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Journal articles on the topic 'Museum with live exposition'
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1
Anisimova, Margarita Vyacheslavovna. "The section of history and everyday life in the Russian Museum: establishment, development, and liquidation." Исторический журнал: научные исследования, no. 4 (April 2020): 108–17. http://dx.doi.org/10.7256/2454-0609.2020.4.33047.
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The subject of this research is activity of the section of history and everyday life of the State Russian Museum established in 1918. The department devised a new theme – history of everyday life and its visualization in museum expositions, which was natural development of the Russian historical science. Intended to preserve and actualize the history of everyday life of different social classes, it shared fate of multiple national museums of everyday life: exhibitions that tool place in the 1920s were cancelled; in the late 1930s, the collections were transferred to museums of different categories, such as the State Museum of Revolution, the State Museum of Ethnography of the Peoples of the USSR. However, the section of history and everyday life did not cease to exist, and in 1941 merged into the State Hermitage Museum as an independent structural department of the history of Russian culture. Leaning on the new archival sources, an attempt was made to elucidate the work of the department of history and everyday life along with its branches in conditions of difficult political situation in the country during the 1920s – 1930s. Initially, the primary task of the department consisted procurement of the funds with the items from nationalized manor houses; later in consisted in exposition of the collection; and then due to the absence of the unified state institution for regulation of questions of preservation of historical and cultural heritage, the activity was focused on preventing scattering of the collections. After the First Museum Congress in 1930, the museums were recognized as the means of political-educational propaganda, which let to countrywide stagnation of expositional and exhibition activity of the museums. The museums of history and everyday life, being the mixed type museums, were incapable of resisting new realities, and thus re-specialized into museums of history and art or liquidated completely.
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Terebilov, Maxim G. "Reconstructing the everyday culture of medieval society in the museum exposition." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 96–100. http://dx.doi.org/10.30725/2619-0303-2021-2-96-100.
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The issue of representing the everyday culture of archaic societies in the museum exposition is quite relevant for modern museology. The culture of everyday life itself plays an important role in studying history of culture as well as the existence of society in different historical periods; therefore its museum interpretation requires particular emphasis. The author reflects on things, which distinguishes historical, long-defunct everyday live culture, artificially created in the exposition of the open-air museum, from the modern, original one, which is being saved by various ecomuseums. In addition, the article identifies three forms of expression of everyday culture, examines the possibilities of its reconstruction, relationship with each other and with the museum itself in the process of creating a general picture of medieval society’s life. Thus, the reconstruction of everyday culture appears to be a strictly historical phenomenon, which is impossible without theatricalization and other creative elements
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Golikov, Kirill, Ekaterina LAPTEVA, and A. SOCHIVKO. "LIVE PLANTS AS AN ADDITIONAL BOTANICAL COMPONENTOF THE THEMATIC EXPOSITION IN THE EARTH SCIENCE MUSEUM AT MOSCOW STATE UNIVERSITY." LIFE OF THE EARTH 42, no. 4 (November 25, 2020): 478–84. http://dx.doi.org/10.29003/m1777.0514-7468.2020_42_4/478-484.
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The article discusses the use of live plants as the botanical exposition component supplement of the “Natural areas” (hall № 17 “Natural zonality and its components” and № 20 “Desert, subtropical, tropical countries, high-altitude zone”) and “Physico-georaphic regions” (hall № 24 “Continents and parts of the world”) departments in order to visualize information presented in the Earth Science Museum. Demonstration of plants originating from different regions of the world representing different life forms and being structural components of various plant communities allows to visually characterizing thematic aspects of an exposition. That in turn reveal such principles of systematic nature organization as ecobiomorphic and phytocenotic.
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Grinko, Ivan A. "Underground space and contemporary museum." Вестник антропологии (Herald of Anthropology) 47, no. 3 (September 5, 2019): 197–203. http://dx.doi.org/10.33876/2311-0546/2019-47-3/197-203.
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Recently, museum designers engaged in exploring dungeons, following archaeologists and diggers. Such interest in transformation of the underground space into a museum space has not yet been sufficiently analyzed, so the article considers a variety of examples from the modern practice of turning underground spaces into museums. In addition to sociocultural examples related to the special features of the urban space or the preservation of a unique landscape, I would like to draw special attention to the importance of archetypes associated with underground spaces when designing a modern museum exposition.
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Stehlík, Michal. "Exhibition Policy of the National Museum 2017−2020." Muzeum: Muzejní a vlastivedná práce 55, no. 3 (September 1, 2017): 69–72. http://dx.doi.org/10.1515/mmvp-2017-0039.
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Abstract The National Museum (NM) is preparing several temporary exhibitions in all of its buildings, along with preparing new permanent exhibitions in the New and Historical Buildings. All parts of the National Museum are incorporated in the preparation of new exhibitions, i.e. the Historical Museum, Natural History Museum, Czech Museum of Music, Náprstek Museum and the National Museum Library. In 2017, these exhibition projects are: Light and Life, Masaryk as a Phenomenon, and Indians. In 2018, the National Museum will present the Czech-Slovak / Slovak-Czech exhibition, which will reflect the 100th anniversary of the founding of Czechoslovakia, together with selected moments of Czechoslovakian history and the relationship of these two nations. 2019 could bring the opening of the grand Egyptology exposition Sun Kings and also new Natural history expositions. The remaining permanent expositions should be opened in 2020. The exhibitions in this period will likely recall some important anniversaries (1620, 1920). In future years, the renovation of the Czech Museum of Music and Náprstek Museum will take place.
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Amosova, Alisa A., and Tat’iana M. Konysheva. "“The Object ‘Pavilion’”: The re-exposure in the bunker in Smolny in honor of the 75th anniversary of the victory in the Great Patriotic War." Issues of Museology 11, no. 2 (2020): 219–38. http://dx.doi.org/10.21638/11701/spbu27.2020.207.
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The article is devoted to the analysis of the updated museum exposition entitled “The Object ‘Pavilion’”, implemented in a bomb shelter under the building of the St. Petersburg administration for the anniversary of the Victory in the Great Patriotic War, by May 9, 2020. The authors study history of The Smolny Museum, as well as its current expositions and memorial spaces available for visitors within the walls of the government building: the exposition “From the history of women’s education in Russia. Smolny Institute for Noble Maidens” and “December, 1. Shot in Smolny”; V. I. Lenin’s study and the room in which he lived with his wife, N. K. Krupskaya; The white-column assembly hall, where in the fall of 1917 the II All-Russian Congress of Soviets of Workers ‘and Soldiers’ Deputies was held. The period of the war and the siege of Leningrad (1941–1944) occupies an important place in the museum’s theme. One of the most attractive memorial spaces of the museum is the underground bunker located under the territory of the Smolny garden, museumified in 2019. The article describes the technical parameters of the underground structure and considers its history, studies and compares two versions of the bomb shelter exposition (“Bunker A. A. Zhdanov”, 2019 and “The Object ‘Pavilion’”, 2020). The updated exposition is distinguished by a significant expansion of the exposition space, an emphasis on demonstrating the previously hidden functional premises of the bunker (dining room, disinfection room, rest room, etc.), a more detailed display of the historical events of the blockade related to the management of the city and the front, the introduction of multimedia technologies. The article is based on the historical sources of the museum origin.
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Polevod, V. A. "THE HISTORY OF FORMATION OF ENTOMOLOGICAL COLLECTIONS IN THE MUSEUMS OF KEMEROVO REGION." Bulletin of Kemerovo State University, no. 2 (July 8, 2016): 41–49. http://dx.doi.org/10.21603/2078-8975-2016-2-41-49.
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Collections of insects in the museums are a part of natural heritage. Their preservation presents complexity, but is relevant for scientific, educational and exposition tasks. The history of entomological researches in the territory of Kemerovo region is described, the problem of discrepancy of data in references on stories of collecting entomological material to the maintenance of museum entomological collections in the region is analyzed.The generalizing research on existence and history of completing of entomological collections in the Region’s museums was never carried out earlier. 6 museums with such materials, the collections of the Department of Zoology and Ecology of Kemerovo State University and a number of private collections were revealed. Also detailed description of large collections of Kemerovo State University (materials of the Museum, the Department of Zoology and Ecology) and the Kemerovo Regional Museum of Local Lore is provided for the first time. The example of particular collections allowed observing the general regularity of merge of private collections with museum funds. Unambiguous leadership of of Kemerovo State University collections in quantity of units of storage and their importance is established. They are actively used and involved in research, educational, exposition and exhibition life of the University and the Region (with active support of private collections).
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Fedotova, Olga, Vasilij Zhurakovskij, Pavel Ermakov, Ilia Cherkashin, and Elena Cherkashina. "Virtual museum in the system of informal education (based on sports materials)." E3S Web of Conferences 273 (2021): 12072. http://dx.doi.org/10.1051/e3sconf/202127312072.
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The article raises the problem of using the educational potential of virtual museums. It is noted that virtual museums are a new organizational form of the modern system of informal education. Thanks to the availability and openness of museum funds, it becomes possible to acquaint young people with the artifacts of culture and social life. The exposition fund of the virtual museum of bookmarks created in Germany is analyzed. The thematic field “sport” is chosen as the object of research. Based on content analysis, the frequency of manifestation of this concept is revealed. On the basis of cluster analysis, the belonging of the exhibits to various sections of the virtual museum is established. It is concluded that sport is presented as a subject of three clusters 1) financial savings for sports, 2) advertising lifestyle and sporting goods and 3) world-class sporting events. The assessment of the peculiarities of presentation of the content of bookmarks on the subject of sports creolized texts is given.
