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Academic literature on the topic 'Hermitage'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 June 2025

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Journal articles on the topic "Hermitage"

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Корндорф, Анна. "“Скиты” веселой Елизавет: Русские эрмитажи середины XVIII века". ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 11 (22 грудня 2023): 37–60. http://dx.doi.org/10.21900/j.vivliofika.v11.1421.

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The article is devoted to the history of the appearance of garden pavilions and Russian palace chambers also known as "hermitages." The tradition of building hermitages as special-purpose premises, adopted in Russia in the early eighteenth century, had acquired during the reign of Empress Elizabeth Petrovna a meaningful national character and scope. Hereby, this tradition may be considered as one of the major cultural phenomena of that time. At the same time, Russian hermitages were significantly different in their function from the British and continental European hermitages. Their main function throughout the eighteenth century remained that of a private, isolated dining room equipped with a special table volante mechanism that allowed those who had gathered to eat without servants. The article therefore also pays attention to the role of mechanical tables and mechanical amusement machines in the baroque court culture. It also compares the design of Elizabeth Petrovna's dining hermitage in Tsarskoye Selo with European architectural treatises. The reader is also acquainted with the reasons for the development of such functional and iconographic features of Russian hermitage architecture, which occupies a special place in the vast and varied European tradition of hermitage construction.

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Gaiduk, V. L. "AMBER OR RUBBLE? THE STORY OF THE AMATEUR ASSOCIATION “THE HERMITAGE”." Вестник Пермского университета. История, no. 2 (2022): 72–82. http://dx.doi.org/10.17072/2219-3111-2022-2-72-82.

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An increasing amount of investigations and publications in the sphere of the history of the Soviet underground art signifies the expanded interest to this problem. However the history of the Amateur creative associations in the soviet underground has not received all the attention it deserves yet. The analysis of the Amateur creative associations could deepen our understanding of the soviet art process. Thereby the overall goal of this paper is to analyze the history of the Amateur Association "Hermitage", which was created by L. A. Bazhanov in 1986. To provide greater depth of knowledge about the “Hermitage’s” history the great amount of archival sources will be engaged. Among these sources are materials from Tsalim, Tsaopim, the Hermitage archive Fund, which is stored in THE NCCA, and the Fund of the collector Leonid Talochkin. The Hermitage was one of the first Amateur creative associations that received an official status. During its short existence, members of the Hermitage have held ten large-scale exhibitions in the exhibition hall in Belyaevo. “Retrospec-tion” was considered to be the most provocative “Hermitage’s” exhibition. Cu-rators arranged the exposition according to their vision of Soviet post war art. This exhibition made the Department of culture of the MGK raise the issue of the lack of ideological and methodological control over all Amateur societies. The political authorities made a decision to dissolve “Hermitage”. The “Her-mitage” administration made unsuccessful attempts to formalize its activity un-der the patronage of other organizations (the Union of cinematographers, ZNUI). Finally Hermitage was renamed to Center for Art Culture but in a year its administration run out of money and had to eliminate the organization. It appears from conducted research that the party leadership tried to make rela-tionship with Amateur organization but they were unable to accept the new concept of the Museum and exhibition hall, which was promoted by the participants of the "Hermitage". Moreover the revision of the official Soviet art history during Perestroika stepped out of line.

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Grincheva, Natalia. "Beyond State versus Non-state Dichotomy: The State Hermitage Museum as a Russian Diplomacy ‘Hybrid’." Hague Journal of Diplomacy 14, no. 3 (2019): 225–49. http://dx.doi.org/10.1163/1871191x-14401025.

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Summary This article explores the overlooked role of museums in the international arena as playing a dual role in cultural diplomacy. It explores the State Hermitage Museum in Saint Petersburg, Russia, to illustrate an emerging ‘hybrid’ form of diplomacy that cannot be strictly defined as ‘state’ or ‘non-state’. Although the article documents strong ties between the Hermitage Museum and the Russian government, it also reveals the Hermitage’s growing capacity to build productive bilateral cultural relationships with foreign partners, bypassing governmental control. Specifically, the article looks at the international network of Hermitage Foundations as a successful museum international outreach and fundraising campaign that significantly contributes to the Russian government’s efforts in cultural diplomacy. This case offers new empirical findings from the non-Western context, exposing the growing role of museums in contemporary diplomacy.

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Godlewski, Włodzimierz. "Naqlun 2016: Hermitage EE.50 preliminary report." Polish Archaeology in the Mediterranean 26, no. 1 (2018): 159–70. http://dx.doi.org/10.5604/01.3001.0012.1773.

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During the 2016 season in Naqlun, dedicated to an array of specialist studies of material in the storeroom, the team documented one of the hermitages located in the hills west of the monastic compound. The work was necessitated by evident illicit digging which had partly destroyed the compound. The hermitage, which occupied a small valley, appears to have comprised at least three living units, furnished with rock-cut storage pits in the floor and niches in the walls. The doorways and niches bore traces of architectural rendering. The complex may be interpreted tentatively as a residential and religious complex, and it is a good example of a mid-5th century hermitage, the dating confirmed by a study of the pottery assemblage coming from it.

