scholarly journals The dynasty of iconographers Rogachevsky-Nikita in the context of the history of the Old Believer Romanian rural localities Zhurilovka and Sarikei

2020 ◽  
pp. 116-123
Author(s):  
Aleksandra Aleksandrovna Boitсova
Keyword(s):  
Art History ◽  
Scientific Discourse ◽  
Cultural Analysis ◽  
Personal Contact ◽  
Way Of Life ◽  
The Family ◽  
History Of ◽  
Local Traditions ◽  
Artistic Heritage ◽  
Rural Locality

This article examines the iconographic heritage of the Old Believer Lipovan Rogachevsky-Nikita family in the context of history of Romanian rural localities. Based on the expedition material, analysis is conducted on the peculiarities of folk icon and local traditions that established in the Old Believer center of Romania. The reviewed documentary sourced were acquired in the course of expeditions and further personal contact with the family. The collected material contains history of the family of iconographers, their lifestyle and customs, conditions for fulfilling the orders that are closely related to the history of this rural locality and way of life of the Nekrasov Cossacks. The research is of applied nature in the area of art history, as well as of interdisciplinary in nature. The article employs the methods of stylistic and historical-cultural analysis; biographical method for reconstruction of biography of the family members and their artistic heritage. New records on the dynasty of Romanian iconographers are introduced, which expands  the information on the Lipovan icon and indicate regional peculiarities of its creation. The author also introduces the new names and monuments of iconography into the scientific discourse that allows clarifying the attribution. The artistic heritage of iconographers of the late XIX – early XX centuries is also introduced into the scientific discourse: Rogachevsky-Nikita; in the XX century – Egor Nikitovich Nikita and Roman Egorovich Nikita.

scholarly journals The Great Patriotic War in the fate of the Leningrad artist I.V. Varzar

2020 ◽  
pp. 171-178
Author(s):  
E.I. Darius
Keyword(s):  
Systematic Study ◽  
Art History ◽  
Methodological Approach ◽  
Archival Research ◽  
Soviet Art ◽  
History Analysis ◽  
Great Patriotic War ◽  
History Of ◽  
First Time ◽  
Artistic Heritage

The main purpose of the article is to present the art and biography of the artist Irina Varzar, who worked in the field of book and easel graphics. Her works are well known to Soviet art historians, but a systematic study of the artist's biography and work has not yet been done. This article for the first time lays the foundations for a detailed study of the artistic heritage and biography of I.V. Varzar. The novelty of the work lies in the fact that on the basis of archival sources, an important stage of the artist's life in Barnaul during the great Patriotic war (1941–1945) is restored. There she was evacuated from besieged Leningrad. For the first time, the graphic works of the artist created in Altai are described in detail. The article uses a comprehensive methodological approach — the main art history analysis is expanded through archival research and the method of historical and biographical reconstruction. The main results include the introduction into the scientific and art history of a number of works by Irina Varzar, a systematic presentation of the main stages of the artist's creative biography. For the first time, her works of the period of the Great Patriotic War are analyzed in detail and the main techniques of the artistic method are shown. Основная цель статьи состоит в том, чтобы представить искусство и биографию художницы Ирины Васильевны Варзар, работавшей в области книжной и станковой графики. Ее работы хорошо известны историкам искусства советского времени, но системного исследования биографии и творчества художницы еще не сделано. Настоящая статья впервые закладывает основы подробного изучения художественного наследия и биографии И.В. Варзар. Новизна работы заключается в том, что на основании архивных источников восстанавливается важный этап жизни художницы в Барнауле в период Великой Отечественной войны (1941–1945 гг.). Туда она была эвакуирована из блокадного Ленинграда. Впервые подробно описываются графические работы художницы, созданные ею на Алтае. В статье применен комплексный методологический подход — основной искусствоведческий анализ расширен за счет архивоведческих изысканий и метода историко-биографической реконструкции. К основным результатам стоит отнести введение в научный и искусствоведческий оборот ряда произведений Ирины Варзар, систематическое изложение основных этапов творческой биографии художницы. Впервые подробно анализируются ее работы периода Великой Отечественной войны и показываются основные приемы художественного метода.

