kazakhstan". The results of the reliability and failure estimates are used for practical recommendations to reduce the risk and expected losses in possible earthquakes. Total reinforcement of frame buildings with the first flexible floors (59 buildings) is proposed. However, the conditional probability of failure for a group of residential frame buildings will remain nonzero. The method of amplification should be determined based on the results of experimental studies.

scholarly journals New records of Heterocera (Insecta, Lepidoptera) from the Republic of Khakassia and South of Krasnoyarsk region (South Siberia, Russia)

2019 ◽  
Vol 5 (4) ◽  
pp. 12-20
Author(s):  
R. E. Maksimov ◽  
M. A. Ivanov ◽  
S. A. Knyazev
Keyword(s):  
New Records ◽  
Personal Data ◽  
Steppe Zone ◽  
Krasnoyarsk Region ◽  
Private Collection ◽  
South Siberia ◽  
The Republic ◽  
First Time ◽  
Private Collections ◽  
Great Share

Here we presented the new data and new records of Lepidoptera (Crambidae, Cossidae, Lasiocampidae, Drepanidae, Geometridae, Notodontidae, Noctuidae s.l., Arctiidae) from the Khakassia Republic and the South of Krasnoyarsk region. A total of 147 species are reported for the fauna of both regions for the first time, based on the literature records and personal data collected in 1999−2019. We collected the moths in Khakassia and South of Krasnoyarsk region in more than 40 localities, from the steppe zone to the alpine area of the West Sayan, the Kuznetsky Alatau, and foothills of East Sayan Mountains. Specimens were collected in the daylight by standard methods using butterfly net and in the night, using mercury lamp Sylvania (250W) and inverter generator (1000W). All collected materials preserved in private collections of R.E. Maksimov in Abakan (RMA), M.A. Ivanov in Krasnoyarsk (MIK), and in private collection of S.A. Knyazev in Omsk (SKO). The presence of several species have been considered doubtful before our study. We suggested that the regional list of Heterocera of Khakassia and South of the Krasnoyarsk region should be considerably revised. The great share of the specimens mentioned in this article is presented on the websiite “The Nature of South Siberia” (www.ermak24.com/animalia-insecta.html/).

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