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Hernandez, Jack. "Hermitage." Anglican Theological Review 97, no. 3 (2015): 514. http://dx.doi.org/10.1177/000332861509700315.

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Yosef Calasanza and Gunawan. "Pelestarian Kesenian Debus Banten di Padepokan Maung Pande." SASDAYA: Gadjah Mada Journal of Humanities 7, no. 1 (2023): 1–14. http://dx.doi.org/10.22146/sasdaya.v7(1).1-14.

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Debus is one of the popular arts in Banten society. During the Banten kingdom, in the past Debus art became well-known. Initially, Debus became a medium for spreading Islam in Banten. During the colonial period, debus used against colonial troop. Debus perpetrators who are aware of their immunity to sharp weapons and bullets form a force to confront the colonial army. After independence, Debus developed into an art that is often staged in various events at the regional and national levels. However, recently its popularity has waned. Debus art is not much staged and known in the community. This circumstance has prompted Banten hermitages to promote and preserve Debus arts. This article aims to describe the activities of the hermitage in maintaining the existence of debus as well as activities to preserve the Banten debus art by Padepokan Maung Pande. The data collection method was carried out using qualitative research methods by focusing on data collection on member of the Maung Pande hermitage. The results of the study show that the conservation efforts carried out by the Maung Pande hermitage are carried out by collaborating with schools in Banten province.

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Yosef Calasanza and Gunawan. "Pelestarian Kesenian Debus Banten di Padepokan Maung Pande." Sasdaya: Gadjah Mada Journal of Humanities 7, no. 1 (2023): 1–14. http://dx.doi.org/10.22146/sasdaya.6891.

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Debus is one of the popular arts in Banten society. During the Banten kingdom, in the past Debus art became well-known. Initially, Debus became a medium for spreading Islam in Banten. During the colonial period, debus used against colonial troop. Debus perpetrators who are aware of their immunity to sharp weapons and bullets form a force to confront the colonial army. After independence, Debus developed into an art that is often staged in various events at the regional and national levels. However, recently its popularity has waned. Debus art is not much staged and known in the community. This circumstance has prompted Banten hermitages to promote and preserve Debus arts. This article aims to describe the activities of the hermitage in maintaining the existence of debus as well as activities to preserve the Banten debus art by Padepokan Maung Pande. The data collection method was carried out using qualitative research methods by focusing on data collection on member of the Maung Pande hermitage. The results of the study show that the conservation efforts carried out by the Maung Pande hermitage are carried out by collaborating with schools in Banten province.

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Yudnikova, Alena А. "Features of the artistic embodiment of the image of Opta’s Hermitage Monastery in the essay “K.G.A. Sederholm, Father Clement, hieromonk of Opta’s Hermitage” by Konstantin Leontiev." Vestnik of Kostroma State University 28, no. 2 (2022): 105–10. http://dx.doi.org/10.34216/1998-0817-2022-28-2-105-110.

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The article discusses the features of the artistic embodiment of the image of Opta’s Hermitage Monastery in the essay “K.G.A. Sederholm, Father Clement, hieromonk of Opta's Hermitage” by Konstantin Leontiev. It is shown that the image of Opta’s Hermitage, created in Konstantin Leontiev’s essay, is multifaceted. Its structure includes a description of the monastery and the nature surrounding it, as well as images of monks that form the artistic anthropology of the work. The image of Father Clement is necessary to mention. The article notes that the author's attitude to Opta’s Hermitage, his belief in the monastery’s exceptional spiritual role for the Orthodox world is artistically embodied, in particular, in the lexical content of the essay. In addition, the work compares the artistic embodiment of the image of Optina Hermitage in Konstantin Leontiev’s essay and in Fyodor Dostoevsky’s novel Crime and Punishment. It allows us to conclude that Fyodor Dostoevsky, endowing the image of Opta’s Hermitage with a sacred meaning, deprives it of the picturesqueness and poetry present in Konstantin Leontiev’s essay. The article concludes that Konstantin Leontiev’s essay to a certain extent approaches the essay genre. It is of special, syncretic nature and is of value not only in terms of ideological and philosophical content, but also as an original work of art reflecting the aesthetic views of the writer, his religious quest and philosophical views. The image of Opta’s Hermitage created by Konstantin Leontiev can be included in a number of key topoi that determine the self-awareness of Russian literature.

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Dewi Wahyuni, Ni Made. "PETUGAS PERTAPAAN PADA MASA BALI KUNO BERDASARKAN PRASASTI ABAD KE-9 SAMPAI 12 MASEHI." Forum Arkeologi 29, no. 1 (2017): 33. http://dx.doi.org/10.24832/fa.v29i1.178.