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BORONETSKAYA, O. I. "70TH ANNIVERSARY OF E.F.LISKUN ANIMAL SCIENCE MUSEUM." Izvestiâ Timirâzevskoj selʹskohozâjstvennoj akademii, no. 3 (2020): 165–72. http://dx.doi.org/10.26897/0021-342x-2020-3-165-172.
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The E.F. Liskun Animal Science Museum celebrates its 70th anniversary. The paper outlines its history, development and today’s life. The museum houses numerous collections of stuffed animals. The exposition tells about the history of the development of animal science, the domestication of farm animals, breed formation and the formation of modern domestic livestock and poultry population.
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Oreshina, Yulia. "Useful Sites of Memory: Jewish Museums in Belgrade and Sarajevo." Tirosh. Jewish, Slavic & Oriental Studies 18 (2018): 237–49. http://dx.doi.org/10.31168/2658-3380.2018.18.5.2.
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Understanding museum as a tool of mediation, premediation and remediation of cultural memory, I focus in this article on two case studies — the Jewish Museum in Sarajevo and Jewish Historical Museum in Belgrade. While the Jewish Museum in Sarajevo positiones the city of Sarajevo as the first center of Jewish life in Balkans, the Jewish Historical Museum in Belgrade claims to be the only museum in ex-Yugoslavia presenting the history of Jews in the entire region. Both museums, therefore, claim to be the most important museums on this topic in the region, and certainly in a way compete to each other. What are the real stories hidden under these narratives, and which political and historical circumstances influence the fact that these two museums represent such contrasting stories? With the help of content analysis of the museum exhibitions, I detalize the narratives presented in the both case studies. In the focus of my interest is contextualization of Jewish history in the region and juxtaposition of the ways it is presented in the chosen museums. Obviously, Jewish Historical Museum in Belgrade still represents the unifying Yugoslavian narrative, serving as an umbrella museum for the entire region. In case of Sarajevo, close connection between ongoing process of victimization of the recent past of the city and mythologization of preYugoslavian life in Sarajevo, together with idealization of Bosnian-Jewish relations can be observed. Additionally, I look into the way of representation of the topic of the Holocaust. In the both case studies, the way of narration of the Holocaust is closely linked to the dominant historical narrative of the country, and the museum exposition serves as yet another justification of it. In both cases, the narrative of the Holocaust is shadowed by the previously existing historical tradition — in Yugoslavian times, the Holocaust was predominantly connected to the Ustasha regime and was symbolized by Jasenovac. Nevertheless, within current political realities, the Holocaust memory and the memory of Jewish life in Serbia and in Bosnia and Herzegovina undergoes certain changes and becomes instrumentalized in many contexts.
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Шапарина, Евгения, and Evgeniya Shaparina. "Modern life of the museum. Programmes and festivals in the Memorial Estate «Mouranovo»." Service & Tourism: Current Challenges 9, no. 2 (June 15, 2015): 119–25. http://dx.doi.org/10.12737/11405.
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Last ten years there were lots of things which appeared in wide museum activity connected with its visitors. Museums, not leaving the traditional excursion routes, tried to use the most different ways to improve their programs with experience of teachers, psychologists, actors and animators. How can we manage work in an average museum today in changing economic circumstances? How can we create and offer a museum product which is so necessary and demanding? What do our visitors expect to have in a museum area?
According to analysis the last programs made by the Mouranovo museum creative group of staff (they tried to form a vivid atmosphere in museum exposition to improve the number of visitors) it is obvious what we have to do for the new museum position. The article is dedicated to the way how to translate the main idea of the museum experience and show the museum´s treasures. Museum staff has to find like-minded partners who can be involved in museum ethic as well as in cultural and historical things of the place, to put in everyday museum life some new and interesting programs. We have already have some museum programs and festivals very popular for our visitors as «the Haymaking in Mouranovo», «the Maslinica in Mouranovo», «the Jam Day», «the Winter festivals», «the Saturday Croquet», theatrical excursion «the country estate kitchen» etc. Theatrical forms for representing the museum subjects make perception lighter and put it in emotional way. The result of the work is the last «Maslenica in Mouranovo» (2015). 5500 people visited and took part in the fest during twodays. So at the moment museum management and development is one of the most important tasks for we must receive lots of visitors in a proper way and give them a full-fledged rest.
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Zham, Olena. "CONCEPTUAL CONFLICT BETWEEN THE FOUNDERS OF THE PEREYASLAV SKANSEN REGARDING ITS NAME AND THEMATIC STRUCTURE (IN THE LATE 1950es AND 1960es)." Almanac of Ukrainian Studies, no. 27 (2020): 88–93. http://dx.doi.org/10.17721/2520-2626/2020.27.13.
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Monumental and museum work in Ukraine in 1960-1970's of XX century. characterized by a wave of mass interest in Ukrainian culture and the spread of the progressive idea of creating ethnographic museums of a new type – open-air museums, commonly called scans. The first such museum in Ukraine was the Museum of Folk Architecture and Life in the Middle Dnieper region in Pereyasla, Kyiv region, which is one of the richest treasures of original folk architecture and life of the inhabitants of the Dnieper villages of the 19 th – beginning оf the 20 th. The museum is a part of National historical and ethnographic reserve «Pereyaslav». This project had no precedents in Ukraine, so the path to the realization of this idea was difficult and long. Foreign experience in creating open-air ethnographic exhibitions was especially useful, as the museum practice of Ukraine still lacked theoretical knowledge, polished methodology, clear principles of museum studies, international standards, and good work experience. The approaches of Pereyaslav museums to this new, methodically and practically not developed business, were creative and original. The experience of its founders was useful for creating other museums of folk architecture and life in Ukraine. The article examines the history of the Pereyaslav scansen. Different conceptual approaches of its founders are analyzed. The proposed article deals, first of all, with the scientific controversy between the director of the Pereyaslav-Khmelnytsky State Historical Museum M.I. Sikorsky and public figure E.F. Ishchenko regarding the definition of the type of museum, its name, thematic structure, exposition content, landscaping and other issues. Scientific discourse also had its positive sides. The controversy that arose between the founders allowed both sides to consider true, logical ideas in the theory of each of them. Scientific discourse also had its positive sides. The controversy that arose between the founders allowed both sides to consider true, logical ideas in the theory of each of them.
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Kodišová, Lucie, Lenka Vacinová, Jiří Sejkora, and Luboš Polanský. "Treasury of the National Museum – Jewellery and Numismatic Cabinet." Muzeum Muzejní a vlastivedná práce 55, Supplementum (2017): 49–57. http://dx.doi.org/10.1515/mmvp-2017-0035.
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The new Treasury of the National Museum will present rare crafts-manship of precious stones and metals in connection with the natural form of these materials. The Treasury will be followed by a Numismatic Cabinet, which will introduce the history of money from Antiquity till today. The Treasury and the Numismatic Cabinet will be interconnected in a joint hall devoted to gold and silver and they will be thematically intertwined in the hallway with the presentation of production technologies. The Treasury is created in close cooperation within the National Museum – the Natural History Museum and the Historical Museum. The base line will consist of minerals from diamonds to quartz and organic matter, which will join together with goldsmiths and artisanal arts into a unique complex. The main goal of the new Numismatic Cabinet is the establishment of a numismatic exposition that will be both scholarly exact and intriguing at the same time, educating visitors of the development of payment methods from Antiquity until today in a comprehensible and attractive way. The chronological exposition will be divided into several basic thematic sequential units.
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Фёдорова, Анна, and Anna Fedorova. "Nikolay Tyutchev and Cirill Pigarev as founders of the State Tyutchev Memorial Estate «Mouranovo»." Service & Tourism: Current Challenges 9, no. 2 (June 15, 2015): 92–96. http://dx.doi.org/10.12737/11401.
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The State Tyutchev memorial estate «Mouranovo» is connected with the names of the two famous poets Eugeny Bo-ratynsky (1800-44) and Feodor Tyutchev (1803-73). The founder of the fist museum exposition was a grandson of the poet Tyutchev - Nickolay Tyutchev (1876-1949). The exposition created by him includes different pieces: family portraits, rare books and pieces of art, samples of rare Russian and European porcelain, autographs. Then after his death the head of the museum became his nephew, great grandson of the poet Feodor Tyutchev - drill Pigarev (1911-84), PhD. He was a philologist, literary critic and researcher, one of the best specialists in Tyutchev studies. The article is dedicated to N. Tyutchev and С Pigarev, their life and activity as directors of the Memorial estate and it highlights a lot of extracts from visitors´ memoirs on meetings and work together with these two successors of the country estate. Nikolay Tyutchev was a famous expert in art among collectors of porcelain and rare pieces of art. He granted his own great collections to the museum, drill Pigarev and his donation to the museum and museum research issues were appreciated by scholars, literary critics and connoisseurs of Russian literature. The issues published at his time then became a great basement for further Tyutchev and Boratynsky studies as well as Russian poetry of the golden age.
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Fedorak, Volodymyr. "Ethnographic and Artistic Museums of the Galician Gutsulshchyna in Ethno-Tourism Sphere: State and Prospects of the Development." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 2, no. 46 (December 20, 2017): 105–11. http://dx.doi.org/10.31861/hj2017.46.105-111.
