Pendampingan perancangan ruang pamer museum dr.AK.Gani pada pameran bersama Museum Negeri Sumatera Selatan

A successful exhibition cannot be separated from the proper arrangement of the exhibition space. A good exhibition space arrangement will generate interest from exhibition visitors. Moreover, what if the exhibition is a museum exhibition. The arrangement of museum exhibitions requires a more complex arrangement. South Sumatra Province held a joint exhibition which various state museums throughout South Sumatra attended. Because various museums attend it, a good exhibition space arrangement is needed to present an optimal exhibition space so that it is attractive to visitors and is not inferior to other museums in the exhibition. Therefore, this service aims to assist dr.AK.Gani Museum as a partner to organize its exhibition space to make it more optimal. The community service activities offered at this activity are assistance in designing informative brochures and showing off collections. Exhibition activities went well and safely following health protocols during the COVID-19 pandemic, attended by various students and the general public. The activity method includes focus group discussions, exhibition room design, and effective exhibition space design implementation to produce the dr.AK.Gani Museum exhibition design has been implemented at the 2020 Joint Exhibition at the South Sumatra State Museum

Macromycetes of the State Museum-Reserve «Kulikovo Field» vicinities

The paper presents the combined results of studies of the macromycetes found in the vicinities of the state museum-reserve «Kulikovo Field» for 2000–2017. The annotated list includes 375 species of macrofungi from the Ascomycota and Basidiomycota phyla. 5 species included in in the second edition of the Red Data Book of Tula Region are marked.

Słownictwo obozowe w przekładzie ustnym na terenie Państwowego Muzeum Auschwitz-Birkenau w opiniach tłumaczy i hiszpańskojęzycznych zwiedzających

Nazi Concentration Camp Vocabulary in Oral Interpreting in the Auschwitz-Birkenau State Museum in the Opinion of Interpreters and Spanish-Speaking Visitors The article presents some of the results obtained as part of multi-stage research project that was carried out in 2018-2020. Its purpose was to collect information on interpreting performed for visitors at the Auschwitz- Birkenau State Museum. The article discusses the difficulty of translating the camp vocabulary when performing the above-mentioned interpreting. Thirty interpreters shared their views on the oral translation as well as 96 visitors, for whom the information during the tour was provided by a Spanish speaking interpreter.

Авторские дополнения «Этюдов по истории приволжских калмыков» Н. Н. Пальмова 1929–1932 гг.

Introduction. The article examines additional comments (1929–1932) made by Professor N. N. Palmov on his Essays on the History of the Volga Kalmyks (1926). Goals. The study seeks to introduce this new material which shows the scholar’s persistent interest in the subject and, at the same time, contributes to a better understanding of the history of the Kalmyk Khanate. Materials and Methods. The research involved the identification of the chronological framework of the handwritten material, its categorization into thematic blocks, and contribution to the subject. Results. In the library of Astrakhan State Museum of Historical Archives, the authors discovered thirty seven handwritten additions made by Palmov on the pages of his copy of Essays on the History of the Volga Kalmyks, vols. I–II. These were made between 1929 to 1932 when the scholar apparently continued his studies on the subject using the materials of Astrakhan Kalmyk Archives and scientific literature. The author’s comments covering the period up to the 1760s contain valuable data on the 1702 conflict between Khan Ayuka and his sons and provide detail on the feudal conflict of 1724. Also, Palmov provides additional evidence on Noyon Donduk-Ombo’s activities during the period of feudal wars and, later, when he was Kalmyk Khan. Finally, the comments include important data on the foreign policy of the Kalmyk Khanate, chiefly the history of its interaction with the Dzungar Khanate in the 17th–18th centuries. Conclusions. Palmov’s handwritten comments discovered on the pages of his Essays on the History of the Volga Kalmyks are a significant contribution to his scientific heritage that sheds light on the history of feudal strife in the Kalmyk Khanate in the 1720s–1730s.

INTERVIEW BETWEEN IRINA N. SEDOVA — HEAD OF SCULPTURE DEPARTMENT AT THE STATE TRETYAKOV GALLERY, AND ALEXANDER N. BURGANOV — AN OUTSTANDING RUSSIAN SCULPTOR, NATIONAL ARTIST OF RUSSIA, THE ACADEMICIAN OF THE RUSSIAN ACADEMY OF ARTS, DOCTOR OF ART HISTORY, PROFESSOR, DIRECTOR OF THE MOSCOW STATE MUSEUM BURGANOV HOUSE

The journal traditionally opens with an academic interview. In this issue, we present an interview between Irina N. Sedova — head of Sculpture department at The State Tretyakov Gallery, and Alexander N. Burganov — an outstanding Russian sculptor, National Artist of Russia, the academician of the Russian Academy of Arts, doctor of art history, professor, director of the Moscow State Museum Burganov House. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which combined a personal exhibition, a screening of an author’s film and a dialogue with the audience in the format of an interactive interview.