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Inscription is one of written sources about religious life of people in the past. In the inscription from ancient Bali period between the 9th to 12th century AD, it was mentioned the term ‘hermitage’ which used to build self spirituality. This research aims to know what hermitage servants are and their roles based on ancient Bali inscription in 9th to 12th century. The data, both primary and secondary, were collected through literature study. The result is inscription data from 9 to 12th century and artifact evidences in the form of hermitage building. Based on that data it is know that hermitage servants at the time is called ‘samgat wilang patapan’ and ‘samgat tapa haji’, who was responsible to build hermitage, collect tax, maintain and care for the hermitage. Keywords: old bali, hermitage, servants, role. Prasasti merupakan salah satu sumber tertulis mengenai kehidupan religius masyarakat masa lalu. Pada prasasti masa Bali Kuno abad ke-9 sampai 12 Masehi terdapat penyebutan pertapaan, yang dimanfaatkan untuk membina spiritualitas diri. Penelitian ini bertujuan untuk mengetahui petugas pertapaan dan perannya berdasarkan prasasti Bali Kuno abad ke-9 sampai 12 Masehi, yang data-datanya baik primer maupun sekunder, diperoleh melalui studi pustaka. Hasil penelitian ini berupa data-data prasasti abad ke-9 sampai 12 Masehi, dan bukti-bukti artefaktual berupa bangunan pertapaan pada masa tersebut. Berdasarkan data tersebut diketahui bahwa petugas pertapaan pada masa itu disebut sebagai samgat wilang patapan dan samgat tapa haji, yang bertugas membangun pertapaan, pemungut/pengumpul pajak, menjaga, dan merawat bangunan pertapaan.

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MEROPI, KATSANTONI, GANETSOS THEODORE, THEOLOGOS ALEXANDRAKIS, and PANAGIOTIS DOUROS. "PIGMENTS IDENTIFICATION: COMPARATIVE EXAMINATION OF MATERIALS AND TECHNIQUES IN THE HERMITAGE ASCENSION IN PYTHION OF OLYMPUS, GREECE." INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION HUMANITIES AND COMMERCE 04, no. 03 (2023): 235–41. http://dx.doi.org/10.37602/ijrehc.2023.4319.

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Pythion is a settlement of the municipality of Olympus in the regional unit of Larissa. It is located on the southwest side of Mount Olympus, in an amphitheatre position at an altitude of about 725 meters. The word Pythion probably comes from the god Pythian Apollon of Greek mythology. Its oldest name was Selos. The village remains important during the Byzantine period, a fact that is proven by the PostByzantine Hermitages that survive there. These were practised by monks who later manned the monasteries of the area. The best-preserved hermitages are located on the hillside, where the hermitage of the Ascension at the foot and the Holy Cross is a little higher. The hermitage of the Ascension extends into a spacious cave and includes five irregular spaces. The first two rooms are almost outdoors and served as vestibules of the nave. The access to the temple is made through an arched gate. The chapel consists of a chamber whose side walls have two arched openings that communicate with the interior of the cave. The only murals that have survived are of the archangels Michael and Gabriel which are found in the interior of the gate that leads to the temple and dates back to the 14th century (Gialouri et al., 2014). The present research study focuses on the analysis of 14th-century mural pigments using spectroscopic non-destructive techniques pXRF and portable Raman.

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Dissertations / Theses on the topic "Hermitage"

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Gulde, Stellan. "Hermitage : Att leva i obygda territorium." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-160100.

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Jones, Ross M. "The Oxford Hermitage common shrew hybrid zone." Thesis, University of York, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.507556.

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Digout, Amy Erica. "Artful diplomacy : Nicholas I's New Hermitage in the age of the public museum." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609532.

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Digout, Amy Erica. "Courting the West : Nicholas I, cultural diplomacy and the State Hermitage Museum in 1852." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99366.

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The State Hermitage Museum in St. Petersburg as a royal collection and cultural treasury reveals the aesthetic preferences of a nation that has always stood on the cultural and geographical periphery of Europe. Initially an imperial collection under Peter I, patrons of the Hermitage focused attention on collecting canonical European paintings and also emulating Western models of display. In this way, the Russian aristocracy superimposed itself on Europe's culture through the construction of a collection to rival its great European contemporaries.<br>The development of a standardized practice of display has widely been studied in relation to Western museums but similar attention has not been extended to the State Hermitage Museum in St. Petersburg. I argue that Nicholas was able to use objects of art and strategies of display to assert a greater role in the European state system of the mid-nineteenth century. While the supposed transparency conveyed by the collection's public opening was meant to make Russia seem less threatening to Western powers, in reality the yolk of autocracy was as tight as ever.

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Weinschenck, George G. "Wallace Stevens dharma Notes toward a supreme fiction and the view from an island hermitage /." Diss., Online access via UMI:, 2007.

