scholarly journals Artifacts from Panticapaeum decorated in the Scythian animal style (on the problem of the Greek Scythian in teractions)

2019 ◽  
Author(s):  
А.Р. Канторович ◽  
В.П. Толстиков ◽  
М.В. Шкурова
Keyword(s):  
Fine Arts ◽  
Eastern European ◽  
State Museum ◽  
Museum Of Fine Arts ◽  
Initial Zone ◽  
First Time

В последние годы впервые, благодаря исследованиям Боспорской (Пантикапейской) археологической экспедиции ГМИИ им. А. С. Пушкина, в исходной зоне акрополя Пантикапея были найдены предметы, оформленные в скифском зверином стиле (это преимущественно элементы конского снаряжения). В статье публикуются данные изделия, изображения на которых анализируются в контексте общей систематики и хронологии восточноевропейского скифского звериного стиля. Все они датируются в пределах конца VI перв. пол. V в. до н. э. Это время начала интенсивных скифо греческих контактов в Северном Причерноморье, однако конкретно для изначальной территории Пантикапея таких безусловных свидетельств взаимопроникновения древнегреческой и скифской культур ранее практически не наблюдалось. Характер и глубина данного взаимодействия должны стать предметом изучения в будущем. In recent years, for the first time, due to the researches of the Bosporus (Panticapean) archaeological expedition of the Pushkin State Museum of Fine Arts, in the initial zone of the Panticapaeum Acropolis some objects decorated in the Scythian animal style (mainly elements of horse equipment) were found. The article represents these products analyzed in the context of the general systematics and chronology of images of the Eastern European Scythian animal style. They all date to within the late 6th first half of 5th century BC. This is the starting period of intensive Scythian Greek contact in the Northern Pontic, but specifically for the original site of Panticapaeum such absolute evidence of the interpenetration of Greek and Scythian cultures had not been previously observed in practice. The essence and depth of this interaction should be studied in future.

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.

Checking library collection enables to analyze its composition as exemplified by the Pushkin State Museum of Fine Arts Research Library

2020 ◽  
Author(s):  
Olga Parkhomenko ◽  
Keyword(s):  
Fine Arts ◽  
Research Library ◽  
Museum Collection ◽  
Library Collection ◽  
State Museum ◽  
Book Collections ◽  
Museum Of Fine Arts

The Library of the Pushkin State Museum of Fine Arts is rich in rare and unique publications, and those of memorial value. The collection checking envisages visual revision and analysis of every book, and during this process the specialists revealed a number of valuable publications for further research. Also all registered publication went through the stage of initial collection specification (e.g., Rumyantsev museum collection, collection of the New Western Arts Museum, memorial libraries, etc). Currently, this information has been being entered into the e-catalog. This will enable to verify special arrays within the Research Library’s collection and simplify investigations into historical and memorial book collections and individual valuable publications.

Examination of Condition of Historical Transparent Structures of the Pushkin State Museum of Fine Arts

2020 ◽  
pp. 63-69 ◽  
Author(s):  
Alexander V. Spiridonov ◽  
Nina P. Umnyakova ◽  
Boris L. Valkin
Keyword(s):  
Cultural Heritage ◽  
Fine Arts ◽  
Comprehensive Examination ◽  
State Museum ◽  
Museum Of Fine Arts

The article describes the results of the second part of examination related to transparent structures of the Pushkin State Museum of Fine Arts: the lantern lights. The structures are cultural heritage of federal importance and are subject to state preservation. Based on the results of comprehensive examination, the conclusions were made that these structures are in unsatisfactory condition and materials were prepared for development of recommendations concerning their restoration.

HARPOCRATES WITH ROYAL ATTRIBUTES AND HARPOCRATES-EROS: EGYPTIAN TERRACOTTA FIGURINES FROM THE COLLECTION OF THE PUSHKIN STATE MUSEUM OF FINE ARTS, MOSCOW

2020 ◽  
pp. 55-69
Author(s):  
Svetlana E. Malykh ◽  
◽  
Olga A. Vasilyeva ◽  
Keyword(s):  
Fine Arts ◽  
Wide Spread ◽  
Royal Power ◽  
Bronze Sculpture ◽  
Double Crown ◽  
State Museum ◽  
Roman Egypt ◽  
Terracotta Figurines ◽  
Museum Of Fine Arts

This article introduces five terracotta figurines acquired in Egypt by Vladimir S. Golenishchev and N. G. Ter-Mikaelyan and currently preserved at the Pushkin State Museum of Fine Arts. Three statuettes depict the child god Harpocrates with the attributes of royal power; two figurines demonstrate the identification of Harpocrates with the Greek god Eros. Most of the objects can be dated mainly to the Roman times, one is to be dated to the late Ptolemaic period. The places of finding or manufacturing of figurines are mostly unknown; however, according to a number of specific features, these could be towns of the Fayum Oasis, the Delta, and in one case — probably, Edfu. Terracotta figurines of Harpocrates with royal regalia are rare, especially in comparison with the wide-spread occurrence of terracottaе with Harpocrates holding a pot or cornucopia; all these data bring his functions as patron of fertility and defender of health to the fore. The presence of royal attributes seems to be a kind of secondary, partly decorative elements that only enhance the most popular aspects of terracotta images of Harpocrates. The type of figurines depicting Harpocrates sitting on a throne with the crown of the god Amun reproduces the iconography of small bronze sculpture. In other types of terracotta the royal attributes most frequently found are the double crown and — rarely — a nemes-headdress; the crown is usually surrounded by lotus buds, a favorite motive of Harpocrates’ iconography. The childish image of Harpocrates in the time of interaction between Eastern and Western cultures led to a natural synthesis of images of the child gods of Egyptian and Graeco-Roman worlds — Harpocrates and Eros. Apparently, such terracottaе, which had more Hellenistic than Egyptian features, were in demand by the population of different towns in Ptolemaic and Roman Egypt.

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.

Vexillum and Victory

1942 ◽  
Vol 32 (1-2) ◽  
pp. 92-106 ◽  
Author(s):  
M. Rostovtzeff
Keyword(s):  
Fine Arts ◽  
The State ◽  
Short Paper ◽  
State Museum ◽  
Museum Of Fine Arts

The square piece of linen cloth (pl. iv) which I propose to discuss in this note was acquired by V. S. Goleniščev in Egypt some years ago, and forms part of his splendid collection of Egyptian antiquities, which was subsequently incorporated into the Alexander III Museum of Fine Arts in Moscow, now the State Museum of Fine Arts. Years ago I reproduced and discussed it in a short paper (Monuments of Alexander III Museum of Fine Arts in Moscow iv, 1913, 149–153 (in Russian) and pl. xxiv in colour) in which I interpreted it as a military vexillum. My paper remained, however, unnoticed by students of military antiquities. For example, in 1923, so careful and well-informed a scholar as Kubitschek (P-W s.v. ‘Signa’ 2337 f.) in speaking of the inscriptions which appear on the vexilla, after quoting Cassius Dio xl, 18, and Vegetius ii, 13, says: ‘andere Bestätigungen haben wir nicht, und (fast darf man sagen: selbstverständlich) ist auch kein vexillum erhalten.’

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