Collector`s Works of Nina Kerimova

Documentation of ethnomusic (which is at the same time the first stage of its research) forms the base of sources of musical folklore (ethnomusicology), which creates the very possibility of all subsequent explorations. Ethnic music, as a whole, is formed by the totality of its regional manifestations, each of which must be recorded in sufficient completeness. However, some territories for various reasons even at the end of the twentieth century, were represented on the Ukrainian ethnomusical map very sparsely. It’s a paradox, but Kirovohrad region, located in the center of Ukraine, remained one of the least explored regions. Being a region of relatively late settlement, it was practically ignored by researchers (including ignored by the relevant scientific institutions) as an uninteresting periphery. One of those who in the late 1980s gave the start of the modern stage of documenting the musical folklore of the Kirovohrad region, its systematic professional recording, was a graduate of the Kiev Conservatory Nina Kerimova. For ten years of active field work, the collector has recorded nearly 7000 units of musical and ethnographic information from 80 settlements. These materials today make up nearly one third of the twenty-thousand regional audio archive, collected over the past 35 years by the joint efforts of folklorists, professionally engaged in field survey of the presteppe Right Bank and its adjacent steppe and eastern Podolian territories within the Kirovohrad region and the border areas of Cherkasy, Vinnytsia and Dnepropetrovsk regions. The purpose of this article is to summarize and make public the information about the nature and results of N. Kerimova’s collector`s activity. A systematized, meaningful, structured, concentrated and formalized approach makes it possible to include materials from her archive into the all-Ukrainian ethnomusical and ethnomusicological information field. Methods used in the article correspond to its set goal: factographic and factological, statistical, analytical and synthetic (the latter reveals patterns in the correlation of elements of an integral system). The article provides: a brief overview of the history of collecting musical folklore in the region; basic biographical information about the researcher; statistical data on the number and geography of her expeditionary records, specified to the culture-genre content of the materials recorded in each locus; data on respondents (their number, age, origin). The methods and preferences of the field work are described. The professional level of the work is attested, the high degree of scientific value of the collected materials is argued. The audio and musical publications, which include materials from the archive of N. Kerimova are listed. The materials collected by N. Kerimova are characterized (a) as a separate hermetic collection-archive, (b) as an important component of the cumulative array of records made in the region and (c) in the context of a holistic view of the region's traditional ethnomusical culture that has been effectively formed nowadays. Along the way, the author of the article deals with the issues of cultural-genre classification / attribution of folk musical works, archiving field materials (in particular, methods of passportization and codification of records), as well as the problems of documenting and statistical processing of materials recorded from migrants (local, intraregional, interregional), that were incorporated by the new folklore environment to a greater or lesser extent

Music Research and the Sound Archive: A Meditation on Ethnomusicological Engagement with Collection-Oriented Research and Re(p)(m)atriation

In this article, I address collecting and re(p)(m)atriation as research orientations. I draw on examples from Métis music to situate the impact of collection-oriented research, to interrogate my own practice as a Métis-music scholar, and to point to possibilities for the future. In presenting a history of collecting alongside an overview of re(p)(m)atriation, I offer readers an opportunity to meditate on the pervasiveness of collection-oriented research and how we might create a new ethnomusicology—meditations encouraged through poetic expressions. I suggest that twenty-first century ethnomusicology needs to turn towards rematriation, not only as an act of returning artifacts, but also as a way of orienting our work as scholars.

Fifteenth and Sixteenth-Century Northern European Prints at the Museum of New Zealand Te Papa Tongarewa