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Esteves, Ana Carina Teixeira Ribeiro Coelho. "Paisagens sagradas: influência de religião. Uma contribuição para o seu estudo." Master's thesis, ISA/UL, 2015. http://hdl.handle.net/10400.5/8509.

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Lawrence, Marilyn Ann. "Wu Wei (1459-1508) and Lu Zhi (1496-1576) : the urban hermitage versus the peach blossom spring." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28101.

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This thesis focuses on two early and middle Ming (1368-1580) artists and deals with the role of Chinese historiography in the perpetuation of the dichotomy between the so-called "professional" and the so-called "scholar-amateur" artist. While traditional Chinese historical and biographical sources are an invaluable tool for the sinologist, including the Chinese art historian, the convention adopted by Chinese historians of casting subjects into standard characterized roles has contributed to this dichotomy and resulted in the ongoing debate over the value of the professional artist in China. Historically, Chinese critics and collectors have made a distinction between professional and amateur artists. The traditional Chinese critical bias has been in favour of the scholar-amateur artist. In fact, in much critical literature there is a stigma attached to professionalism in painting. The major initial Western studies of Chinese painting represented a continuation of the traditional Chinese dichotomies. More recently, various kinds of positions have been taken up by Western scholars. James Cahill suggests that a correlation can be made between an artist's painting style and social and economic factors (such as lifestyle, formal training, means of livelihood, demands of patrons, and so on). Richard Barnhart instead defends the professional artist: He believes that Cahill perpetuates the bias in favour of the amateur artist, and that a correlation between an artist's style and social and economic factors is not useful, being too restrictive and general. Their debate was taken up in a series of letters, and this debate has continued down to the present. Some of the most recent Western interpretations attempt to try to break down the earlier dichotomies, and my research supports this interpretive trend. In this context the thesis examines the life and works of two relatively minor artists of the Ming dynasty, the "professional" artist Wu Wei (1459-1508) and the "scholar-amateur" artist Lu Zhi (1496-1576). I discuss the Chinese biographical tradition and have translated the appropriate texts and biographies. Then by examining the paintings themselves in the context of the two artists' environments — Wu Wei in Beijing and Nanjing and Lu Zhi in Suzhou — I show that both of these artists enjoyed the freedom of working in a wide variety of different painting traditions. Early and middle Ming painting criticism is also examined, in addition to the influence of Late Ming (1580-1644) painting criticism and its effect on our perception of Chinese artists. In terms of style, aesthetics, and intellectual outlook, Wu Wei and Lu Zhi may, at first, appear to stand at opposite poles. However, my study of the life circumstances of Wu Wei and Lu Zhi reveals that they share surprisingly similar backgrounds, concerns, and views on their artwork. In addition, an examination of the works of these two artists suggests that a greater fluidity of style and of subject matter existed in the early and middle Ming period than one would expect from the theories based on Late Ming criticism. In other words, the distinction between professional and scholar-amateur artists is overdrawn: Wu Wei and Lu Zhi do not fit neatly into the later understandings of accepted categories or roles, nor do their paintings entirely accord with the theories originating in the Late Ming Period.<br>Arts, Faculty of<br>Art History, Visual Art and Theory, Department of<br>Graduate

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Lewis, Daniel B., Whitney L. Nelson, Henri D. Grissino-Mayer, Edward R. Cook, and Robbie D. Jones. "Dendrochronological Dating Of Eastern Red Cedar (Juniperus Virginiana L.) Logs From Alfred's Cabin, The Hermitage, Home Of President Andrew Jackson." Tree-Ring Society, 2009. http://hdl.handle.net/10150/622596.

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Alfred Jackson was an enslaved African American born on The Hermitage plantation (outside Nashville, Tennessee) of President Andrew Jackson around 1810, and lived most of his life on the plantation. Staff from The Hermitage wished to better understand and interpret lifeways of those once enslaved on the plantation, but the date of construction of Alfred’s Cabin first had to be determined. Was it built when Alfred was enslaved or was a freedman? We extracted nearly 100 core samples from eastern red cedar logs used to construct the cabin. Of these, 39 cores were used to develop a master tree-ring chronology for the cabin. Crossdating of the Alfred’s Cabin chronology was accomplished using an eastern red cedar chronology developed by the Lamont-Doherty Earth Observatory Tree- Ring Laboratory at Columbia University in Palisades, New York. The 39 series from Alfred’s Cabin resulted in a high-quality master tree-ring chronology, with an average inter-series correlation of 0.66 and an average mean sensitivity of 0.28. Graphical (skeleton plot and line plot) comparison and statistical crossdating with COFECHA anchored the Alfred’s Cabin chronology firmly between 1749 and 1842 (r = 0.45, n = 94 yrs, t = 4.83, p < 0.0001). Cutting dates of these 39 trees ranged from 1841 to 1843. This latter date indicates that the final trees used to construct the cabin were harvested in spring or early summer of 1843, with final construction of Alfred’s Cabin occurring soon after.