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The activity of ethnographic and artistic museums of the Galician Hutsulshchyna, their contribution to the development of the ethno-tourism sphere of Ivano-Frankivsk oblast are described in the article. The development of museologyin the Precarpathian region in the context of ethno-tourism activity is regulated by the regional comprehensive program “Culture of Ivano-Frankivsk region”. Priority directions in museum work are: preservation of historical monuments of the region; the latest information technologies introduction into the activity of museums; enlargement of the material, technical and restoration bases; promotion of the international cooperation of museums; realization of repair and restoration work; provision of scientific acquisition of museum funds; activization of publishing activity: albums, catalogs, booklets, guides, scientific collections; usage of new information technologies in accounting and cataloging.
The Hutsul topicality is leading in the museology of the Precarpathian region. The network of museums on the territory of the Galician Hutsulshchyna is the most important for ethno-tourism in Ivano-Frankivsk region. In most cases, they are included in the tour operator's activity and constitute logical chains of tourist excursions and routes and are centers for providing services in the region. There are over thirty state and public museums that attract visitors in this region. Employees of these establishments carry out excursions providing ethnographic information about the region.
The focus is on the characteristics of work of the most famous museums in the Galician Hutsulshchyna. Particularly noticeable is the activity of the National Museum of Folk Art of Hutsulshchyna and Pokuttia named after Yo. Kobrynsky in Kolomyia, which is the only Ukrainian institution of this type, listed in the Royal Encyclopedia of Great Britain as a museum of world masterpieces.
The author states that the authentic color of life of local inhabitants is brightly represented in the museum institutions of this historical and ethnographic region. A number of museums of the Galician Hutsulshchyna provide high-quality cognitive tourism services, because they have preserved customs and traditions of crafts and handicrafts and everyday ritual activity.
Keywords: museum, ethno-tourism, Galician Hutsulshchyna, exposition, exhibition
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ВОРОТНИКОВА, Елена, and Elena VOROTNIKOVA. "SOCIO-CULTURAL ASPECTS OF MUSEUM SERVICE." Services in Russia and abroad 11, no. 4 (July 4, 2017): 35–43. http://dx.doi.org/10.22412/1995-042x-11-4-3.
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The article is devoted to theoretical aspects of the museum development as a unique socio-cultural phenomenon. The author highlights the main directions and prerequisites caused the changes in the museum environment at the present stage. A museum is regarded as an important and effective public institution with purpose determined by a deep socio-cultural meaning as a symbol of culture, in which different opinions, positions and points of view coexist. Modern museum operates within the communication model revealing the multifunctional possibilities inherent in the very essence of the museum. The article considers the historical origins of the current conceptions on a museum, claimed by the Russian thinker N.F. Fedorov, as a mechanism for revitalizing social memory and the organic part of modern cultural life. The author also considers the questions of the museum community concern on the specifics of communication in the museum space, the definition of the museum sociocultural functions, the rethinking of the ways to their distinguishing, and the necessity to form such exposition "non-verbal utterances" that can be understood by visitors through "joining" to personal needs and life experience.
The article also identifies the prerequisites for the inclusion of service experts in museum activities related to the need for improving museum operating. Interprofessional interaction of museum specialists is necessary to meet public requests to the museum and to develop museum product quality – exhibition projects, adequate language texts and a variety of cultural and recreational programs considering the unique social context and cultural features of the museum audience.
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Tovstolyak, Nadiya. "Vasyl Tarnovsky: New Materials for the Biography." Roxolania Historĭca = Historical Roxolania 1 (November 15, 2018): 195. http://dx.doi.org/10.15421/30180114.
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The article have been based on a little known and new documents about life and social activity Ukrainian patriot, philanthropist and museum worker V. V. Tarnovsky (1838–1899). He was born 180 years ago in Antonivka village of Poltavsky province. It was ascertain on a basis of correspondence Tarnovsky family and his friends: he got secondary education at Ennes boarding-school, studied at Main Engineer School in Sankt-Petersburg, and after than he graduated a historical philological deparment at Saint Volodymyr University in Kiev, but he hadn't final examinations. In 1857–1866 he was a manager in his father’s Estates, showed his enterprising abilities. V. V. Tarnovsky planed to build a separate house for his Museum, but it wasn’t sufficient money for it. It was be characterize the beginning of forming V. V. Tarnovsky Museum of Ukrainian antiques, its main departments and thematics. He collected T. G. Shevchenko Museum, M. I. Kostomarov Museum, P. O. Kulish Museum at the end of his life, he dreamed for Ukrainian Ossolineum. He created famous Kachanivka Park, it was his favourite work to plant a trees. V. V. Tarnovsky was a painter: he was the author of T. G. Shevchenko basrelief, Series decorative plates, his Museum exposition, drawing. The author consider that it necessary to publish V. V. Tarnovsky Museum of Ukrainian antiques Catalogues and Tarnovsky archive documents.
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Vasilyeva, Anna V. "ILLUSTRATIONS TO THE RUSSIAN TRANSLATION OF “THE ADVENTURES OF A LITTLE PREHISTORIC BOY” (1929) BY ERNEST D'HERVILLY IN THE SCOPE OF LITERARY WORKS ABOUT PEOPLE OF THE STONE AGE FROM THE STATE DARWIN MUSEUM COLLECTION." Articult, no. 4 (2020): 104–12. http://dx.doi.org/10.28995/2227-6165-2020-4-104-112.
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The article dwells on the study of the image of a prehistoric man portrayed in children books illustrations and museum exhibitions’ design (paintings, sculptures) in 1920-1930s using the example of works from the State Darwin Museum funds. During this period, famous artists of children's books Vasily Vatagin and Mikhail Ezuchevsky worked at the State Darwin Museum. They were also well versed in anthropology and ethnography. Their drawings were the first Soviet illustrations for the book by Ernest d'Hervilly “The Adventures of a little prehistoric boy”, which became a popular science book for children in the USSR about prehistoric people. V.A. Vatagin, M.D. Ezuchevsky and A.N. Komarov created a number of paintings and sculptures about the life of prehistoric people for the exposition of the State Darwin Museum in the first half of the XX century. Illustrations and artworks introduced the element of entertainment and emotional appeal to the museum’s exhibitions, which otherwise were purely informative and rather cold-eyed.
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Hrudevich, Tetiana, and Luidmila Shkira. "HORSE HARNESSES AND RIG OF THE END OF XIX BEG. XX CENTURY IN FUNDS OF NATIONAL HISTORICAL AND ETHNOGRAPHICAL RESERVE «PEREYASLAV» BY I. CHORNYI." Journal of Ukrainian History, no. 40 (2019): 77–82. http://dx.doi.org/10.17721/2522-4611.2019.40.10.
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The purpose of the study of this article is to highlight the history of the discovery of horse harnesses and rig at the end of the nineteenth and early twentieth centuries, and their characteristics. That objects belonged to Chorniyfamily from Kiev and were transferred in 1979 to create an exposition of museums. Presently, the items of horse harnesses and harnesses from the stock collection NHER «Pereyaslav» are exhibited in the museums «Postal Station», «Museum of the National Land Transport of the Middle Dnieper».These museums are located on the territory of the first Museum of Folk Architecture and Life of the Middle Dnieper, established in 1964 in Pereyaslav-Khmelnytskyi city and is the part of the National Historical and Ethnographic Reserve «Pereyaslav». This collection has been gathering for decades. Mikhail Zham (1927–2002) was an ideological inspiration and active collector of horse harness and rigs. Among the large number of horse ruminant, which is in the exposition of museums, there are 25 harnesses and rigsof I. Chorniy. At the beginning of the twentieth century Ivan Chorny, like his father was. I. Chorny, was engaged in camping, had a camping and caravan artillery, a large collection of vehicles, horse harnesses and rigs. Horse rigs – a collection of items for harness, as well as a way to harness them. Rigs should be distinguished from harness, which is a more general term and includes both objects and accessories for harnessing, and for hanging horses and other animals (for horseback riding, or the use of pets). Among the items (harnesses and rigs) belonging to the Black family are: Yoke – a cervical part of a horse's rigs, through which the weight of the transported cargo is transmitted to the horse's neck. There are four in their collection. The arc is a part of a horse's rigs from a bent trunk of a tree, which serves to attach a hawk (one of the two poles, attached to the ends of the front of the car's vehicle) to the yoke. There are three of them. Squares – a long belt, a rope, etc., by which horses are ruled, fixed on both sides to the bridle. The stock collection consists of four units of the box. Bridle («knot») – a piece of harness, which is worn on the animal's head to control it. The collection consists of five pieces of bridles. Breast-bandis a long belt that covers the horse's body and holds the band from slipping around the neck, for example, during descent from the mountain, braking. The collection has four units. Сherezsidelko- a strap that passes through a saddle from one hole to the other, supporting them. Saddle – a part of the rig, in the form of a pillow, which is enclosed under the cherezsidelko. Serves to convey force on the back of a horse. There are 3 of them in collection. Attention is focused on the features of manufacturing, material, technology, and the analysis of harnesses and rigs were made. Also, authors focus on the fact that, depending on the used harness, rigs are divided into: «holobelʹno-postoronkovyy» harness, sidewalk harness; a combined harness. An overview of the declared assembly, analysis of the species, typological, structural features of the horse harness, the comparison of these elements, shows that the samples presented in it are the same type of design, material, technology and characteristic of the entire territory of Ukraine. At the same time, some of them are distinguished by the original artistic decoration, which is a manifestation of the preferences and artistic tastes of the masters who made them. The horse harness and rigs of Chorniy family organically complements the structure and subjects of the exposition of the Museum of National Land Transport and the Museum «Postal Station» of the National Historical and Ethnographic Reserve «Pereyaslav».
