The MAE RAS Khiwan Collections of A. N. Samoilovich

2020 ◽  
Vol 26 (2) ◽  
pp. 64-68
Author(s):  
Valeria Prischepova ◽  
Keyword(s):  
20Th Century ◽  
Original Material ◽  
Museum Collections ◽  
Photo Collections

The expedition of academician Alexander Nikolaevich Samoylovich (1880—1938) to the Khanate of Khiwa in 1908 have been one of the most significant trips of Peter the Great's Museum of Anthropology and Ethnography (Kunstkamera). A. N. Samoylovich's activity on gathering ethnographic material has enriched the MAE item and photo collections related to the life of Khiwan population, the Uzbeks and the Turkmen. Unfortunately, little is known about the expedition itself, its organisation, its route, and the circumstances under which the field materials were collected. The Museum collections, together with the published works of the academician, helped reveal another facet of his talent — as ethnographer and collector. A. N. Samoylovich's Museum collections represent original material, which will allow to reconstruct the cultural situation in the Khanate of Khiwa of the beginning of the 20th century.

scholarly journals Images of the Grieving Christ in the Museum Collections of Saratov

2019 ◽  
Vol 15 (3) ◽  
pp. 24-54
Author(s):  
Maria Burganova
Keyword(s):  
20Th Century ◽  
17Th Century ◽  
The Body ◽  
Museum Collections ◽  
Saratov Region ◽  
Documentary Source ◽  
Analytical Review ◽  
Ecce Homo ◽  
Colour Features ◽  
Artistic Images

An analytical review of church statues united by the plot “Christ in the Dungeon” from Saratov and the Saratov region museums is presented in the article. Using these examples, the author draws attention to variations of the image of Christ in the last hours before the crucifixion typical of the Russian province. Assessing the wide variety of interpretations of this plot, it is necessary to take into account that, in Russia, the statues of Christ in the dungeon were created mostly in provincial workshops where the craftsmen used engraved illustrations as the source and an example. For instance, the illustrations for the Piscator Bible [Theatrum Biblicum: 1646] had served as iconographic examples for many icon-painters and carvers since the 17th century. It should be noted that most often these engraved examples provided only an impetus for sculptors and were sometimes interpreted quite arbitrarily. These circumstances gave certain freedom to sculptors and carvers creating artistic images distinguished by sculptural diversity and vivid emotional character. The statues of Christ in the dungeon are typical of the Russian province and represent images combining some details of the iconographic versions of Ecce Homo and The Man of Sorrows. Ecce Homo is an image of suffering, awaiting the crucifixion Christ with traces of flagellation, with chained or tied hands, in the Crown of Thorns, in shackles and a purple robe. As the Man of Sorrows, Christ is presented thoughtful, with a bowed head. His hand is pressed to his cheek, the wounds from the spear and nails received at the time of the crucifixion are visible on the body. Having become a kind of connection between the three museums, there are nineteen artworks in the Saratov collection of sculptures with the plot “Christ in the Dungeon”. These statues were moved from one museum to another throughout the 20th century. Initially, this group of monuments was collected in a small Petrovsky Museum of Local Lore. In the summer of 1923, members of an ethnographic expedition removed the statues of Christ in the Dungeon from the surrounding churches. At the same time, artist F. Kitavin made very accurate watercolour sketches reliably capturing the colour features of the statues and their vestments. Currently, these watercolour sketches with explanatory inscriptions may be regarded as a documentary source.

scholarly journals Hrvatska slikarska dionica ruskog marinista Alekseja Hanzena

Ars Adriatica ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 163-178
Author(s):  
Sanja Žanja Vrbica
Keyword(s):  
20Th Century ◽  
Buenos Aires ◽  
Museum Collections ◽  
Royal Courts ◽  
Artistic Training