scholarly journals Memorial Tombs – special cultural heritage in the context of compound burials of Nguyen Dynasty aristocracy in Southern parts of Vietnam in Medieval and Post-Medieval Times  Pham Duc Manh

2015 ◽  
Vol 18 (1) ◽  
pp. 47-63
Author(s):  
Manh Duc Pham ◽  
Chien Ngoc Do
Keyword(s):  
Cultural Heritage ◽  
Intangible Cultural Heritage ◽  
Way Of Life ◽  
Heritage Sites ◽  
Southern Vietnam ◽  
The People ◽  
Historical Figures ◽  
Expansion Time ◽  
History Of ◽  
Artistic Heritage

This paper introduces Memorial Tombs in the context of memorial compound tomb types for the aristocrat of the Nguyen Dynasty (1802- 1945) in Southern Vietnam in The Medieval and Post-Medieval Time. This type was of rare tangible and intangible cultural heritage at the time (1.5%). These heritage assets are very valuable because they are associated with historical figures – “state founders, meritorious officials” in country expansion time “The Great South Unification (Dai Nam Nhat thong)”. In addition to the typical complex of mausoleums in Southern Vietnam (Nguyen Huu Canh, 1650-1700; Le Van Duyet, 1763-1832; Le Van Phong, Truong Tan Buu, 1752-1827 or Tran Van Hoc, Phan Tan Huynh, Huynh Van Tu, and "Sir Nhieu Loc"), the authors studied Vo Tanh mausoleum at both Hoang De (emperor) and Gia Dinh (emperor) citadels, and the mausoleum of his warmates related to the last and biggest-scaled sea fight between the Nguyen dynasty’s army and the Tay Son insurgent army on Thi Nai lagoon in 1801 (Vo Di Nguy, 1745-1801; Ngo Tung Chau; Thu Ngoc Hau, etc.). In our opinion, the presence of memorial tomb types of Vo Tanh and his warmates – historic-cultural-artistic heritage sites of national/provincial levels in Southern Vietnam relating the honoring of heroes who “wholeheartedly served the King, defended the country, saved the people” in the history of country expansion “Towards the South” in medieval and post-medieval times. They contribute to the moulding of prominent features of the comtemporary Southerners’ personality. Those historical stories of the Southern heroes are preserved and worshipped by their descendants bearing in mind the Vietnamese way of life “praising the bridge carrying one over” and pay homage to ancestors for their nation-building service.

scholarly journals Relationel komparatisme

2019 ◽  
Vol 47 (127) ◽  
pp. 29-50
Author(s):  
Anne Ring Petersen ◽  
Karen-Margrethe Simonsen
Keyword(s):  
Comparative Literature ◽  
Case Studies ◽  
Art History ◽  
Cultural Analysis ◽  
Olaudah Equiano ◽  
National Cultures ◽  
History Of ◽  
Globalized World

This article addresses a question crucial to contemporary cultural analysis: the question of how to compare and what to compare in a globalized world. Modern comparativism has effectively undermined the very foundation of historical comparativism, i.e. the idea of confined and segregated (national) cultures and Eurocentric perspectives and perceptions of what is historically significant, and what is not. The article opens with a discussion of some important critical revisions of comparative methodologies in the fields of comparative literature and art history, and then moves on to call for a relational comparativism that is attentive to three aspects: context, dynamics/agency and circulation. To indicate what the implications of a relational comparativism might be, we conclude with two case studies of the autobiography The Interesting Narrative of the Life of Olaudah Equiano (1789) and the commemorative sculpture I Am Queen Mary (2018) by artists Jeannette Ehlers and La Vaughn Belle. Both works are related to the history of slavery; a history that in significant ways points to the need for rethinking comparativism.

