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Journal articles on the topic 'National Museum of Ancient Art'
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Żelazowski, Jerzy. "WITOLD DOBROWOLSKI (1939–2019)." Muzealnictwo 61 (June 24, 2020): 90–96. http://dx.doi.org/10.5604/01.3001.0014.2476.
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The recollections of Prof. W. Dobrowolski focus mainly on his activity at the National Museum in Warsaw (1960–2011) and his scholarly accomplishments. The creator of modern Etruscology in Poland in the 1960s, he contributed greatly to promoting knowledge of Etruscan civilization among Polish society. He won his international fame with the documentation of Etruscan tombs and their painterly decoration in the modern period. Furthermore, W. Dobrowolski was an unquestioned expert in Greek pottery, particularly from the Vilnius and Gołuchów collections kept at the National Museum in Warsaw, and was capable of applying his deepened iconographic analyses to museum displays. His passion being Greek art as a universal and topical model for artistic and esthetical values, he was greatly committed to promoting ancient art in Poland as an organizer of several dozen exhibitions at local museums, author of numerous encyclopaedic entries and chapters in art history textbooks. Moreover, he authored and curated some big and important exhibitions at the National Museum in Warsaw, where he also had a significant impact on the permanent Ancient Art Gallery which existed until 2011. Dobrowolski’s studies in Polish collecting of ancient historical pieces in the 18th and 19th centuries paved him the way to important analyses of the presence of the Antiquity in European and Polish culture that were the academic focus in the last period of his life.
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Макаренко, Зоя, Zoya Makarenko, Юлия Жилкова, Yuliya Zhilkova, Марина Бережная, and Marina Berezhnaya. "Items of jewelry art of pre- Mongolian Russia in the collections of Russian museums." Services in Russia and abroad 10, no. 4 (September 22, 2016): 122–31. http://dx.doi.org/10.12737/20189.
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The article deals with the question of exhibiting of jewelry art items of pre-Mongolian Russia in Russian museums. Public and private museums that were opening in the Russian Empire contributed to preservation of the cultural heritage of the country. When they were emerging, many private collectors donated part or all of their collections to state. This was especially promoted by opening of the Historical Museum in 1883 for the general public. Exhibits of public museum were replenished by the collections of Uvarovs, Kropotkins, Shcherbatovs, Golitsyns. The fate of collection of the outstanding collector M. Botkin is noteworthy.
Masterpieces of jewelry art of ancient Russia may be exhibited in only a few museums in the country, including two sites in the Moscow Kremlin, which show such kind of items. Collection "Russian gold and silverware of beginning of XII-XVII centuries" is located in the exposition hall 1 of Armory Chamber. The glass case 2 presents gold and silver items, made by goldsmiths of Kiev, Chernigov, Ryazan, Suzdal, Novgorod.
Museum affair after the October Revolution in the country was significantly reformed. Museums and collections of the palaces were declared as the national property. For registration, accounting and secure of all artistic and cultural treasures, the artistic and historical commissions and the State Museum Fund were created. Majority private collections were nationalized.
Russian Museum, located in the Mikhailovsky Palace in Sankt Petersburg has one of the largest collections of pre-Mongolian Russian treasures and individual items of jewelry art of X-XIII centuries.
Thousands of works of jewelry art of ancient Russia are collected in the expositions and funds of Russian museums. Today collections of not only central but also local museums are multiplied, facilities and exhibitions are quality improving.
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Starodub, T. Kh. "Национальный музей Дамаска: история и коллекции." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 234–59. http://dx.doi.org/10.46748/arteuras.2021.01.017.