Within the group of lesser-known foreign painters who stayed in Croatia between the two world wars, Russian painter Alexei Hanzen (b. February 2, 1876 in Odessa – d. October 19, 1937 in Dubrovnik) stands out with his artistic achievements. Having immigrated to Croatia in 1920, he remained here for the rest of his life. Nearly two decades spent in Croatia have been a time of intense work, during which Hanzen participated in numerous exhibitions organized almost every year in Zagreb, as well as in Split, Osijek, Dubrovnik, Ljubljana, Belgrade, Paris, Buenos Aires, Prague and elsewhere. His paintings could be seen at private houses, in public and museum collections, and at various royal courts, and are nowadays part of various collections in Croatia. Early in the 20th century, Hanzen studied painting in Munich, Berlin, and Dresden, and then continued his artistic training in Paris, in the ateliers of Tony Robert-Fleury and Jules Lefebvre. He was the grandson of the famous Russian marine artist Ivan Kostantinovich Ajvazovsky, and likewise specialized in painting sea scenes, presented at various exhibitions from 1901 onwards. For his work he was awarded in Paris and Russia, and in 1910 became the official painter of the Russian Navy.

The bird collections of C. J. Andersson in southern Africa, 1850–1867

2006 ◽  
Vol 33 (1) ◽  
pp. 159-171
Author(s):  
W. R. J. Dean ◽  
M. Sandwith ◽  
S. J. Milton
Keyword(s):  
South Africa ◽  
Southern Africa ◽  
Original Material ◽  
Museum Collections ◽  
Type Specimens

A number of bird specimens, including at least 53 type specimens, were collected by C. J. Andersson (or credited to him as the collector) mainly in Namibia, but also in Angola, Botswana and South Africa, between 1850 and July 1867. Although much of the original material collected by Andersson has been lost, 2,523 bird study skins and sets of eggs collected by him are currently in museum collections; of them 58 are without any data except species name, 202 have the country only, 367 have country and a vague locality (Damaraland, Cape Colony and Ovamboland), and 1,896 have detailed locality data. Although 757 specimens are without dates, another 1,666 have at least month and year, and a further 100 have year only, or can be dated to a particular year. A list of collecting sites and dates when they were visited is given. Of particular interest are the type specimens collected by Andersson and his colleagues as some of these include species with incorrect or vague type localities.

scholarly journals К вопросу об атрибуции русской оригинальной графики XX века из частных коллекций в собрании ИОХМ им. В.П. Сукачёва

2021 ◽  
pp. 46-53
Author(s):  
M.A. Averyanova
Keyword(s):  
20Th Century ◽  
Art Museum ◽  
Museum Collections ◽  
Work Of Art ◽  
Literary Works ◽  
Ongoing Work ◽  
Source Studies ◽  
Private Collections

The article is devoted to the attribution of the original graphics of the 20th century from private collections in the collection of the Irkutsk Regional Art Museum named after V.P. Sukachev. The stages of studying a particular work of art are described in detail. Attention is paid to the research of recent years, which allows us to talk about the ongoing work with objects from museum collections. As a result of the study, based on the source studies and comparative stylistic methods, it was possible to clarify the attribution of a number of illustrations to literary works, small-format watercolors and some drawings. Such works include, for example, the works of N.V. Kuzmin, T.A. Mavrina; K.S. Petrov-Vodkin, described in the article. Статья посвящена атрибуции оригинальной графики XX века из частных коллекций в собрании Иркутского областного художественного музея им. В. П. Сукачёва. Подробно расписаны этапы изучения того или иного произведения искусства. Уделено внимание исследованиям последних лет, позволяющим говорить о непрекращающейся работе с предметами из музейных коллекций. В результате исследования с опорой на источниковедческий и сравнительно-стилистический методы удалось уточнить атрибуцию ряда иллюстраций к литературным произведениям, небольших по формату акварелей и входящих в серии рисунков. К числу таких произведений относятся, например, работы Н.В. Кузьмина, Т.А. Мавриной, К.С. Петрова-Водкина, описанные в статье.

scholarly journals «Скрывание» женщины: Повседневная и обрядовая практика у народов Средней Азии

2021 ◽  
Vol 2021 (2) ◽  
pp. 41-65
Author(s):  
Tereza Hejzlarová ◽  
◽  
Olga Starostina ◽  
Keyword(s):  
Central Asia ◽  
20Th Century ◽  
19Th Century ◽  
National Museum ◽  
Museum Collections ◽  
Common Features ◽  
The 19Th Century

The study presents an analysis of traditional forms of clothing serving for women’s veiling in Central Asia in the period from the second half of the 19th century to the 20th century, focusing on its occurrence and importance in both everyday and ceremonial practices. The study addresses particular types of veiling, their common features, and differences related to the manner of wearing, as well as the materials and the decorative designs used. An important part of the study is a catalogue representing individual types of clothing from the above determined period from the museum collections of the Russian Museum of Ethnography in St. Petersburg and the National Museum – the Náprstek Museum in Prague.