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Smith, Robert David. "Rhythm, Grid and Collage: Building a Design Business Incubator." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1539.

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The idea of rhythm as applied to interior space is the basis for this thesis. The site is an old warehouse with a structure that contains a repetitive rhythm in the form of a columnar grid and a corresponding fenestration pattern, yet the building also has an atypical wedge shape. The program is a design business incubator, a place where design business startups, recent graduates of Virginia design programs, can begin their design careers and find their rhythm in a cooperative and supportive environment, a collage of design businesses, if you will. Rhythm is essential in our lives, from the beating of our hearts to the rising and setting of the sun. Rhythm is also essential to spatial design. Our built environments require some form of pattern in order to help create a sense of stability and familiarity with our surroundings. Whether in music or painting, poetry or design, rhythm starts with simple repetition. But rhythm moves beyond mere repetition to include a diverse assortment of elements. The more complex a rhythm, the more we can become involved with that rhythm and consequently with the object that provides the rhythm. How does rhythm translate into space and time? How is it possible to develop a more complex and expressive rhythm in a particular space? What might be considered more expressive? How can this old warehouse function as a design business incubator while new rhythms are introduced into the mix of old rhythms through the fulfillment of this program and thereby create a collage of space?

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Masson, Philippe. "L’Erémitisme dans les diocèses champenois et lorrains fin XVIe- courant XIXe siècle." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20115/document.

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L’ermite est celui qui se retire du monde pour rencontrer Dieu. Le phénomène accompagne l’Eglise tout au long de son histoire. En Champagne et en Lorraine, l’anachorétisme apparaît particulièrement dynamique à trois époques : fin Ve siècle-fin VIIe siècle, fin Xe-XIIe siècle et fin XVIe-fin XVIIe siècle. Cette dernière ère constitue l’âge d’or du mouvement.Les raisons du renouveau de l’érémitisme dans la seconde moitié du XVIe siècle sont multiples. Toutefois, la production littéraire du temps fait l’apologie de la solitude. Le succès de courants spirituels (dévotio moderna et spiritualité espagnole) favorables à la solitude est réel. Les facteurs conjoncturels favorisent le phénomène. Les guerres de Religion, la Ligue conduisent au désir de rompre avec un monde de brutalité. Intervient également l’état du clergé régulier. Dirigé vers la pastorale ou pas encore réformé il ne satisfait pas ceux recherchant la solitude, d’autant que les règles monastiques constituent pour certains un cadre par trop rigide. Enfin, par leur aura, quelques ermites suscitent des vocations. Au XVIIe et au début du XVIIIe siècle, la littérature et les arts diffusent une image positive de l’ermite. Mais il s’agit d’un ermite ancien ou lointain. L’ermite contemporain subit de critiques, la première d’entre elle étant une indépendance d’état et d’esprit malvenue dans une société d’ordre. En conséquence, l’encadrement des solitaires dans les premières décennies du XVIIe siècle prend la forme extrêmement originale de congrégations diocésaines d’ermites à Langres (1623) et Toul (1655 et 1676).Les 410 ermitages répertoriés en Lorraine est en Champagne à l’aube du XVIIIe siècle montrent le succès de l’érémitisme. Mais le résultat n’est pas homogène dans l’espace. L’érémitisme est surtout présent et actif dans les diocèses de Toul, de Metz et de Langres. Les diocèses de Verdun, Reims et surtout Châlons et Troyes s’avèrent nettement moins touchés. Là influent les particularismes locaux : l’importance du protestantisme et du jansénisme dans ces diocèses crée une concurrence spirituelle défavorable à l’érémitisme et la personnalité de l’évêque, lorsqu’il n’est pas favorable aux ermites, tel Le Tellier à Reims prend tout son poids. L’étude des ermitages dans la géographie du sacré ébranle le mythe de l’ermitage loin de tout. L’ermite, issu le plus souvent des catégories sociales moyennes ou inférieures, a un itinéraire de vie parfois complexe (veuvage, pauvreté). Sa spiritualité, souvent commune à celle du peuple chrétien, s’avère parfois exceptionnelle et il est alors vu comme un saint.La décennie 1670 marque nettement le début d’une ère défavorable aux ermites. L’archevêque de Reims puis les évêques de Metz et de Verdun interdisent toute vie érémitique dans leurs diocèses. Les Lumières moquent les ermites dans leurs forêts. Pourtant, leur qualité est établie. L’érémitisme décline au XVIIIe siècle et disparaît quasiment durant la Révolution. Les ermites sont expulsés et les ermitages saisis puis vendus. Quelques ermites sont encore avérés au XIXe siècle. Souvent l’ermitage est détruit après la mort du dernier ermite et ne subsiste que la chapelle. L’érémitisme disparait physiquement pendant que la littérature et l’art perpétuent un ermite imaginaire<br>Hermit leaves the world for meeting God. This fact that accompanied the Church all the long of her history. In Champagne and Lorraine, eremitical life appears especially dynamic at three times : end of 5th century to end of 7th century, end of 10th to 12th century and end of 16th to end of 17th century. This last era is the golden age of the movement. Reasons of revival of eremitical life in the second half of 16th century are manies. Books praise of solitude. The success of spiritual currents (dévotio moderna and spanish spirituality) favorable to solitude is real. Climate factors favour the movement. Wars of Religion, the League lead to the desire to leave a world of violence. The state of regular clergy plays a part too. Send to the pastoral or not yet reformed, it is not satisfactory for peoples who search solitude, all the more that monastic rules are for some peoples a too rigid framework. Finally, some hermits have an aura and arouse vacations.In the 17th and in the beginning of the 18th century, literatur and arts spread a positiv picture of hermit. But it’s mean an old or faraway hermit. The contemporary hermit is criticized. The first is an independent spirit out of place in an order society. So, supervision of hermits in the first decades of the 17th century is made by diocesan congregations at Langres (1623) and Toul (1655 and 1676).The 410 hermitages listed in Lorraine and Champagne at the beginning of the 18th century show the success of eremitical life. But the result is not homogenous in the space. eremitical life is principally present ant active in dioceses of Toul, Metz and Langres. Dioceses of Verdun, Reims and above Châlons and Troyes are clearly less concerned. Here play regional idiosyncrasies : importance of protestantism and jansenism in these dioceses create a spiritual competition unfavorable to eremitical life and the personality of the bishop, when he’s in disfavor about hermits, as Le Tellier at Reims, take a big importance.The study of hermitages in sacred geography shake the myth of hermitage faraway of all. The hermit, often born in lower or middle social classes, has a career sometime complex (widowerhood, poverty). His spirituality is often the same of Christian people but sometime exceptional and he is seeing as a saint.The 1670 decade is the beginning of a time disfavor to hermits. The bishops of Reims then Metz and Verdun forget hermits in their dioceses. The Age of Enlightenment makes fun of hermits in their woods. Nevertheless their quality is proved. Eremitical life declines at the 18th century and miss practically behind the French Revolution. Hermits are expelled and hermitages sold. Some hermits exist at the XIXth century. Often, the hermitage is broken after the death of the last hermit. Only the chapel remains. Eremitical life miss physically but literature and art perpetuate an imaginary hermit