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Venger, Altbert Hryhorovych, and Tetiana Volodymyrivna Portnova. "Medieval flower of primrose: museum of Yakov Rubin in Dnipropetrovsk university in 1940−1950s." Dnipropetrovsk University Bulletin. History & Archaeology series 25, no. 1 (February 25, 2017): 96. http://dx.doi.org/10.15421/261711.
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The article describes life and professional activity of Yakov Rubin, Soviet historian and pedagogue, specialist in medieval history. Special attention is given to the description of the university museum, created by Rubin in Dnipropetrovsk university in the end of 1940 – at the beginning of 1950s. Rubin is a vivid example of the intellectual of Jewish original, who started a successful pedagogical and scientific carrier in early Soviet times. He was born in Dolginovo (Vilens'ka gubernia), raised in traditional Jewish familyand presumably studied in yeshivah, but after 1917 radically casted aside the life of shtetl. He finished Kharkiv teaching seminary, and later the Minsk university, and gained the diploma of the historian. In the end of 1920s Rubin became the active participant of the korenizatsiaya campaign in Belarussian Soviet Republic, writing numerous textbooks in Yiddish for Jewish schools. He also became of research worker of the Jewish sector in Belarus Academy of sciences. The majority of his works then were devoted to the history of class struggle and promotion of antireligious propaganda. After korenizatsiya was stopped, Ya. Rubin, alongside with many other his colleagues, was criticized for "nationalistic distortions". He was forced to leave his position, though managed to avoid direct repressions and continued scientific carrier as museum worker and lecturer. In 1944 Ya. Rubin, after evacuation from occupied Belarus, arrived to Dnipropetrovsk and headed the department of world history here. He tried to support medieval studies here. One of the main steps in this direction was the creation of special didactical museum. The museum emerged from Rubin's passion for visual methods of teaching – it was expected to make middle ages more visible and vital for history students. Though the museum emerged spontaneously (from the materials, gathered by Ya. Rubin as illustrations for his lectures) and existed by bare enthusiasm of the historian and his students, by the middle of 1950s it had an integral exposition. The ideological message of the museum totally corresponded with the official Soviet historiography: the exposition focused on the glorification of the Russian military victories in the past, anti-church and anti-clergy propaganda and history of class-struggle in Middle Ages. After Rubin's retirement in 1962 the museum declined, but hadn't perished. It changed its specialization and turned into museum of Dnipropetrovsk university, which exists till now.
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Moravec, Jiří, Petr Benda, Petr Dolejš, Jiří Hájek, Jaroslav Hlaváč, Jiří Mlíkovský, and Radek Šanda. "Evolution." Muzeum Muzejní a vlastivedná práce 55, Supplementum (2017): 18–23. http://dx.doi.org/10.1515/mmvp-2017-0031.
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The new zoological exposition of the National Museum will be installed in eight exhibition halls on the second floor of the Historical Building. The exposition has the preliminary title Evolution and thematically, it will follow several significant evolutionary events, which enabled animals to occupy Earth. The first two exhibition halls will be devoted to invertebrates and their ability to occupy all kinds of environments. The following two exhibition halls will introduce fish-like vertebrates, amphibians, and reptiles and they will focus on the most important evolutionary step of vertebrates – stepping out of the water and onto land. The next hall will be devoted to the origin of flight and birds’ conquering of the skies. The last two halls will be dedicated to mammals and their origins and conquering of land, water, and air. The visitor will become acquainted with contemporary organisms as the results of a long evolutionary process. The exhibitions will be based on authentic collection items to the maximum possible extent, though models and multimedia will also be used on several occasions. The exposition should also include the restoration of the popular Pokoutník Gallery.
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Pyatina, Ekaterina, and Marina Bulgakova. "The usage of live invertebrates at the expositions of the Museum of Natural Science." E3S Web of Conferences 265 (2021): 07007. http://dx.doi.org/10.1051/e3sconf/202126507007.
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Budko, A. A., and N. G. Chigareva. "Museum N.I. Pirogov: history and modernity." Bulletin of the Russian Military Medical Academy 21, no. 2 (December 15, 2019): 256–60. http://dx.doi.org/10.17816/brmma25954.
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Сolleagues, students, members of the Russian Surgical Society of Pirogov put a lot of effort to create the Pirogov Museum to perpetuate the memory of the great Russian surgeon. The construction of the museum was carried out according to the project of the architect V.A. Schroeter for funds allocated from the State Treasury and collected from philanthropists. Museum of Pirogov was opened on October, 26 (November, 7), 1897. The collection of the museum included: items related to the life and work of N.I. Pirogov, preparations for surgical anatomy, surgical pathology, collection of instruments, orthopedic and surgical devices, patient and wounded patient care items, portraits, engravings, manuscripts and documents reflecting all stages of the history of domestic surgery, etc. The museum hosted meetings of Pirogov Russian Surgical Society, conferences and all-Russian congresses of doctors. The events of the first third of the 20th century negatively affected the fate of the Pirogov Museum. Since 1930 the museum of N. I. Pirogov was under the jurisdiction of the Military Medical Academy, its funds were transferred to several departments of the Academy, and the building of the museum in the 70iеs of the twentieth century was torn down. In 1946 part of the valuable items of Pirogov’s museum became the property of the Military Medical Museum. December 19, 2018 there was a significant event in the history of Russian medicine happened: a grand opening of Pirogov’s museum took place in the Military Medical Museum. At the opening greetings were made by representatives of Pirogov National Medical and Surgical Center (Moscow), Military Medical Academy. S.M. Kirov, Surgical Society, Committee on Culture of St. Petersburg, the Consulate of the Kingdom of the Netherlands, etc. The basis of the exposition of the revived Pirogov’s museum make up the original things of the great surgeon: a hat, a sword belt, a sword hat, a cocked hat, a box made of Karelian birch, a smoking pipe, orders and medals, manuscripts, letters, as well as atlases, medical instruments, lithographic stones, etc.
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Zham, Olena. "Field Regional Research of Cherkasy Region in the Expeditionary Activity of Pereiaslav-Khmelnytsky State Historical Museum (the 1960s–80s)." Ukrainian Studies, no. 1(78) (May 20, 2021): 171–77. http://dx.doi.org/10.30840/2413-7065.1(78).2021.223927.
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The article covers the expeditionary activities of employees of Pereiaslav-Khmelnytsky State Historical Museum in Cherkasy region in the 1960s–80s. The relevance of the study is determined by the lack of comprehensive scholarly research, which would enable a full-scale historical analysis of the problem.Historical studies of separate regions are a promising area of modern historical science. The attention of regional scholars (historians, ethnologists, sociologists, art critics) is drawn to the processes of regional development in natural-geographic, historical, ethnocultural, political, sociocultural, and other contexts. Understanding the regional specifics of individual territories of the Middle Dnieper Ukraine became an important task of systematic ethnographic field research conducted by Pereiaslav-Khmelnytsky State Historical Museum in the 1960s–70s. This was due to the need to complete the exposition of the newly created Museum of Folk Architecture and Everyday Life of the Middle Dnieper Ukraine with the monuments of folk architecture and ethnographic materials. The first of them, given the territorial proximity, were the studied settlements of Kyiv region. The experience gained encouraged the museum staff to expand the scope of systematic field research. Among the various districts of the Middle Dnieper Ukraine, Cherkasy region was of a local attraction.The article also considers books of orders and periodicals. Attention is paid to periodization, topics, composition of the participants, and results of the expeditions. It is noted that the main task of these expeditions was to collect items of museum value to complete ethnographic collections. The conclusion about the high efficacy of the relevant expeditionary activity of the museum is made.
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Narizhnaya, Oksana V. "Books in museum library collections as a source for the study and representation of significant events in Russian history of the first quarter of the 20th century (on the example of publications from the Civil War period 1917–1922)." Issues of Museology 11, no. 2 (2020): 259–74. http://dx.doi.org/10.21638/11701/spbu27.2020.210.
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The article describes the documents from collections of the scientific library of the East Crimean Historical and Cultural Museum-Reserve published in Crimea during the Civil War of 1917–1922. These documents are book monuments as copies published in the important period of Russian history in the first quarter of the XX century in accordance with the sociovalue criterion. Publications are considered both as objects for the scientific study of the documentary sources themselves, and from the point of view of potential exhibits of the museum exposition. The publications allow for the most complete and widespread coverage of one of the most complex and controversial moments in the history of Russia. The historical conditions of the functioning of the national economy and certain aspects of social life, reflected in the sources studied, are examined. Among them are the publishing industry, public education, museums, the activities of the system of internal affairs bodies and local self-government. Considerable attention is paid to the study of local history publications, reflecting the development of history and archeology of the indicated period and containing valuable information on the history of Crimea. A number of brochures are presented, which methodological recommendations for teaching individual academic disciplines in a unified labor school. Educational and practical publications occupy a significant place among the analyzed documents. They contain excerpts from the works of ancient Roman authors published in Latin and serve as readers for the study of the classical Latin language in the gymnasium. The content and physical safety of publications, their attributive features, are described: book signs, labels, handwritten notes, autographs are described as a result of historical and bibliographical analysis.
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Писарев, Александр Александрович. "IMAGERY OF TAXIDERMY IN SCIENCE MUSEUMS: FROM SYSTEMATICS OF SPECIES TO SYSTEMATICITY OF VIOLENCE AND POSTHUMANIST NATURE." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(24) (July 27, 2020): 91–130. http://dx.doi.org/10.23951/2312-7899-2020-2-91-130.