Fetishes of Tos in the Traditional Worldview of Khakass (End of the 19th – the Middle of the 20th Century)

2020 ◽  
Author(s):  
V.A. Burnakov ◽  
Keyword(s):  
20Th Century ◽  
Local History ◽  
Spiritual Life ◽  
Museum Collections ◽  
Traditional Beliefs ◽  
Wide Range

The monograph is devoted to the study of the cult of toses – fetishes in the traditional Khakass culture. Based on a wide range of sources, both published and for the fi rst time introduced into scientifi c circulation – archival materials and museum collections, the place and role of these cult objects in the spiritual life of Khakass were analyzed. The practice and technology of their manufacture were studied in detail. Sacral functions attributed to fetishes and rituals of their worship are considered. The connection of shamans with the cult of toses has been revealed. For the fi rst time, certain types of cult products have been artistically reconstructed. The book is addressed to specialists in the fi eld of history, ethnography, museology, local history and researchers of the traditional beliefs of the peoples of Siberia.

Visible Art, Invisible Knowledge

2013 ◽  
Vol 45 (3) ◽  
pp. 563-565
Author(s):  
Persis Berlekamp
Keyword(s):  
20Th Century ◽  
Original Material ◽  
Complex Relationship ◽  
Book Culture

Kitab Suwar al-Kawakib (The Book of the Forms of the Stars) of ʿAbd al-Rahman b. ʿUmar al-Sufi (d. 986), though based largely on Ptolemy's Almagest, included much original material. In the 20th century, its importance for scholars lay mainly in its attestation of the ways Islamicate scholarship built on classical learning. Now we are finding that it also offers fascinating insights into the complex relationship between seeing and knowing in premodern Islamic book culture. Here, I consider that relationship through analysis of the paired images of the constellation Barshawush (Perseus) from the oldest surviving manuscript, copied and likely also illustrated in 1009–1010 by al-Sufi's son.

scholarly journals Women’s Veiling: Everyday and Ceremonial Practices of Central-Asian Peoples

2021 ◽  
Vol 2021 (2) ◽  
pp. 17-40
Author(s):  
Tereza Hejzlarová ◽  
◽  
Olga Starostina ◽  
Keyword(s):  
Central Asia ◽  
20Th Century ◽  
19Th Century ◽  
National Museum ◽  
Museum Collections ◽  
Common Features ◽  
Central Asian ◽  
The 19Th Century

The study presents an analysis of traditional forms of clothing serving for women’s veiling in Central Asia in the period from the second half of the 19th century to the 20th century, focusing on its occurrence and importance in both everyday and ceremonial practices. The study addresses particular types of veiling, their common features, and differences related to the manner of wearing, as well as the materials and the decorative designs used. An important part of the study is a catalogue representing individual types of clothing from the above determined period from the museum collections of the Russian Museum of Ethnography in St. Petersburg and the National Museum – the Náprstek Museum in Prague.

THE LEGAL BASIS FOR THE FORMATION OF THE MUSEUM SCIENCE OF IMPERIAL TOMSK UNIVERSITY

2021 ◽  
pp. 257-263
Author(s):  
Ivan S. Karachencev ◽  
◽  
Nadezhda M. Dmitrienko ◽  
Keyword(s):  
Adverse Effect ◽  
20Th Century ◽  
Early 20Th Century ◽  
Museum Collections ◽  
Legal Basis ◽  
Scientific Problem ◽  
History Of ◽  
Complete Rejection ◽  
The University ◽  
Russian Universities