Introduction

2020 ◽  
pp. 1-20
Author(s):  
Allison Margaret Bigelow
Keyword(s):  
Latin America ◽  
Early Modern ◽  
History Of Science ◽  
Art History ◽  
Historical Analysis ◽  
Cultural Analysis ◽  
Colonial Latin America ◽  
New Approach ◽  
History Of ◽  
P Mining

Mining in colonial Latin America and the early modern Iberian empire has been studied from a variety of disciplinary perspectives, including archaeology and archaeometallurgy; philosophy; art history, visual studies, and material cultural analysis; literary studies; social, labor, legal, and economic histories; and the history of science. This book adopts a language-centered approach that incorporates methods of all of these fields, especially discursive, visual, and historical analysis. The introduction reviews current scholarship in the study of mining and argues for the importance of a new approach to the history of metals – one that centers the knowledges of Indigenous, African, and South Asian miners, refiners, and mineralogists.

scholarly journals The phenomenon of personality of T. L. Schepkina-Kupernik in the context of theatrical process of the late XIX – early XX century

2020 ◽  
pp. 1-8
Author(s):  
Irina Liubivaia ◽  
Natal'ya Evgen'evna Korol'kova
Keyword(s):  
Art History ◽  
Personal Experience ◽  
Literary Work ◽  
Creative Work ◽  
Work Analysis ◽  
Peer Reviews ◽  
History Of ◽  
Stage Performances ◽  
Master Of Arts ◽  
Artistic Heritage

The interest to the almost forgotten names of female writers of the Silver Ages gas grown over the recent decades. Among them is a prominent and talented Russian and Soviet poetess, translator, writer, play writer, memoirist, journalist T. L. Schepkina-Kupernik. She dedicated approximately 60 years of her life to literary work, and in 1940 was awarded the title of “Honored Master of Arts of RSFSR”. Relevance of the article is defined by the fact that presently the artistic heritage of T. L. Schepkina-Kupernik became undeservingly forgotten, even though it represents great value not only for the Russia, but also for word art history, especially for historians of theatre and literature. Thanks to the translations of T. L. Schepkina-Kupernik, the Russian stage enriched its repertoire, and the audience became acquainted with world-renown dramaturgists. Connoisseurs of the theatrical art were able to appreciate performance of the actors thanks to the memoirs on the actors and peer reviews on their stage performances. An important detail in biography of Tatiana Lvovna consists in her personal experience of acting on stage. The author analyzes the persona of Schepkina-Kupernik from various aspects of her creative work. Analysis is conducted on her work as an actress, writer, translator, and memoirist. Her contribution to the history of the Russian theater is reviewed.

scholarly journals Mammoth tusk jewelry in the Yakut culture: retrospective analysis and current state

2021 ◽  
pp. 120-132
Author(s):  
Aleksandra Nikolaevna Prokopieva ◽  
Kapitolina Maksimovna Yakovleva ◽  
Aitalina Alekseevna Sleptsova
Keyword(s):  
Retrospective Analysis ◽  
Raw Materials ◽  
Local Population ◽  
Scientific Discourse ◽  
Raw Material ◽  
Current State ◽  
History Of ◽  
Wood Carving ◽  
The Subject ◽  
Local Traditions

This article is dedicated to the history of making jewelry from mammoth tusk in the Yakut culture. The hypothesis is advanced that Yakut mammoth tusk carving stems from the local traditions of wood carving and scrimshaw, and represents the raw material for making household items for the local population, and use of tusk as a raw material is associated with the appearance of the first professional scrimshaw craftsmen in Yakutia. The first part of the article examines the history of tusk carving and the prerequisites for the emergence of the new direction in jewelry. The second part of the article describes the peculiarities of making mammoth tusk jewelry in the modern Yakut culture. The current problems of taking, sale and use of mammoth tusk are relevant topics in the scientific discourse. However, jewelry and souvenirs from mammoth tusk, as well as the origins of modern scrimshaw in Yakutia have not previously become the subject of special research. For giving a better perspective on the problem the author interviewed the Soviet and contemporary artisans. It is established that influence of the Soviet scrimshaw school is still traced in modern neo-mythologized representations. The pliability of the material and availability of the raw materials for the Yakut craftsmen substantiated the popularity of the mammoth tusk and its adaptability to modern fashion trends.