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Статья посвящена изменениям образности таксидермических объектов в музеях естественной истории. На ряде случаев прослеживаются связи этих изменений с трансформациями сети разнородных элементов – научных теорий и парадигм, музея, национальной политики, моральных представлений. Таксидермический объект понимается как объект науки, обладающий собственной материальностью и историей, музей – как пространство репрезентации природы, научных категорий и морально- политических идей. Таксидермия входит в музей естественной истории в XVIII веке ценой стирания своей художественности и искусственности в пользу объективной репрезентации «самой» природы. В контексте географических открытий и колониальных завоеваний чучела позволяли решить проблему удаленного во времени и пространстве наблюдения. Благодаря натурализации удается превратить чучело, теперь анонимное и стандартизированное, в воплощение таксона линнеевской систематики, неотделимой от соображений государственного управления ресурсами. Эта сцепка проявлялась в организации пространства экспозиции. В XIX веке с изменением принципа систематики, разработкой идеи организма в таксидермическую экспозицию через диорамы и биологические группы вводится измерение жизни. На конкретном примере демонстрируется использование таксидермических диорам в качестве инструмента морально-политической субъективации индивидов. В середине XX века наступает упадок таксидермии. Актуальная наука меняется и уходит из музеев естественной истории, разрушается колониальная система, критически переосмысливается отношение к колониальному наследию и животным, развиваются кинотехника и телевидение. Чучела становятся нежеланными артефактами жестокой политики и эстетики прежней эпохи и в большей степени объектами критических исследований и истории науки, чем науки. Музеи же, теряя финансирование и посетителей, оказываются в дважды противоречивом положении. Во-первых, между антиисторической натурализирующей научностью и историчностью денатурализованных экспонатов. Во-вторых, между неоднозначными эстетикой и историей таксидермии и изменившимся моральным порядком. Помимо других способов они пытаются разрешить эти противоречия путем переинтерпретации таксидермической экспозиции в рамках экологической повестки и при помощи точечных материально-дискурсивных вмешательств, превращающих чучела в аллегории вымирания и поврежденной природы. Этот ход позволяет удержаться в границах естественно-научного дискурса, одновременно обращаясь к моральному чувству посетителя. Однако при этом он воспроизводит мифологему «золотого века», основанную на противопоставлении природы и культуры, естественного и искусственного. На этом фоне выделяются другие траектории чучел в музее. Во-первых, художественные интервенции на территории музея, обращающиеся к таксидермии и шире архиву естественной истории. В таких случаях музей делегирует художникам право критической рефлексии по поводу научной идеологии и власти. Приводится ряд примеров таких интервенций. Во-вторых, таксидермические коллекции новых типов, изначально создаваемые не как плод объективирующего и систематизирующего подхода науки, а как проявление систематичности насилия и новой природы, безразличной к упомянутым выше оппозициям. Такая таксидермия может стать инструментом осмысления новой природы в эпоху, столь неудачно названную антропоценом, и рабочим объектом постгуманистической образности. The article is devoted to the transformations of the imagery of taxidermic objects in natural history museums. By examining several cases these transformations are linked to changes in a network of heterogeneous contexts - scientific theories and paradigms, the role of the museum, national politics, and public morals. While discussing the topic a taxidermic object is understood as an object of science with its own materiality and history and science museum is considered as a space for the representation of nature, scientific categories, and moral and political ideas, and as an instrument of collective empiricism. The history of taxidermy in a museum is the history of erasing its artistry and artificiality in favor of an objective representation of nature “itself". This naturalization makes it possible to turn the stuffed animal, now anonymous and standardized, into a taxon of Linnaean taxonomy, inseparable from considerations of public resource management. The consequences of such entry into the museum for the visual nature of taxidermy are written out. Next, we consider the change in taxonomy in the XIX century and the introduction of the idea of life in taxidermic exposition through dioramas and biological groups. A concrete example demonstrates the use of taxidermic dioramas as a tool for moral and political transformation of individuals through the aura-like experience of nature. In the middle of the XX century, the decline of taxidermy begins. Due to the withdrawal of up-to-date science from natural history museums, changes in politics, collective imagination, and the ethics of dealing with colonial heritage and nature, museums are losing funding and visitors and are gradually shifting to the periphery of culture. It is shown that they find themselves in a twice contradictory position between their own anti-historical and naturalizing scientific nature and the historicity of denaturalized exhibits, between the ambiguous aesthetics, history of taxidermy and the changed moral order. Museums tried to resolve these contradictions and return to the current culture by including in the communication about the environmental agenda and the environmental reinterpretation of taxidermy exposition with the help of occasional material and discursive interventions that turn stuffed animals into allegories of extinction. This move allows them to stay within the boundaries of the natural science discourse of preservation species diversity, while simultaneously appealing to the moral sense of the visitor and influencing the collective sensibility. At the same time, it reproduces the mythologem of the "golden age", based on the opposition between nature and culture, natural and artificial. Thus, these contradictions are not completely resolved. The first possible way further are artistic interventions on the territory of the museum, in which the Museum delegates to artists the right of critical reflection on scientific ideology and power. A number of examples of such interventions are provided and analyzed. The second way are new taxidermy collections, initially created not as a result of the objectifying approach of science, but as a manifestation of systematic violence and a new nature, indifferent to the above-mentioned oppositions. Such taxidermy can become a tool for understanding the new nature in an era so aptly called the anthropocene, and a working object of posthumanistic imagery.
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Баранова, Светлана Измайловна. "The Patriarch Nikon’s Museum in the New Jerusalem Monastery: the 145th Anniversary of Its Foundation." Вестник церковного искусства и археологии, no. 2(3) (August 15, 2020): 111–27. http://dx.doi.org/10.31802/bcaa.2020.3.2.007.
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Статья посвящена истории созданного в 1874 г. в Воскресенском Ново-Иерусалимском монастыре музея Святейшего патриарха Никона, а также истории возрождения музея в новом качестве, ставшего частью программы современного восстановления Ново-Иерусалимского монастыря. Рассмотрена роль устроителя музея архимандрита Леонида (Кавелина) (1822-1891) - настоятеля обители в 1869-1877 гг., выдающегося русского историка, историографа Воскресенского монастыря, собирателя его древностей и исследователя его архивов. Также представлен опыт построения экспозиции нового Музея патриарха Никона, использующий объединение историко-хронологического принципа с художественно-образным, коллекционного - с мемориальным, тематическим и ансамблевым. Восстановление в монастыре музея в новом качестве должно подчеркнуть мемориальную сущность обители как явления русской церковной археологии XIX в. Экспозиция, размещенная в залах музея, должна создать богатый информационновизуальный базис, оставить в памяти посетителя глубокий эмоциональный след, дать пищу для духовного развития и материал для общих размышлений о судьбах Святых Мест христианства, параллелях в жизни России и Святой Земли, колоссальном вкладе патриарха Никона в строительство величественного здания Русской Православной Церкви и зарождавшейся Российской империи. The article is dedicated to the history of the Museum of His Holiness Patriarch Nikon, founded in 1874 in the Resurrection New Jerusalem Monastery as well as the history of the revival of the museum in a new quality, which became part of the restoration program of the New Jerusalem Monastery. The role of the organizer of the museum, archimandrite Leonid (Kavelin) (1822-1891), the abbot of the monastery in 1869-1877, an outstanding Russian historian, the Resurrection Monastery historiographer, a collector of its antiquities and a researcher of its archives, is considered. Also, it is said about the experience of forming a collection of the new Patriarch Nikon’s Museum implementing historical-chronological, artistic-figurative, memorial, thematic and ensemble principles of the collection. Anew quality restoration done in the monastery museum should emphasize the memorial importance of the monastery as a phenomenon of Russian church archeology of the XIX century. The exposition located in the museum halls should create a rich informational and visual basis, have a deep emotional impact in the visitor’s memory, provide food for spiritual development and material for general reflection on the fate of the Holy Chrisitan Places, establish parallels in the life of Russia and the Holy Land, mark an enormous contribution of Patriarch Nikon in the construction of a magnificent building of the Russian Orthodox Church and the nascent Russian Empire.
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Melnyk, Oleksandr V., Volodymyr V. Trofymovych, and Liliia V. Trofymovych. "The Work of Mykola Kovalskyi at the Lviv Museum of Ethnography and Art Crafts (1959–1963)." Universum Historiae et Archeologiae 2, no. 1 (January 1, 2020): 25. http://dx.doi.org/10.15421/26190103.
