scholarly journals VISUALIZATION OF THE SCENE FEATURING A PERSON FALLING SICK ON THE SEAL IMPRESSION ON THE CUNEIFORM TABLET’S ENVELOPE FROM KULTEPE (COLLECTION OF THE PUSHKIN STATE MUSEUM OF FINE ARTS, I 2 B 1589)

2021 ◽  
pp. 214-221
Author(s):  
А. А. Ясеновская
Keyword(s):  
Fine Arts ◽  
Old Babylonian ◽  
State Museum ◽  
Museum Of Fine Arts

Статья посвящена публикации фрагмента конверта от клинописной таблички с изображением интереснейшей композиции магического характера. В результате исследования выявлено, что сцена заболевания человека является центральной в сюжете. Нергал, бог Подземного мира, которого мы можем распознать по его символу - двуглавому скипетру, насылает на грешника львиноголового демона для причинения наказания - вызывания болезни у человека. Причина многих болезней по представлениям жителей Древней Месопотамии - гнев божества. Главной аналогией данному изображению является композиция на еще одной старовавилонской печати. На фрагменте конверта I 2 б 1589 присутствуют также два символа - сосуд и жезл с шаром. Установлено, что комбинация этих символов наиболее часто встречается на печатях из Сиппара или области Диялы, что может говорить о происхождении исследуемой печати либо резчика, ее изготовившего, с севера Нижней Месопотамии. The article is devoted to the publication of a fragment of a cuneiform tablet’s envelope with the image of interesting composition of a magical nature (Fig. 1; 2). The study revealed that the plot’s central scene is the scene depicting the process of getting sick. Nergal, the god of the Underworld, whom we can recognize by his symbol -a two-headed scepter, sends a lion-headed demon on the sinner to inflict punishment by making the sinner fall ill (many diseases were caused by anger of a deity according to the Ancient Mesopotamian conceptions/ideas). The main analogy to this image is the composition on another Old Babylonian seal (Fig. 3). The fragment of the envelope I 2 b 1589 also contains two symbols - a vessel and a ball-staff. It has been established that the combination of these symbols is most often found on seals from Sippar or the Diyala region, which implies that either the studied seal or its carver came from the northern part of Lower Mesopotamia.

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.

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.

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.

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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