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)

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.

Hitherto Unknown Technology of Bronze Age Inlay

Daggers discovered at Tserovani cemetery of the Bronze Age - prominent specimens of decorative-applied art selected for the new exhibition of the Museum of Archaeology of the State Museum-Reserve of Greater Mtskheta – were submitted to the restoration-research laboratory of archaeological and ethnographic objects of S. Janashia Museum of Georgia of the Georgian National Museum because of repeated corrosion in some areas. Dagger N7232 is composed and its handle is abundantly incrusted with vitreous mass. Most of the incrustation is produced with the method of melting vitreous mass inside a metal cutting. A strange exception is white circular inlay against blue background situated in three triangular cuttings. One of incrustations is damaged. The remnants were found in the cut of damaged incrustation were the vitreous mass and small grey, tubular rods made of 94% tin and 4% copper alloy (pewter) fitted in a wooden remnant. Research allowed us to interpret presumable methods and prominence of producing incrustation: white glass embedded in circular silver partitions against the background of blue glass. The analyses showed that the dagger was made from the typical for the late bronze period alloy- tin bronze. The artefacts, with all signs of historical development (technology, decoration methods, and ornamental motives) belong to the Colchian culture and can date in frame of this culture. Based on the presently available data it can be stated that we are dealing with a completely new technology unknown up to present and that it can be regarded as predecessor of the cloisonne incrustation.

BIODIVERSITI DAN PEMULIHARAAN TERUMBU KARANG DI TIGA BUAH PULAU, MELAKA (Biodiversity and Conservation of Coral Reefs in Three Islands in Malacca)

In the state of Melaka, there are eighteen islands recorded by the Melaka State Museum Corporation (PERZIM). Part of this island serves as a tourist island, and developed islands are also uninhabited islands. However, three islands are recorded to have amazing coral reefs that are still in good condition. The Penang Batu Maung Fisheries Research Institute (AkuaTAR) has conducted a study on the biodiversity of coral reefs around the waters of Pulau Dodol, Pulau Serimbun, and Pulau Undan. AkuaTAR researchers are using scuba diving methods, and at the same time, they did conservation on coral reefs that have been identified in the waters of the Straits of Melaka. The objective of this study is to record the types of community forms such as living corals and identify the species of coral reefs found in three islands in the state of Melaka in Pulau Undan, Pulau Dodol, and Pulau Serimbun. The study also implemented method observation by conducting field studies on the islands involved by doing scuba diving. Results and discussion of the search, these three islands are located in very clean, uninhabited waters. They have a wide range of coral biodiversity using soft coral reefs and hard coral reefs. The study also found that the three islands in the state have the largest coral reefs in the waters of the Straits of Melaka. Keywords: Biodiversity; Conservation; Coral; Three island; Melaka

Virtual tour of Circassian costume exhibition created by Madina Hatsukova

This article explores the works of the famous Kabardian fashion designer Madina Alisagovna Hatsukova, whose costumes are worn by the guards of the King of Jordan, artists of Kabardino-Balkaria and Karachay-Cherkessia, prominent statesmen of the Chechen Republic, popular singers and musicians, and numerous ladies for their wedding ceremonies. The article represents a panoramic overview of the works of Madina Hatsukova, taking into account all aspects of interest of the designer. Description is given to various types of activity of the fashion designer – from hand embroidery and lace weaving to creating sewing patterns and scientific research on decoding of the ornaments in the museum samples of ancient costumes. This publication is inspired by the Madina Hatsukova’s personal exhibition “Princess of the Sun”, held in the North Caucasus branch of the State Museum of Oriental Art in Maykop in September-October 2021. The novelty of this article consists in comprehensive analysis of the works of Madina Hatsukova, which are widely known in North Caucasus and not so much to the Russians audience interested in modern ethnic costume. Although Madina’s works are intentionally limited to the traditional patterns and configuration, she experiments with different types of fabrics, their combinations and color solutions. National costume for a symbol of cultural revival, rather than a symbol of the past; it is the symbol of ethnic identification. Madina Hatsukova contributes to high symbolic load of the traditional costume, forms empathy of not only Circassians, but the entire multicultural population of the Russian Federation.