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The purpose of the article is to highlight the period of scientific, educational, organizational activity of the famous Ukrainian historian, the founder of the modern source studies scientific school of Ukraine — Mykola Kovalskyi at the Museum of Ethnography and Art Crafts, where he worked in the late 1950s — in the first third of the 1960s. Research methods: chronological, diachronic, classification, historical-genetic, comparative-historical. The main results: the article describes the excursion, exhibition, stock, popularization and other forms of museum work that M. Kovalskyi conducted at this time; also we can reproduce the intellectual environment at the museum through the prism of his memories; the activity of the scientist on the post of the head of the Department of Ethnography, which he occupied from the second half of 1961 to the middle of 1963, was highlighted, when he drew attention to such areas of work as reorganization of the exposition, expeditions, preparation and writing of collective monographs, concerned about the issue of scientific production, participation staff in forums, seminars, conferences, as well as staffing the department; the directions of scientific researches related to such topics as farm tools of Ukrainian peasants of the second half of the 19th and beginning of the 20th centuries were analyzed the culture and life of miners of the Lviv-Volyn coal basin; the methods of conducting a researcher of search work are revealed, which testified to the special attention to the collection of field materials and questionnaires; it is determined that during the period of work at the museum M. Kovalskyi began to develop such forms of scientific-organizational activity, which were aimed at conducting field conferences, which promoted the popularization of the best examples of Ukrainian folk art, household items, artistic crafts (for the participants were read reports about Ukrainian artistic fabrics, the use of elements of cut and folk embroidery in the clothes, thematic exhibitions were held); it is shown how contacts with foreign ethnographic institutions, in particular with the Institute of Ethnography of the Slovak Academy of Sciences, developed. Summary conclusions: scientific, excursion, stock and popularization work in the field of ethnography and artistic crafts have considerably expanded the scientific horizons of the young scientist, gave him the opportunity to join the unique experience and traditions of the school of Lviv ethnographers. Practical value: the basic provisions and factual material can be used for research on the history of Ukrainian ethnographic science, the preparation of guides and the coverage of the history of the Museum of Ethnography and Art Crafts of the Ethnology Institute National Academy of Sciences of Ukraine. Originality: the museum activity of M. Kovalskyi was covered against the backdrop of the Museum of Ethnography and Art Crafts in the late 1950s — in the first third of the 1960s. Scientific novelty: for the first time an attempt was made to study the activity of M. Kovalskyi at the Museum of Ethnography and Art Crafts in 1959 – 1963. Type of article: scientific.
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Khazbulatov, Andrey. "Conceptual approach to the development of thematic areas of the archaeological «Kultobe settlement» park." Pedagogy and Psychology 43, no. 2 (June 30, 2020): 211–17. http://dx.doi.org/10.51889/2020-2.2077-6861.28.
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The article studies the features of conceptual approach to the development of thematic areas based on the archaeological «Kultobe Settlement» park. Archeological monument «Kultobe Settlement» is based in buffer zone of the mausoleum of Khodja Ahmed Yasawi. This monument is on UNESCO’s World Heritage List. The base area of the archaeological park is 27 hectares. The territory of the settlement shows the city’s life in the context of four main historical periods. The ancient period dating from I-II centuries AD, early medieval, dating from the VI-X centuries, the medieval period of the XI-XII centuries – era of K.A. Yasawi and the late medieval period (XVI-XIX centuries) the period of the Kazakh In total, more than 50 archaeological sites of different eras are concentrated here: from the oldest cult settlement of the Kangju to the buildings of the Kazakh khanate. It was the beginning of the idea of creating an archaeological open-air park. The author of this article shows some design aspects of the «Kultobe Settlement» park, which implements an integrated approach added to the museumification of open-air objects, the development of «scientific reconstructions» products of experimental archeology, a museum exposition on the ancient and medieval history of Turkistan and prepared for tourism archaeological sites where excavations are in real
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Rekovets, Leonid I. "Topachevsky Vadym Oleksandrovych — an outstanding figure in the history of mammalogy of Ukraine (to the 90th anniversary of his birth)." GEO&BIO 2020, no. 19 (October 2, 2020): 157–64. http://dx.doi.org/10.15407/gb1915.
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This analytical research is devoted to the life, but mainly creative path of the outstanding scientist of the XX century, zoologist and palaeomammalogist Vadym Oleksandrovych Topachevsky. Academician of the National Academy of Sciences of Ukraine, professor, honored worker of science and technology of Ukraine – these are only formal titles without an in-depth analysis of his essence as a scientist, leader or just a person. His life motto – to leave the maximum possible trace in science, constantly filled the atmosphere of realization of his aspirations, expressed in publications, speeches at conferences, scientific and organizational affairs. The fundamental, truly academic directions of scientific research, which he always defended at different levels of the organization of academic science in Ukraine, have always been a priority in his scientific activity, to which Vadym Oleksandrovych aspired and always encouraged his students. The factual basis of his scientific work has always been the original materials and data obtained by him in the field. Those materials formed the core of scientific beliefs of Vadym Topachevsky and became an invaluable asset of the NMNH collections. The basics of morpho-functional analysis of fossil remains, which he elaborated in depth, are not simply the assertion of V. O. Kovalevsky’s principles; hypothesis about the phylogeny of cricetid-arvicolid branch among small mammals substantiated and confirmed by him is accepted among leading palaeomammalogists. Vadym Oleksandrovych successfully applied the approach of historical and faunal analysis of groups in characterizing the dynamics of natural processes of the late Cenozoic natural regions of eastern Europe. Morphology, systematics and phylogeny, palaeoecology and palaeogeography, stratigraphy and historical faunistics are those areas of Vadym Topachevsky’s scientific achievements that have been recognized today and are being developed by his students and followers. The scientific ideas of I. G. Pidoplichko, V. O. Topachevsky and O. L. Korotkevich with the active participation of museum staff (V. I. Svistun, Yu. O. Semenov, V. I. Bibikova, L. I. Rekovets) formed the basis for the creation of the exposition of the palaeontological museum NMNH NAS of Ukraine, built on a systematic and stratigraphic basis.
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Staneva, Krasimira. "PALEONTOLOGICAL HERITAGE RESOURCES FOR TOURISM IN BULGARIA." Knowledge International Journal 28, no. 7 (December 10, 2018): 2475–78. http://dx.doi.org/10.35120/kij28072475k.
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A specific approach is needed based on a comprehensive study of both tourist resources and habitats / natural findings of fossils for develop a successful tourist product targeting customers who have interests in paleontology. The aim of the study is to evaluate the possibilities of modeling paleontological destinations in the country using leaf imprints and fossils. Fossils have their unique origins. They are formed at a certain point in geological development and in a specific geographic location. In this respect, by their genesis and common character, they are non-renewable resources of high scientific, educational, commercial and amateur value, which can be considered as a tourist resource. Two different paleontological outcrops have been studied: the Lovech Urgonian Group in Northern Bulgaria and the Smolyan Palaeogene Basin in the Western Rhodopes. Destination Lovech Urgonian Group: sampling rocks with finds of Orbitolina, Foraminifera, Algae, coral, Gastropoda, Bivalvia associated with coral reefs in the sedimentary rocks of the Lovech Urgonian Group are situated in the region of Veliko Tarnovo and Lovech. They are connected to a Urgonian paleo Sea, whose age is Low Cretaceous.Destination Smolyan Paleogene basin: different leaf imprints are found in the sedimentary rocks, representatives of the families Platanacea, Fagacaea, Lauraceae, Pinaceae, Podocarpaceae and others with different ecological characteristics. The paleo-floristic diversity shows a dynamic climatic situation through the Paleogene period in this region. The tourists accessibility to the natural revelations of paleo-reefs in North Bulgaria and of the palaeoflora outcrops in the Smolyan region is assessed. An assessment of the tourist infrastructure, the existence of geological landscapes, panoramic views and paleontological museum expositions has been made. The specialized paleontological museums in the country are limited in number. And the offering of paleontological tourist destinations is the opportunity for tourists with interests in the natural history and the live evolution to find a suitable form for satisfying their special interests.
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Staneva, Krasimira. "PALEONTOLOGICAL HERITAGE RESOURCES FOR TOURISM IN BULGARIA." Knowledge International Journal 28, no. 7 (December 10, 2018): 2475–78. http://dx.doi.org/10.35120/kij29082475k.
Full textAbstract:
A specific approach is needed based on a comprehensive study of both tourist resources and habitats / natural findings of fossils for develop a successful tourist product targeting customers who have interests in paleontology. The aim of the study is to evaluate the possibilities of modeling paleontological destinations in the country using leaf imprints and fossils. Fossils have their unique origins. They are formed at a certain point in geological development and in a specific geographic location. In this respect, by their genesis and common character, they are non-renewable resources of high scientific, educational, commercial and amateur value, which can be considered as a tourist resource. Two different paleontological outcrops have been studied: the Lovech Urgonian Group in Northern Bulgaria and the Smolyan Palaeogene Basin in the Western Rhodopes. Destination Lovech Urgonian Group: sampling rocks with finds of Orbitolina, Foraminifera, Algae, coral, Gastropoda, Bivalvia associated with coral reefs in the sedimentary rocks of the Lovech Urgonian Group are situated in the region of Veliko Tarnovo and Lovech. They are connected to a Urgonian paleo Sea, whose age is Low Cretaceous.Destination Smolyan Paleogene basin: different leaf imprints are found in the sedimentary rocks, representatives of the families Platanacea, Fagacaea, Lauraceae, Pinaceae, Podocarpaceae and others with different ecological characteristics. The paleo-floristic diversity shows a dynamic climatic situation through the Paleogene period in this region. The tourists accessibility to the natural revelations of paleo-reefs in North Bulgaria and of the palaeoflora outcrops in the Smolyan region is assessed. An assessment of the tourist infrastructure, the existence of geological landscapes, panoramic views and paleontological museum expositions has been made. The specialized paleontological museums in the country are limited in number. And the offering of paleontological tourist destinations is the opportunity for tourists with interests in the natural history and the live evolution to find a suitable form for satisfying their special interests.
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Mironova, Tatiana. "Institutional Aspects of Development of Contemporary Ukrainian Art." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 112–17. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235228.