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Books on the topic "Hermitage"

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Scotland, Historic, ed. Hermitage Castle. Historic Scotland, 2003.

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Nina, Tarasova, Butiaghin Alexander, and Gosudarstvennyĭ Ėrmitazh (Russia), eds. The Hermitage. Ivan Fiodorov Art Publishers, 2003.

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Miśra, Manuja Bābu. Atelier hermitage. Nepal SahityaPrakashan Kendra, 2004.

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Bridgland, Nick. Hermitage Castle. Historic Scotland, 1996.

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Sonia, Alland, ed. The hermitage. Northwestern University Press, 2001.

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Medina, Valle. Paris Hermitage. Pa. LaC. E., 2016.

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McEvoy, Marjorie. The hermitage bell. Magna, 1987.

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Bradbury, Malcolm. To the hermitage. Picador, 2000.

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Afanasʹeva, V. K. (Veronika Konstantinovna), ed. The State Hermitage: Guide. Slavia, 2000.

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V, Kudri͡a︡vt͡s︡eva S., and Gosudarstvennyĭ Ėrmitazh (Russia), eds. The Hermitage picture gallery. Alfa-Colour Art Publishers, 1999.

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Book chapters on the topic "Hermitage"

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Maunder, Andrew. "At the Hermitage." In Varieties of Women's Sensation Fiction, 1855-1890 Vol 2. Routledge, 2024. http://dx.doi.org/10.4324/9781003548942-46.

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Tobias, Michael Charles, and Jane Gray Morrison. "The Final Hermitage of Ideals." In On the Nature of Ecological Paradox. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64526-7_85.

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Roffey, Simon. "The Desert Hermitage in Early Christianity." In An Archaeological History of Hermitages and Eremitic Communities in Medieval Britain and Beyond. Routledge, 2023. http://dx.doi.org/10.4324/9780429024559-5.

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Roffey, Simon. "The ‘Afterlife’ of the Medieval Hermitage." In An Archaeological History of Hermitages and Eremitic Communities in Medieval Britain and Beyond. Routledge, 2023. http://dx.doi.org/10.4324/9780429024559-15.

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Tredennick, Linda. "‘One Another’s Hermitage’: New Formalist Pedagogy." In New Formalisms and Literary Theory. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137010490_11.

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Greene, Liz. "Saturn in the hermitage, part one." In The Astrological World of Jung’s Liber Novus. Routledge, 2018. http://dx.doi.org/10.4324/9781315267333-5.