Game domestication for animal production in Kenya: theory and practice

1977 ◽  
Vol 89 (2) ◽  
pp. 445-457 ◽  
Author(s):  
J. M. King ◽  
B. R. Heath ◽  
R. E. Hill
Keyword(s):  
Animal Husbandry ◽  
Domestic Animal ◽  
Animal Production ◽  
Theory And Practice ◽  
African Buffalo ◽  
Way Of Life ◽  
The Family ◽  
History Of ◽  
Sub Saharan ◽  
Game Animals

SummaryThe term game is applied to those wild animals which are pursued in the chase or kept for pleasure. When an animal has been domesticated it belongs to the family, lives in or near the habitations of man and is tame, not wild.Wild African buffalo, eland, oryx and gazelle were caught by either dart-immobilization, chasing and roping, or driving into a corral. Weaned, sub-adult animals were preferred. The taming procedures started in small, dark, padded cells and progressed through a series of larger enclosures until the animals were grazing in a 40 ha paddock 7 weeks after capture. Gazelle was the only species which was not established as a domestic herd by this method, because of its liability to self-inflicted injuries.The domestic game animals were grazed over thousands of hectares without fencing, but under supervision of herdsmen. They were subjected to standard domestic animal husbandry procedures including eartagging, dehorning and castration.The conclusion is that some African game animals are easy to domesticate as has also been demonstrated in the prehistoric and recent past. The reason they have not displaced conventional livestock can be found in the history of domestication. The condition originated in the Middle East and spread mainly by the introduction of an alien culture and livestock to Africa. The time when sub-Saharan Africans had established a suitable way of life for domestication coincided with the arrival of cattle, sheep and goats forced south by the desiccating environment.The potential of African game animals to domestic animal production will be evaluated in subsequent papers.

scholarly journals Letters from the Past: Armin Tuulse’s Archive in Tartu

2017 ◽  
Vol 13 ◽  
pp. 219
Author(s):  
Kadri Asmer
Keyword(s):  
Art History ◽  
Main Issue ◽  
Work Related ◽  
The Past ◽  
The Family ◽  
Look Back ◽  
History Of ◽  
History Of The University ◽  
The University ◽  
The U.S

In 2015, the correspondence of Professor of Art History Armin Tuulse (1907–1977) and his wife Liidia Tuulse (1912–2012), which dates back to 1944 when the family escaped to Sweden, arrived at the Estonian Literary Museum. A significant part of the archive is comprised of the correspondence between the spouses, along with frequent contacts with exile Estonian cultural figures and Armin Tuulse’s work-related communications with colleagues in Europe, the U.S. and Australia. The main objective of this article is to take a first look at the material and highlight the main points of emphasis in the correspondence of the exile Estonians in the 1940s and 1950s. At that time, the main issue (in addition to worries about everyday hardships and living conditions) was related to the continuation of their work and keeping Estonian culture alive in a foreign cultural and linguistic space.In order to understand Armin Tuulse’s position in Sweden, the article also takes a look back onto his activities in the Department of Art History of the University of Tartu in the 1930s and 1940s, when Sten Karling (1906–1987) from Sweden came to teach in Tartu. Under Karling’s guidance, Tuulse became a dedicated scholar and later the first Estonian to become a professor of art history.