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The publication considers the institutional aspects of the development of Ukrainian art in the beginning of the 21st century. Understanding ofspace of artistic culture is narrower than the concept of traditional cultural space and is mostly limited to institutions, activities of which are focused on the sphere of art. The basis for the formation of the space of artistic culture isthe synergy of creative activity of the artists, managers, collectors, gallery owners, auctioneers, curators, critics, scientists, and other professionals. This space expands due to the institutional activities, analytical texts of specialists, collective performative actions of artists, as well as the processes of promotion (management), interpretation, museum storage, auction and gallery sales, exhibition at the biennial, fairs, exhibitions, distribution of photos and texts on the Internet. Thus, art practices in their activities today are transformed into an established non-subordinate cultural industry of active cooperation of all these entities. The demarcation of the boundaries between the fine arts and “free locations” not only creates a special sphere of culture that exists between art and life, but also opens contemporary art to the public, as both trained spectators and casual witnesses are involved in the work. Exposition practices, evolving in the process of general development of culture, choose the ways of their development in accordance with the requirements of the time, and their formation and style are based on the main trends and criteria of contemporary art.
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Baldissera, Lisa. "Weepers I, II, III." Public 31, no. 61 (December 1, 2020): 286–301. http://dx.doi.org/10.1386/public_00034_7.
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Weepers I, II, III is a ficto-critical approach to the topic of hospitality, arising from the xacerbating conditions of academic, curatorial and institutional care. Ficto-criticism sidesteps the constraints of non-disclosure agreements and the strictures of the reputational economy, to instead posit a dreaming vision of colliding worlds and meanings.Weepers I, II, III, considers hospitality in three related short fiction works which address the figure of the academic curator: one is an exposition of the linked codes/spheres of migration/contemporary art as it relates to asylum, emancipation and the promise of art world economies by focusing on the conditions of the security guard within a major art museum; a second examines the self-determination of a series of ‘wipers’—carers hired, groomed, academicized and ultimately fetishized, to wipe the tears of crumbling academics as a form of corporeal hospitality; to a vignette of interspecies escape and conversion, following the heart attack and subsequent cellular changes that free the academic’s father from his former life. Through these interlinking stories of grief and loss, also come the act of naming and inventing, side-stepping instrumentalized forms of academic writing to posit a dream-time, a curatorial and academic imaginary that, freed from the reputational economy and non-disclosure clauses of the career curator, dares speak its name. In form and methodology, this approach suggests an approach to an opening and a form of resistance to hospitalality and its various forms.
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Jančárková, Julie. "Nikolay Okunev and the biggest exhibition of Russian art in Czechoslovakia." Slavic Almanac, no. 1-2 (2019): 270–81. http://dx.doi.org/10.31168/2073-5731.2019.1-2.3.03.
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The preparation of the biggest exhibition of Russian art organized by the Institute of Slavonic Studies in Prague and N. L. Okunev strated even before Czechoslovakia recognized the USSR. The chosen works of art originated from private collections in Europe and emigrant artists. The establishing of diplomatic relations between the CSR and the USSR in the summer of 1934 resulted in creating new rules for the Czech organizations when working with the Russian emigrants. It started a conflict in the working commission that was organizing the exhibition. A disadvantageous background for the event was the Czech “Manes” organizing an exhibition of Russian and Soviet art from Soviet collections that finally did not take place. The historians of art F. Kovarna, J. Květ, and V. Volavka left the commission because they did not want to exhibit the works by N. Goncharova, M. Larionov, M. Dobuzhinsky, A. and N. Benois, Z. Serebryakova, B. Grigoryev, F. Malyavin and many others and without works of art kept in Soviet museums to take part. In spite of this protest and connected organizational problems, the exhibition took place. It reflected the original view of Okunev on the history of Russian art. But the rumour that it represented works of art that had lower quality created a shadow of conflict that accompanied it before it ended. Later the myth about the low quality of the exposition became stronger. Unquestioned critically, it continues to live in the works of respected specialist even nowadays.
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Zolotova, M. B. "Museum of Book at the Russian State Library: Development of Idea and Contemporary Cultural-Informational Challenges." Bibliotekovedenie [Library and Information Science (Russia)], no. 5 (October 28, 2014): 8–12. http://dx.doi.org/10.25281/0869-608x-2014-0-5-8-12.
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In the article there is presented the history and objectives of creation of Museum of Book at the Russian State Library, the role of book expositions of museum type in the contemporary library life, and book as a text and book as a museum exhibit item in library
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Portnova, Tatiana V. "Exploring the Experience of Contemporary Dance Practices in the Context of Global Art Choreography in the Museum Space." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–6. http://dx.doi.org/10.1145/3460456.
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The purpose of the article is to examine modern projects in the field of choreography, interconnected with art museums that open doors for choreographers and together embody creative ideas. It is this creative, largely subjective, controversial dialogue between the museum and dance, accompanied by comments of art historians, choreographers, and artists, that gets its meaning in the presented material. The novelty of the study lies in assessing the main directions of choreographic activity, which can be mutually transformed so that the museum and dance function successfully in modern conditions and build a new communicative space with the audience. Through a creative analysis of the modern experience of dance practices, it is possible to discover the principles and trends that are destined to breathe new life into the museum space. The considered examples of organising a museum space with theatrical and plastic direction interacting with it clearly demonstrate that modern visual strategies, associated primarily with its interactive substance, affect the communicative and exhibition space of the museum in different ways. A choreographic performance was analysed as part of a diverse event taking place on the territory of the cultural and historical museum complex; inclusion of dance in the dynamics of the halls of the interior spaces of the museum; entry of a choreographic performance, theatrical actions into the exhibition space of expositions; the museum itself inviting artists, choreographic schools and studios to conduct regular classes and masterclasses within the walls of the museum to popularise its collections, and other examples of forms of interaction between the art of dance and the art museum.
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Tipene, Luke. "Representational Space in the Prince Asaka Residence." idea journal 16, no. 1 (January 28, 2018): 164–81. http://dx.doi.org/10.37113/ideaj.vi0.24.
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Jun’ichirô Tanizaki’s In Praise of Shadows (1933) describes a theory of aesthetics based on shadows. He suggests that contrary to Western ideas of highly visible space, ambiguity and darkness are distinct characteristics of Japanese interiors. Kazuo Nakajima describes this condition as the blending of social practices and interior elements in indeterminate spaces of the vernacular Japanese home, and suggests the decline of such interiors has threatened the psychological stability of Japan since Western engagement, from the Meiji restoration of 1868.
Almost as affirmation of Nakajima’s fears, the same year Tanizaki’s essay was originally published in Japan, the Art Deco Residence of Prince Akaka was completed in Minato-ku, Tokyo. Now a house museum, this assemblage of interiors is credited room-by-room to either the French interior designer Henri Rapin or the Japanese Construction Bureau of the Imperial Household, confirming for Nakajima a division between Western and Japanese concepts of space.
This paper questions Nakajima’s dualist reading of the Residence’s interiors by unpacking the complexities of Western engagement in the Japanese interior since the Meiji restoration until the 1930s. Additionally, this paper examines parallel concepts of interior space that directly influenced the Residences conception, from the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris and the 1920s Culture Life movement in Japan. From these historic and contextual examinations, this paper demonstrates a fundamental shift from the concept of space in the Japanese interior described by Tanizaki and Nakajima. It suggests that Western engagement displaced how value was attributed in the interior, from things that were unseen to things that were seen.
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Smirnov, Aleksey V. "Social object: museum object in the participatory museum." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 126–32. http://dx.doi.org/10.30725/2619-0303-2021-1-126-132.
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The «new museology» movement, which seeks to revise the principles and foundations of the activities of modern museums, has introduced a few new concepts into consideration, one of which is the concept of «social object». «New Museology» interprets a social object as the basis for constructing an exposition of a participatory museum, which makes it possible to consider a social object as an analogue of a museum item. Since the concept of a «museum item» is one of the key theoretical tools of modern museology, its content can be expanded within the framework of the scientific understanding of a participatory museum. Directions of such a theoretical study are presented in this article. The analysis of the transformation of a museum object into a social object during the transition from the traditional principle of building a museum exposition to a participatory one made it possible to identify several problems in the activities of a participatory museum related to the communication potential of its exhibits. The understanding of a social object is formed based on an analysis of examples of exposition and exhibition activities presented in the book by N. Simon «The Participatory Museum».
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Behal, T. O. "The features of using the interactive museum expositions in modern exhibition practice." Science and Education a New Dimension IX(254), no. 46 (June 30, 2021): 15–17. http://dx.doi.org/10.31174/send-hs2021-254ix46-03.
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The article analyzes the characteristic features of the interactive museum exposition as an integral part of the museum space. The main factors influencing the development and improvement of the modern museum exposition in general are substantiated. Based on the analysis of exposition solutions of European museums, the main models of multimedia technologies that can be used in the design of interactive museum expositions are proposed.
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Tishkina, T. V. "Military History Exposition at the Museum of History of Education in Barnaul." Izvestiya of Altai State University, no. 2(112) (June 10, 2020): 97–101. http://dx.doi.org/10.14258/izvasu(2020)2-16.
