scholarly journals FERDINAND BARBEDIENNE’S BRONZE FOUNDRY PRODUCTS AND URAL MEAL CASTING ART. ON THE ATRIBUTION OF URAL CAST-IRON ARTWORKS

2020 ◽  
pp. 22-22
Author(s):  
Kseniya A. Gileva
Keyword(s):  
Cast Iron ◽  
Art History ◽  
Metal Casting ◽  
Museum Collections ◽  
The Urals ◽  
Russian Art ◽  
Metal Castings

The study discusses the attribution of several Ural cast-iron artworks. The authors of the model range of metal castings from Kasli and Kusa factories are still the least researched in Russian art history and, thus, the study appears to be very timely. The article considers connections between the model range of the Urals plants and the famous French bronze foundry of Ferdinand Barbedienne. Castings available on the antiques market and in Russian museum collections are analyzed comparatively. New names of authors of Ural metal casting models are introduced into scholarship.

Material Culture and Healing Practice

2021 ◽  
Vol 15 (2) ◽  
pp. 251-290
Author(s):  
Anna Elizabeth Winterbottom
Keyword(s):  
Twentieth Century ◽  
Sri Lanka ◽  
Material Culture ◽  
Early Modern ◽  
Art History ◽  
Religious Studies ◽  
Medical Culture ◽  
Museum Collections ◽  
Practice Of Medicine ◽  
Late Nineteenth

Abstract The practice of medicine and healing is always accompanied by a range of paraphernalia, from pillboxes to instruments to clothing. Yet such things have rarely attracted the attention of historians of medicine. Here, I draw on perspectives from art history and religious studies to ask how these objects relate, in practical and symbolic terms, to practices of healing. In other words, what is the connection between medical culture and material culture? I focus on craft objects relating to medicine and healing in Lanka during the Kandyan period (ca. 1595–1815) in museum collections in Canada and Sri Lanka. I ask what the objects can tell us, first, about early modern Lankan medicine and healing and, second, about late nineteenth- and twentieth-century efforts to reconstruct tradition. Finally, I explore what studying these objects might add to current debates about early modern globalization in the context of both material culture and medicine.

scholarly journals Народное прикладное искусство номадов: тувино-калмыцкие параллели

2020 ◽  
Author(s):  
S. Batyreva
Keyword(s):  
Comparative Analysis ◽  
Cultural Heritage ◽  
Art History ◽  
Financial Support ◽  
Animal Husbandry ◽  
Museum Collections ◽  
Russian Culture ◽  
Applied Art ◽  
Increasing Process ◽  
Composition Of Products

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.

Non-Euclidean Geometry in Russian Art History: On a Little-Known Application of a Scientific Theory

Leonardo ◽  
2020 ◽  
Vol 53 (3) ◽  
pp. 293-298
Author(s):  
Clemena Antonova
Keyword(s):  
Twentieth Century ◽  
Art History ◽  
Scientific Theory ◽  
Euclidean Geometry ◽  
Human Vision ◽  
Russian Mathematician ◽  
Pictorial Space ◽  
Russian Art ◽  
Non Euclidean Geometry ◽  
The One

The author has previously proposed that there are at least six different definitions of “reverse” or “inverse” perspective, i.e. the principle of organizing pictorial space in the icon. Reverse perspective is still a largely unresolved art historical problem. The author focuses on one of the six defi nitions, the one least familiar to Western scholars—namely, the view, common in Russian art-historical writing at the beginning of the twentieth century, that space in the icon is a visual analogue of non-Euclidean geometry. Russian mathematician-turned-theologian and priest Pavel Florensky claimed that the space of the icon is that of non-Euclidean geometry and truer to the way human vision functions. The author considers the scientifi c validity of Florensky's claim.

scholarly journals The portrait in the creative work of A.Y. Golovin

2018 ◽  
Author(s):  
Ольга Николаевна Филиппова
Keyword(s):  
Creative Work ◽  
Museum Collections ◽  
Russian Art ◽  
Private Collections

Александр Яковлевич Головин (1863–1930) принадлежит к числу крупнейших деятелей русской художественной культуры конца XIX – начала XX века. Его искусство получило широкую известность и признание. О А.Я. Головине написаны книги, очерки, немало статей. Но искусство А.Я. Головина-портретиста – это малоисследованная область творчества этого замечательного живописца. Обширное портретное наследие художника не только не изучено в значительной своей части, но до сих пор еще малоизвестно. Оно оказалось распыленным, разбросанным по частным коллекциям и многочисленным музеям. Ряд первоклассных работ находится в зарубежных музейных собраниях. Немало головинских портретов – в запасниках столичных музеев. Цель данной публикации – это анализ его портретного творчества, который даст возможность по-новому взглянуть на этого интересного живописца. Alexander Yakovlevich Golovin (1863–1930) is one of the greatest figures of Russian art culture of the late XIX – of the early XX century. His art became widely known and recognized. Books, essays, a lot of articles are written about. But, the art of Golovin – a portrait painter – is a little studied area of creativity of this wonderful painter. Extensive portrait heritage of the artist is not only not studied in large part, but still little known. It was dispersed, scattered throughout private collections and numerous museums. A number of first-class works are in foreign Museum collections. Many portraits by A.Y. Golovin are in the vaults of the capital's museums. The purpose of this publication is to analyze his portrait work, which will give an opportunity to take a fresh look at this interesting painter.