<p>This thesis examines the collection of fifteenth- and sixteenth-century German, Dutch and Flemish prints at the Museum of New Zealand Te Papa Tongarewa. Beginning with the donation of Bishop Monrad in 1869, prints from the Northern European schools have been added to the collection either through the generosity of private collectors or the museum's direct purchases which continue to the present day. The lives and collecting practices of these collectors are considered, as well as the artists and prints represented in the collection. An analysis of the history of collecting prints from the Northern European schools demonstrates that their recognition as individual works of art was a rather slow process, whereas a canon of the great printmakers was established almost immediately. The place of Northern printmakers in this canon will be considered, as well as the changing ideas about prints and print collecting from the sixteenth to the twentieth centuries. The most significant collectors for Te Papa's print collection were Bishop Monrad and Sir John Ilott, who together donated more than half of the 164 prints analysed here. While the collecting practices of Monrad and Ilott have been studied individually before, it is worthwhile comparing them and considering their reasons for buying fifteenth- and sixteenth-century Northern European prints in particular. They emerge as collectors with similar financial means, who both made use of agents and had direct contact with dealers. Other private individuals have also emerged as print collectors, who made significant contributions to the collection, yet they have remained mostly unknown until now. In addition to this, Te Papa still has an active policy of purchasing more prints for the collection. Finally the prints themselves are examined in detail, considering both their physical qualities and art historical significance, in order to highlight the strengths of the collection. Some prints from the collection will be analysed for the first time here, as no extensive research has previously been conducted on this particular part of Te Papa's print collection, and some of the prints were added very recently and have thus not been available for viewing until now.</p>

Fifteenth and Sixteenth-Century Northern European Prints at the Museum of New Zealand Te Papa Tongarewa

<p>This thesis examines the collection of fifteenth- and sixteenth-century German, Dutch and Flemish prints at the Museum of New Zealand Te Papa Tongarewa. Beginning with the donation of Bishop Monrad in 1869, prints from the Northern European schools have been added to the collection either through the generosity of private collectors or the museum's direct purchases which continue to the present day. The lives and collecting practices of these collectors are considered, as well as the artists and prints represented in the collection. An analysis of the history of collecting prints from the Northern European schools demonstrates that their recognition as individual works of art was a rather slow process, whereas a canon of the great printmakers was established almost immediately. The place of Northern printmakers in this canon will be considered, as well as the changing ideas about prints and print collecting from the sixteenth to the twentieth centuries. The most significant collectors for Te Papa's print collection were Bishop Monrad and Sir John Ilott, who together donated more than half of the 164 prints analysed here. While the collecting practices of Monrad and Ilott have been studied individually before, it is worthwhile comparing them and considering their reasons for buying fifteenth- and sixteenth-century Northern European prints in particular. They emerge as collectors with similar financial means, who both made use of agents and had direct contact with dealers. Other private individuals have also emerged as print collectors, who made significant contributions to the collection, yet they have remained mostly unknown until now. In addition to this, Te Papa still has an active policy of purchasing more prints for the collection. Finally the prints themselves are examined in detail, considering both their physical qualities and art historical significance, in order to highlight the strengths of the collection. Some prints from the collection will be analysed for the first time here, as no extensive research has previously been conducted on this particular part of Te Papa's print collection, and some of the prints were added very recently and have thus not been available for viewing until now.</p>

Pavel Tretyakov’s activity in the antique art market

Статья посвящена деятельности П.М. Третьякова как одного из участников антикварного художественного рынка второй половины XIX века. Анализ деятельности П.М. Третьякова на антикварном художественном рынке позволяет сделать общие выводы о его предпочтениях в коллекционировании и принципах, которых он придерживался, таких как целенаправленный поиск произведений признанных художников и желание добиться некоторой законченности в покупке работ отдельных мастеров. Остается открытым вопрос о взаимодействии коллекционера с посредниками в покупке картин. Изучение истории собирательства П.М. Третьякова может дать представление об участниках художественного рынка второй половины XIX века. In this article, it seems important to pay attention to P.M. Tretyakov as one of the participants in the antique art market of the second part of the 19th century. The goal of this article is to define general conclusions about the preferences of Pavel Tretyakov’s acquires and to identify an area for further work. Analysis of P.M. Tretyakov in the antique art market allows us to draw general conclusions about his preferences in collecting and the principles that he adhered to, such as a focused search for works by recognized artists and the desire to achieve some completeness in the purchase of works by individual masters. The question remains about the interaction of the collector with the art dealer in the acquiring of paintings. Studying the history of collecting P.M. Tretyakov can give an idea of the participants in the art market of the second half of the 19th century and clarify the provenance of some works.