scholarly journals Genesis of marriage law in Spain

Lex Russica ◽  
2019 ◽  
pp. 124-133
Author(s):  
I. A. Trofimets
Keyword(s):  
Social Relations ◽  
Canon Law ◽  
Social Institution ◽  
Customary Law ◽  
Way Of Life ◽  
Marriage Law ◽  
Legal Provisions ◽  
The Family ◽  
History Of ◽  
First Time

The study of the institution of marriage in the foreign legal order makes it possible not only to see the identity and historical succession, but also to find out whether the provisions on marriage have common features that characterize it as the highest value, and how permissible foreign borrowing in the formation of its own legal system without prejudice to its uniqueness and individuality. The use of foreign experience reveals a lot of issues and conflicts that need to be resolved in relation to national law. An obligatory component is the study of the heritage of the past, the so-called legislative retrospective, which contributes to the knowledge of legal culture. For the first time in domestic science there is an attempt to periodize the institution of marriage in Spain, depending on the type of social regulator: customs, canonical rules, rules of law (own and borrowed). The periodization of the Spanish marriage law is presented and the main features of its formation are shown: the application of the customs of the peoples inhabiting the territory of Spain; the reception of Roman private law; the influence of Canon law; the appearance of foreign influence. The whole history of marriage law is divided into 5 periods: customary law (the first period), the rule of canon law (second period), systematic legislation on marriage (the third period), harmonization of secular marriage legislation with the provisions of canon law (the fourth period), contemporary law (fifth period). Separately, in the settlement of relations between the sexes, a pre-legal period is allocated. Of course, each period is characterized by a variety of rules of marriage law, which is explained by the evolution of social relations and the development of the legal institution of marriage. The consistent influence of universal values on the formation of legal provisions of marriage is shown. As the marriage law is formed, rules are formed that determine the conditions and order of its conclusion. The enduring value of the family organization of the way of life of people and the family form of management determines the preservation of this social institution throughout the period of human history, although in a constantly changing form.

scholarly journals Kyiv Metropolitans were in the Artistic Process of the Kyiv-Pechersk Lavra at the End of the 18th – the Early 20th Centuries

2021 ◽  
pp. 128-132
Author(s):  
Maryna Bardik
Keyword(s):  
Art History ◽  
Cultural Analysis ◽  
Mural Painting ◽  
Artistic Process ◽  
Leading Role ◽  
Mural Paintings ◽  
History Of ◽  
Preparatory Stage ◽  
Information Basis ◽  
Artistic Tradition

The purpose of the article is to discover the mechanism of Kyiv Metropolitans influence processes in the monumental painting of the Kyiv-Pechersk Lavra. The research methodology is based on complex using historical and cultural analysis, art study analysis, hermeneutical and biographical methods. Scientific novelty. Based on archival materials the author determines the specific means of Kyiv Metropolitans influence the evolution and preservation of the Kyiv-Pechersk Lavra’s sacral painting in 1786–1917. This influence is investigated in the theoretical and practical aspects. The scheme of the Metropolitans influences the mural painting processes is revealed: the Spiritual Council (preparatory stage) – Metropolitan (decision) – the head of the painting workshop (responsible for fulfillment) − artists (fulfillment). The Metropolitans leading role in forming the painting programs of temples and preserving the Lavra’s artistic tradition has been proved. Conclusions. In theoretical works, reports to the Holy Synod the Metropolitans gave thoughts and facts that entered the art history of the Kyiv-Pechersk Lavra. They directly influenced the artistic process: controlled and directed the processes of evolution and preservation of mural painting, financial and personnel issues. Their influence was implemented in visas and codicils (visas were an information basis for painting dating). Their orders were performed by the head of Lavra’s painting workshop (icon-painting workshop). Metropolitans took care of preserving Lavra’s artistic traditions and artistic features of painting compositions. Heads of the painting workshop ensured the continuity in mural paintings, they followed the imitation principle. The interpretation of the artistic tradition was reflected in new mural paintings. Metropolitans determined the painting programs of Lavra’s churches.

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