This article is dedicated to solving the actual scientific problem about the legislative foundations of museum construction. The materials of Imperial Tomsk University make it possible to examine the application of such important act documents as the University Charter of 1863 and the tsarist decree on the opening of the university in Tomsk in 1888. The authors analyze the content of the legislativ acts, find out the list of museums allowed by the authorities. The historical paradox in the museum history of Tomsk University is revealed. According to the University Charter of 1863, there were four faculties in Russian universities as a rule. They created rooms and museums of zoology, mineralogy, botany, anatomy, history and archaeology. These museums also were planned at Tomsk University during its foundation in 1878. Following the law, the head of the construction committee professor V.M. Florinskiy founded the Archaeological Museum at Tomsk University in 1882. However, the opening of Imperial Tomsk University took place in 1888 and only single medical faculty was opened. On the basis of provisional states, university museums of zoology, mineralogy, botany and anatomy were financed from the state treasury. The Archaeological Museum was out of state, and F.M. Florinskiy himself provided its work. He attracted donations in the form of money and museum collections, formed rich funds for archaeology, ethnography, and history. Without any outside support, he made and published a catalogue in three volumes of the Archaeological Museum. Therefore, he transformed the university’s museum into one of the most famous in Russia. Four other museums relied on state support as well as charity. They were equipped well and provided with money for scientific expeditions to collect museum subjects. Prominent researchers such as botanists S.I. Korzhinskiy and P.N. Krylov, geologist A.M. Zaitsev zoologist N.F. Kashchenko and anatomist N.M. Maliev worked in the university museums. The government's decision to allow females to work in the museums played an important part in the personnel provision of the university museums. In 1916, two graduates of the Siberian Higher Women's Courses, T. Tripolitova and E. Kiselyova, were admitted to the botanical and zoological museums of Imperial Tomsk University. At the end of the article, the authors admit that the legislative regulation of museum science at Imperial Tomsk University in the late 19th and early 20th century had some shortcomings. But complete rejection of laws issued before 1917 had an adverse effect on Tomsk University’ museums of Soviet era.

scholarly journals Images of the Grieving Christ in the Museum Collections of Saratov

2019 ◽  
pp. 28-55 ◽  
Author(s):  
Maria Burganova
Keyword(s):  
20Th Century ◽  
17Th Century ◽  
The Body ◽  
Museum Collections ◽  
Saratov Region ◽  
Documentary Source ◽  
Analytical Review ◽  
Ecce Homo ◽  
Colour Features ◽  
Artistic Images

An analytical review of church statues united by the plot “Christ in the Dungeon” from Saratov and the Saratov region museums is presented in the article. Using these examples, the author draws attention to variations of the image of Christ in the last hours before the crucifixion typical of the Russian province. Assessing the wide variety of interpretations of this plot, it is necessary to take into account that, in Russia, the statues of Christ in the dungeon were created mostly in provincial workshops where the craftsmen used engraved illustrations as the source and an example. For instance, the illustrations for the Piscator Bible [Theatrum Biblicum: 1646] had served as iconographic examples for many icon-painters and carvers since the 17th century. It should be noted that most often these engraved examples provided only an impetus for sculptors and were sometimes interpreted quite arbitrarily. These circumstances gave certain freedom to sculptors and carvers creating artistic images distinguished by sculptural diversity and vivid emotional character. The statues of Christ in the dungeon are typical of the Russian province and represent images combining some details of the iconographic versions of Ecce Homo and The Man of Sorrows. Ecce Homo is an image of suffering, awaiting the crucifixion Christ with traces of flagellation, with chained or tied hands, in the Crown of Thorns, in shackles and a purple robe. As the Man of Sorrows, Christ is presented thoughtful, with a bowed head. His hand is pressed to his cheek, the wounds from the spear and nails received at the time of the crucifixion are visible on the body. Having become a kind of connection between the three museums, there are nineteen artworks in the Saratov collection of sculptures with the plot “Christ in the Dungeon”. These statues were moved from one museum to another throughout the 20th century. Initially, this group of monuments was collected in a small Petrovsky Museum of Local Lore. In the summer of 1923, members of an ethnographic expedition removed the statues of Christ in the Dungeon from the surrounding churches. At the same time, artist F. Kitavin made very accurate watercolour sketches reliably capturing the colour features of the statues and their vestments. Currently, these watercolour sketches with explanatory inscriptions may be regarded as a documentary source.

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