“Very old Chinese bells, a large number of which were melted down”

In the second half of the 19th century, Buddhist bells from Japan began to arrive in Switzerland. The fact that these were objects listed in the so-called ethnographic collections is not surprising and the history of collecting has been a subject of postcolonial research. However, remarkably, the travel route of these bells, some of which weighed over a ton, could not be documented. Until now, the way how the bells were imported into Switzerland as unknown, and the problem of their provenance unsolved. This article argues that a global history approach provides new insights in two respects: The consideration of materiality allows a new nderstanding of the objects, while the activities of local collectors, seen from a micro-global point of view, reveal the local imprints of the global. Within this rationale, a history of individual bells in the possession of individual art lovers and museums translates into a history of scrap metal trade, allows to consider the disposal of disliked objects at their place of origin, and opens up a global framing of local history. Using global history as a concept, the historicity of the global gains visibility as we look at the intersection of materiality and the local involvement of global networks. Ultimately, as we follow the journey of the bells, reinterpreting scrap metal into art has formed a striking way in which local history assimilates the global.

The History of Collecting and Writing down the Manas Epos

В киргизском фольклоре эпический жанр получил значительное развитие. Среди многочисленных сказок, песен, малых эпосов особое место занимает эпос «Манас». Эпос «Манас», принадлежащий творению киргизского народа, нашел свое бытование как в Киргизской Республике, так и в Китайской Народной Республике, где проживают этнические киргизы. Собирание и запись текстов «Манаса»ввиду его многовариантности и огромных размеров представляло большую научную проблему. В его собирании, публикации и исследовании приняли самое активное участие лучшие представители русской академической науки второй половины ХIХ — начала ХХ века, ведущие советские фольклористы многих национальностей, прежде всего киргизские, а также собиратели и исследователи «Манаса» из Китайской Народной Республики. Цель статьи — рассмотреть историю собирания и фиксации эпоса «Манас» в Киргизии и в Китае. Начало записи эпоса было положено еще в дореволюционное время Ч. Валихановым и В. Радловым и продолжено в советское время К. Мифтаховым, И. Абдырахмановым в Киргизской Республике. Эпос «Манас» популярен и в Китайской Народной Республике, где имеются многочисленные сказители эпоса, выступающие со своими вариантами. Большое внимание уделяется в Китае сбору и записи различных вариантов эпоса. Среди записчиков эпоса широко известна деятельность Балбая Мамая, Лю Фажун, Ху Чжэнхуа, Сакен Өмүр, Лю Чиенву и др. Благодаря их научно-исследовательской работе были записаны материалы многих сказителей. Таким образом, можно констатировать, что проделана огромная и важная работа в области записи вариантов эпоса «Манас» как в Киргизии, так и в Китае. The epic genre plays a significant role in Kyrgyz folklore. The Manas epos is prominent among the numerous tales, songs, and smaller epic works of Kyrgyz folklore. The Manas epos is popular both in the Kyrgyz Republic and in China where people of Kyrgyz ethnicity live. The work of collecting and writing down the Manas epos is a great challenge, for the epic is exceptionally long and versatile. The best Russian scholars of the late 19th — early 20th century, leading Soviet and Chinese researchers of Kyrgyz folklore united their efforts to collect and write down the Manas epos. The aim of the article is to analyze the history of collecting and writing down the Manas epos in Kyrgyzstan and in China. The process of collecting and writing down the epic work started in the pre-revolutionary period by Ch. Vaikhanov and V. Radlov. The work was continued by K. Miftakhov and I. Abdyrakhmanov in the Kyrgyz Republic. The Manas epos is popular in China, where there are many epic storytellers who recite their own variants of the epic. Chinese scholars work to collect and write down various variants of the epic. The most famous epic poetry collectors are Balbay Mamay, Lu Fajun, Hu Jen-hwa, Saken Omur, Lu Chienwu and others. The researchers have managed to write down more than twenty different variants of the epic. They have undoubtedly done great work in the sphere of collecting and writing down the Manas epos in Kyrgyzstan and in China.