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The process of forming the fund and the features of the military-historical exposition of the Museum of History of Education in Barnaul is considered. The institution has been operating since 2008 under the direction of O.V. Kakotkina. Museum Fund it is more than 12, 5 thousand of items. Considerable attention has been paid to manning collections reflecting wartime events. The article analyzes the exposition of the hall “Education in Barnaul during the Great Patriotic War (1941-1945)”. The museum staff and artist-designer N.A. Burdina carried out the exposition. When creating the exposition, the principles of scientificness, subjectivity and communication are observed. Over 230 exhibits are presented in the sections of the exposition: letters, photos, awards, archival documents, household items 1930-1940, artifacts obtained as a result of excavations at battlefields in the Novgorod region, etc. A variety of modern museum equipment was used to accommodate them. About 7000 people visit the museum annually. They get acquainted with the exposition of the hall during museum or in their own. It is noted that the activities of the museum are important for the preservation, study and promotion of the heritage of Barnaul educators.
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Astakhova, Irina S. "SCIENTIFIC HERITAGE OF OUTSTANDING SCIENTISTS IN THE EUROPEAN NORTH-EAST OF RUSSIA: MEMORIAL OFFICES AND PROJECTS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 218–28. http://dx.doi.org/10.17223/22220836/40/19.
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Some of the most promising means of preserving scientific heritage, accessibility of archives and popularization of science are memorial museums or projects memorializing the memory of outstanding scientists. In the European North-East of Russia immortalizations of heritage is carried with respect to interests of scientists - geological, biological and socio-economic sciences. Three stages of the formation of the scientific community in the region have been identified. The first stage is related to the initial research of scientists who visited the European North in the 18th – begining of 20th century. The preservation of scientific heritage was provided by the creation of the A.V. Zhuravsky museum in the Ust-Tsilm, and by creation of monuments and commemorative places. The next period in the study of the North began in the 1930s-early 1940s and involves the arrival of distinguished scientists to the region. After the work of the scientists a large volume of scientific heritage. The materials composed the basis of the museums-apartments and separate expositions in local history museums in Uhta and Vorkuta. Academic organizations were established in the European North of Russia in the mid-20th century. The memory of the outstanding achievements of scientists is perpetuated in the names of geological and geographical objects, streets and museums in the cities of the region. The preservation of the scientific heritage of the scientist of this period is connected with the activities of already existing museums or with the creation of memorial offices in the scientific and production organizations in Uhta, Vorkuta and Syktyvkar. The working interior of the scientist is reconstructed or preserved in the memorial rooms. Memorial projects are implemented in the existing museums and in the higher educational and academic institutions. Memorial exhibitions have a following structure: science – research – teaching – memoirs. The most convenient and accessible forms of preservation of the scientific heritage are separate museums-offices in the existing museums. The interior, objects and documents introduce the visitor of the museum to the interests, hobbies, and results of the work of the scientist. It gets acquainted with the historical period when a scientist lived and worked. The museum and science are linked by historical continuity and intergenerational culture. The regional memorial projects are aimed to identify regional scientific identity and ways of development of the scientific community. The main development of regional museums is connected with the establishing the new personalities of scientists, with adaptation in virtual space and creation of online exhibitions.
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Melgares, Miguel Ángel. "Entre la reiteración y la producción performática. Dos modelos de producción cultural para un nuevo giro performativo." Arte y Políticas de Identidad 23 (December 30, 2020): 80–97. http://dx.doi.org/10.6018/reapi.461011.
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En este artículo se analizan nuevos modelos de producción cultural relacionados con la adaptación de las artes vivas al museo. Centrándonos en el estudio de dos grandes exposiciones retrospectivas dedicadas al trabajo de Marina Abramović y de Tino Sehgal, tratamos de identificar el desarrollo de estrategias de reiteración performativa, mecanismos de exposición de archivos inmateriales, así como nuevos modelos productivos como son la producción de co-presencia y laproducción de intersubjetividad. Si en la segunda mitad del siglo XX el performance surgió como una herramienta subversiva con la que cuestionar el mercado y las instituciones culturales, la absorción y transformación de los performances en un nuevo producto de consumo cultural genera una serie de contradicciones, ya que la segunda oleada del performance —denominado como nuevo giro performativo— ha estado coordinada desde las mismas organizaciones museísticas que los artistas del performance trataron de cuestionar. Los contenedores expositivos se han convertido en puntos de encuentro entre obras vivientes y un público ávido de experiencias directas, donde creadores provenientes de otras disciplinas nutren y expanden los límites de las galerías, reemplazando con cuerpos vivos a los objetos artísticos. This article analyses new models of cultural production rooted in the adaptation of live arts within museum contexts. Focusing on the study of the great retrospective exhibitions of Marina Abramović and Tino Sehgal, we try to identify the development of performative reiteration strategies, exposure mechanisms of these immaterial archives, as well as new productive models such as the production of co-presence and the production of intersubjectivity. If in the second half of the 20th century, performance emerged as a subversive tool through which to question the market and cultural institutions, the absorption and transformation of performances into a new product of cultural consumption generates a series of contradictions affecting its essence, especially since this second performance wave —named as a new performative turn— is driven by the same museums and cultural institutions that performance artist once tried to question. The exhibition containers have become meeting points between artists and an audience eager for direct experiences, where creators from other disciplines nurture and expand the galleries boundaries, replacing artefacts for living bodies.
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Odrekhivskyi, Roman. "LIGHTING IN THE INTERIOR DESIGN OF RELIGIOUS BUILDINGS IN GALICIA (THE SECOND HALF OF THE 19th AND THE FIRST THIRD OF THE 20th CENTURIES)." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 223–32. http://dx.doi.org/10.31866/2410-1915.22.2021.235918.
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The purpose of the article is to analyse the typology, design features and carved decor of the wooden lamps in the interiors of the religious buildings in Galicia. The research methodology is based on the general principles of scientific work: consistency, authenticity, historicism, logic. The author of the article applies a comparative and typological method to analyse the design features of the lamps. And the methods of hermeneutics and semiotics were used to analyse ornamental and compositional systems of decoration. The scientific novelty of the work is the introduction of the unknown artefacts of church art into the scientific circulation. The author collected these data himself during his scientific expeditions to museums or directly in churches — both in Ukraine and abroad. Conclusions. The study of the design features and decor of the analysed lamps has shown that table lamps, as a rule, are smaller than candelabras (stavnyk), although sometimes according to the principle of composition, they are the same as candelabras, as, for example, the candelabra from the Kryvorivnia Church of the Nativity of the Blessed Virgin Mary. The study has confirmed that the lamps harmoniously fit into the design of the church interior, complementing the ensemble. For example, in the church in the village of Duliby or Pozdiach. In fact, the design ensembles of these religious sites are made in the same style. The author of the article provides an analysis of the image design solution and the nature of the decor of specific samples of the lamps, and argues that the development of the lamp art (as well as other elements of church equipment) occurs in two directions: imitation of historical styles in line with eclectic versions and the use of ornamental and compositional structures of traditional folk art. The features of a successful combination of these trends in the image solution of the spider chandelier from Galicia, which is kept in the collection-exposition of the National Museum in Lviv, have been demonstrated. The study has shown the original use of Hutsul folk carving traditions in the decoration of the spider chandelier from the Church of St. George in the village of Duliby, made by the famous master Vasyl Turchyniak: he used traditional geometric ornaments with ancient symbols. The significance of the © Roman Odrekhivskyi, 2021 The article was received by the editorial office: 11.08.2020 study lies in the possibility of using the processed material in the restoration of the old and construction of the new churches.
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Lobanova, Olga S., Tatiana S. Makarova, and Tamara A. Glazyrina. "ROLE OF MULTIMEDIA TECHNOLOGIES IN MUSEUM EXPOSITION." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 21. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-21.
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The article is an attempt to reconsider the theoretical postulates related to multimedia in museum business through the prism of the exhibition experiences gained by the Ural Regional Institute of Museum Projects. The main issues raised in the article are the classification of digital technologies, their interaction with other elements of the exposition, the potential of using IT-technologies in museum space. The staff of the Institute review their mistakes made in project work, combining theory and practice. The most serious shortcomings in the creation of exhibitions with multimedia technologies are considered to be visual disharmony against the general design of the museum space, lack of multimedia technology unity and disengagement of digital technologies from the scientific concept. Consideration is also given to the current state of museum business in the current context of overall digitalization.
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Caltová, Petra, and Zdeňka Kulhavá. "From Backstage of the Children’s Museum Preparations." Muzeum Muzejní a vlastivedná práce 55, Supplementum (2017): 58–62. http://dx.doi.org/10.1515/mmvp-2017-0036.
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The ambition of the Children’s Museum exposition, which is being created in the New Building of the National Museum, is to offer visitors a space for entertainment, relaxation and education. The exposition will introduce them, in an entertaining way, the natural and cultural heritage of the Czech lands in connection with unique exhibits of the new expositions in the Historical Building of the National Museum. The visitors will go through various historical events by means of the “time machine” of a scientist. The exposition will utilise a number of mechanical interactive elements, as well as modern audio-visual media. The creative team, composed mainly of museum pedagogues, will make use of their vast experience of working with children.
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Davis, Lee. "Locating the Live Museum." Museum Anthropology 14, no. 2 (May 1990): 15–20. http://dx.doi.org/10.1525/mua.1990.14.2.15.
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Andreeva, Irina V. "Method of Museum-exposition design as a basis of classification museum expositions." Issues of Museology 10, no. 1 (2019): 16–28. http://dx.doi.org/10.21638/11701/spbu27.2019.102.
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Danilova, I. I., and A. I. Prokopenko. "MUSEUM EXPOSITION AS DIALOGUE OF CULTURES: TRANSLATION FEATURES." Tomsk Journal of Linguistics and Anthropology, no. 2 (2017): 56–65. http://dx.doi.org/10.23951/2307-6119-2017-2-56-65.
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