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Greene, Liz. "Saturn in the hermitage, part two." In The Astrological World of Jung’s Liber Novus. Routledge, 2018. http://dx.doi.org/10.4324/9781315267333-6.

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Roffey, Simon. "The Religious Context of the Medieval Hermitage." In An Archaeological History of Hermitages and Eremitic Communities in Medieval Britain and Beyond. Routledge, 2023. http://dx.doi.org/10.4324/9780429024559-12.

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Stepanova, Elena. "Seals of Cyprus from the Hermitage Collection." In Studies in Byzantine Sigillography Volume 12, edited by Jean-Claude Cheynet and Claudia Sode. De Gruyter, 2016. http://dx.doi.org/10.1515/9783110474589-009.

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Huber, Hella. "The “Japanese Cabinet” in the Old Hermitage Palace Bayreuth." In Investigation and Conservation of East Asian Cabinets in Imperial Residences (1700-1900). Böhlau Verlag, 2015. http://dx.doi.org/10.7767/9783205201922-004.

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Conference papers on the topic "Hermitage"

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Duplinskii, Aleksandr, Kaden Bearne, Jernej Frank, and Alexander Lvovsky. "Hermite-Gaussian imaging with scanning illumination." In Quantum Communications and Quantum Imaging XXII, edited by Keith S. Deacon and Ronald E. Meyers. SPIE, 2024. http://dx.doi.org/10.1117/12.3028213.

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Badavath, Purnesh Singh, and Vijay Kumar. "Angular Dependent Classification Accuracy of Hermite-Gaussian Speckle Field." In Frontiers in Optics. Optica Publishing Group, 2024. https://doi.org/10.1364/fio.2024.jd4a.41.

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The classification accuracy achieved by the custom-designed 1D CNN trained on 1D Hermite-Gaussian far-field speckle information is found to be angular dependent along the mapped 1D speckle information angle.

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Liu, Hongyu, Lisong Yan, Hongshan Chen, et al. "Generation of high-order femtosecond vortices up to the 10th order from a powerful mode-locked Hermite-Gaussian laser." In CLEO: Science and Innovations. Optica Publishing Group, 2024. http://dx.doi.org/10.1364/cleo_si.2024.sw4a.3.

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We present a mode-locked Hermite-Gaussian Yb:KGW laser oscillator. The average powers and pulse durations of vortex pulses up to 10th via astigmatic mode conversion are several hundred milliwatts and less than 500 fs, respectively.

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Benzimoun, Bilal, Abdelali Sajia, and Xiao-Feng Qian. "Superresolution of three point-sources assisted with machine learning." In Frontiers in Optics. Optica Publishing Group, 2024. https://doi.org/10.1364/fio.2024.jtu4a.47.

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We demonstrate super-resolved localization of three point sources with the assistance of a machine learning model that is based on the decomposition of the source signal into Hermite Gaussian modes. High fidelity of over 80% is achieved.

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Niu, Yuming, and Kai Wang. "Inverse-Designed Metasurface for Multidimensional Spatial State Reconstruction." In Novel Optical Materials and Applications. Optica Publishing Group, 2024. http://dx.doi.org/10.1364/noma.2024.now2d.3.

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We report inverse-designed nonlocal metasurfaces for transforming multidimensional states of light represented in the Hermite-Gaussian basis into optimally designed spatial states, where a simple imaging can accurately extract the full multidimensional state including amplitude, phase, and coherence.

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Niu, Yuming, and Kai Wang. "Inverse-Designed Metasurface for Multidimensional Spatial State Reconstruction." In Frontiers in Optics. Optica Publishing Group, 2024. https://doi.org/10.1364/fio.2024.jw4a.25.

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We report inverse-designed nonlocal metasurfaces for transforming multidimensional states of light represented in the Hermite-Gaussian basis into optimally designed spatial states, where a simple imaging can accurately extract the full multidimensional state including amplitude, phase, and coherence.

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Никитин, А. Б., and В. А. Гаибов. "Seleucid Bullae in the State Hermitage Collection." In Hypanis. Труды отдела классической археологии ИА РАН. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-307-7.119-141.