scholarly journals GIOTTO IN RUSSIAN POETRY: NEGATIVITY, DESIGN AND CONSTRUCTION OF SOCIETY

2020 ◽  
Vol 18 (1) ◽  
pp. 170-181
Author(s):  
Alexander V. Markov ◽  
Keyword(s):  
Art History ◽  
Russian Literature ◽  
Careful Analysis ◽  
Russian Philosophy ◽  
Russian Art ◽  
Old Russian ◽  
Real Place ◽  
Russian Poetry ◽  
History Of ◽  
Writing Practice

The perception of Giotto’s heritage in Russian literature and culture has always been directly linked not only with the concept of the Renaissance and the development of Western culture, but with a special interest in writing practice and in the ambition of the narrative presented as innovative style to create communities. The main topic of the poetic thought was the transition from community to society, in other words, from community to church, so Giotto's status as a genius was always supported with statements about other geniuses who directly, but rather indirectly, made this transition. Despite the scarcity of references to the name Giotto, Russian poetry did not so much reflect the current art history conception, but anticipates or correctsconclusions of art historians. My careful analysis of the statements about Giotto in Russian poetry (V.Komarovsky, S.Soloviev, A.Voznesensky) in comparison with the conclusions of Russian philosophy and humanities (P.Florensky, P.Muratov, P.Bitsilli, V.Lazarev)explains plots of the poems related to picturesque impressions. The technique of chiaroscuro in Giotto, who first began to convey plausible depth through the illusory distribution of light, was understood as a technique primarily of hint and reflection, anegative, in comparison with which later Italian painting looks like a colorful positive. Such concept did not correspond to Giotto's real place in the history of art, but it did make it possible to correlate Giotto with Byzantine and Old Russian art using a golden background, emphasizing in the legacy of the Italian artist not credibility, but ability to create own art project relevant other projects.

scholarly journals On distribution of Mimela holosericea (Fabricius, 1787) (Insecta, Scarabaeoidea, Scarabaeidae, Rutelinae) in Russia and adjacent territories

2018 ◽  
Vol 50 (2) ◽  
Author(s):  
A.B. Ruchin ◽  
L.V. Egorov
Keyword(s):  
River Basin ◽  
Far East ◽  
Museum Collections ◽  
The Urals ◽  
Volga River ◽  
Southern Siberia ◽  
Volga River Basin ◽  
Central Russia ◽  
The Far East ◽  
The Russian Federation

Based on literature analysis and museum collections, the range of Mimela holosericea (Fabricius, 1787) is defined. Outside of Russia, M. holosericea is distributed in Kazakhstan, Mongolia, some northern provinces of China, the Korean peninsula and Japan. Within the Russian Federation, the species is recorded in 30 administrative regions (the Far East, Eastern, Western and Southern Siberia, the Urals, Volga River basin and Central Russia). It is most abundant and most frequently recorded at the Far East: the Jewish Autonomous Region, Primorsky Krai, Khabarovsky Krai, Amur and Sakhalin Regions. In the western part of its range - Volga River basin and Central Russia - the species is sporadically distributed, though the number of specimen records here has increased in recent years. The main habitats are sparse pine forests (on glades, roadsides, fringes) and floodplain cenoses.

Information services in the fields of art and architecture

1987 ◽  
Vol 12 (1) ◽  
pp. 8-11
Author(s):  
Ineke van Hamersveld
Keyword(s):  
The Netherlands ◽  
Art History ◽  
Museum Collections ◽  
Art Collections ◽  
Dutch Art ◽  
Parent Institution ◽  
The Hague ◽  
Art And Architecture

In addition to Dutch academic and museum libraries, a number of art libraries and relevant document and information centres are attached to government and other institutions. These include the Netherlands Institute for Art History at The Hague (the parent institution of DIAL, an iconographical classification of Dutch art); the Stichting MARDOC at Rotterdam, which is evolving thesauri to facilitate automated access to museum collections; and the Netherlands Office for Fine Art, responsible for coordinating and promoting Dutch art collections. Other institutions are concerned with contemporary Dutch art, photography, architecture, the role of art in society, art education, and museology. Some of these, with some other institutions, are linked by the network Culturele Pool (CUPO) which coordinates and indexes current literature on the art in the broadest sense.

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