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Селевкидские буллы это небольшие куски глины или битума, крепившиеся к документам, обычно контрактам или налоговым счетам. Многие из булл несут на себе следы веревок (шнуров) или отпечатки папирусных свитков. Их поверхность покрыта оттисками печатей магистратов и свидетелей. Оттиски печатей на селевкидских буллах разнообразны. Изредка встречаются царские печати с изображениями правителей. Официальные печати содержат надписи: обозначение должности, административной единицы (например, название города), дату по эре Селевка (начиная с 312 г. до н.э.). Печати частных лиц, выступавших свидетелями, чаще всего анэпиграфны. На них изображались божества греческого пантеона, животные, реальные и фантастические, мужские и женские портреты, различные предметы. Селевкидские буллы происходят с территорий, в прошлом принадлежавших империи Селевкидов это Месопотамия и Сирия. Многочисленные буллы из разных музейных коллекций и найденные при раскопках месопотамских городов уже опубликованы. В Эрмитаже хранятся пятнадцать селевкидских булл, предположительно привезенных И.М. Дьяконовым из Кембриджа в 1954 году с 23го Международного конгресса востоковедов. Точных сведений о происхождении эрмитажных булл нет. Особый интерес среди них представляют два оттиска печатей, принадлежащие магистратам города Урук, ответственным за налоги, а также оттиск с указанием даты по эре Селевка (булла ДВ19114). Сюжеты, представленные на публикуемых буллах, весьма разнообразны, но в целом они не выходят за пределы обычных для печатей эллинистического времени изображений. Примечателен тот факт, что на парфянских буллах из Старой Нисы и из раскопок Гёбеклы-депе в Маргиане мы встречаем оттиски печатей с аналогичными сюжетами, что иллюстрирует преемственность традиций парфянской сфрагистики. Seleucid bullae are small lumps of clay or bitimen attached to documents, usually contracts or tax accounts. Many of them bear traces of cords or impressions from rolls of papyrus. They also bear impressions of seals belonging to officials or witnesses. The impressions are various. There are rare royal sealings with portraits of monarchs. Official seals often bear inscriptions indicating the owners office, administrative unit (the name of the city, for example) and date according to the Seleucid era (from 312 B.C.). Seals of private persons acting as witnesses most often have no inscriptions. They represent deities of the Greek Pantheon, animals, real and fantastic male and female portraits, different other objects. Seleucid bullae originate mainly from territories belonging in the past to the Seleucid kingdom - Mesopotamia and Syria. Numerous bullae from museum collections and from archaeological excavations have been already published. In the Hermitage Museum there are fifteen Seleucid bullae presumably brought by I.M. Diakonoff from Cambridge from the 23rd International Congress of Orientologists. Most interesting among these are two sealings of the magistrates of the city of Uruq responsible for taxes and one dated sealing (DV-19114). The images represented on the Hermitage bullae are various, however they all belong to the traditional circle of Hellenistic images. It is noteworthy that on Parthian bullae from Old Nisa and Goebekly-depe in Margiana there are many sealings with similar images illustrating the continuity of the Hellenistic-Parthian sphragistic tradition.

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LANNIE, MY, and CA SHIRZETSKY. "ACOUSTICS OF THE HERMITAGE THEATRE IN ST. PETERSBURG." In Auditorium Design at the Millennium 1997. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/19075.

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Patti, Daniela. "HOLY LANDSCAPE AND SACRED PLACES ON GARGANO (APULIA). ST. NICHOLAS HERMITAGE." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/22/s07.020.

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Hookk, D. "Web Analytics as a tool for analyzing a network resource with a variety of sources on the archaeological research materials." In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1837.978-5-317-06529-4/384-390.

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Despite the already introduced concept of Webometrics, the visitors counter has considered as a main indicator of the effectiveness of the museum open sources. The article presents the statistical data and observations made during the work on the start-up project “Digital Encyclopedia of the Hermitage. Vol. 1. Archaeology”, as well as during the COVID-19 quarantine period, when communication with virtual visitors became a priority in museums.

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Reports on the topic "Hermitage"

1

O'brien, S. J., W. L. Dickson, and R. F. Blackwood. Geology of the Central Portion of the Hermitage Flexure area, Newfoundland. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1986. http://dx.doi.org/10.4095/121089.

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Cai, Yongyang, and Kenneth Judd. Dynamic Programming with Hermite Approximation. National Bureau of Economic Research, 2012. http://dx.doi.org/10.3386/w18540.

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Sandri, G. H. Convergence of the Hermite Wavelet Expansion. Defense Technical Information Center, 1992. http://dx.doi.org/10.21236/ada271435.

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Bekar, Kerim. Hermite–Hadamard Type Inequalities for Trigonometrically P‑functions. "Prof. Marin Drinov" Publishing House of Bulgarian Academy of Sciences, 2019. http://dx.doi.org/10.7546/crabs.2019.11.01.

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Herman, Martin, and Rama Chellappa. A reliable optical flow algorithm using 3-D hermite polynomials. National Institute of Standards and Technology, 1993. http://dx.doi.org/10.6028/nist.ir.5333.

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Manzini, Gianmarco, and D. Funaro. Stability and Conservation properties of Hermite-based approximations of the Vlasov-Poisson System. Office of Scientific and Technical Information (OSTI), 2021. http://dx.doi.org/10.2172/1788400.

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Nuttall, Albert H. Evaluation of Densities and Distributions via Hermite and Generalized Laguerre Series Employing High-Order Expansion Coefficients Determined Recursively via Moments or Cumulants. Defense Technical Information Center, 1985. http://dx.doi.org/10.21236/ada153950.

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