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This article is devoted to the unusual history of the creation of the National Museum of Damascus. Nowadays this is the largest repository of literary texts and artifacts of the ancient civilization of Western Asia and the Eastern Mediterranean, so as the Art culture values of the Middle East from the Byzantine time and Arab Middle Ages to periods of Modern age and 20th – 21st centuries. The idea of founding in Syria the National Art & Culture History Museum has started up in the process of organizing the Arab Academy of Sciences in Damascus (1918); it was partly inspired by the reports of the 17th – early 20th centuries travelers on ruins and artifacts which met and found on their ways. The Museum was founded at 1919 and located, and all the Academy, in the medieval madrasah. As a result of the operose archaeological excavations of ancient and medieval sites all over the country, found by chance or pointed towards by written sources, started in the 1920s – 1930s, a small collection has grown into a huge foundation of exhibits from different epochs. During 1936-1950, 1963, 1974 and 2004 for Museum a special building had been built: with halls for expositions and exhibitions, premises for storing funds, a library, a lecture hall and a park. Статья посвящена необычной истории создания Национального музея Дамаска, ныне — крупнейшего в Сирии хранилища памятников древнейших цивилизаций Передней Азии и Восточного Средиземноморья и художественных культур Ближнего Востока периодов византийского и арабского Средневековья, Нового времени и XX–XXI веков. Идея основания сирийского художественно-исторического музея возникла в процессе организации в Дамаске Арабской академии наук (1918 г.) и отчасти была подготовлена сообщениями путешественников XVII – начала XX века о встреченных на их пути руинах и найденных артефактах. Музей был размещен в 1919 году вместе с академией в средневековом медресе. В результате начатых в 1920–1930-х годах археологических раскопок древних и средневековых объектов, найденных случайно или подсказанных письменными источниками, маленькая коллекция выросла в огромное собрание экспонатов. В 1936–1950, 1963, 1974 и 2004 годах было построено специальное здание с парком, залами для постоянной экспозиции и временных выставок, помещениями для хранения фондов, библиотекой, лекторием.
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Fróis, João Pedro. "The Emergence of Museum Education in Portugal: Madalena Cabral and the National Museum of Ancient Art." Curator: The Museum Journal 62, no. 4 (May 21, 2019): 557–69. http://dx.doi.org/10.1111/cura.12316.
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Geismar, Haidy. "Cultural Property, Museums, and the Pacific: Reframing the Debates." International Journal of Cultural Property 15, no. 2 (May 2008): 109–22. http://dx.doi.org/10.1017/s0940739108080089.
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The following short articles were presented at a special session of the Pacific Arts Association, held at the College Arts Association annual meeting in New York in February 2007. Entitled “Cultural Properties—Reconnecting Pacific Arts,” the panel brought together curators and anthropologists working in the Pacific, and with Pacific collections elsewhere, with the intention of presenting a series of case studies evoking the discourse around cultural property that has emerged within this institutional, social, and material framework. The panel was conceived in direct response to the ways that cultural property, specifically in relation to museum collections, has been discussed recently in major metropolitan art museums such as the British Museum and the Metropolitan Museum of Art (the Met). This prevailing cultural property discourse tends to use antiquities—that most ancient, valuable, and malleable of material culture, defined categorically by the very distancing of time that in turn becomes a primary justification for their circulation on the market or the covetous evocation of national identity—as a baseline for discussion of broader issues around national patrimony and ownership.
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James, N. "How to make sense of treasure." Antiquity 83, no. 319 (March 1, 2009): 206–8. http://dx.doi.org/10.1017/s0003598x00098215.
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Treasures in themselves are fetishes. Only the admirer can make 'treasure' of a find in isolation; but to wonder about it as treasure opens apt questions about why the thing was valued, by whom and under what conditions. It was worrying, then, when the Fitzwilliam Museum, Cambridge University's art collection, took in an exhibition of striking ancient finds returning to the Georgian National Museum from the USA (Smithsonian Institution and New York University). For the usual focus on the intrinsic qualities of fine art sits awkwardly with archaeological concern for context. The Fitzwilliam did tend to isolate the exhibits; but, here, that yielded an advantage as well as a difficulty.
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Karimova, Rukhayyo. "Restoration of Murals of the National Museum of Antiquities of Tajikistan." SHS Web of Conferences 50 (2018): 01233. http://dx.doi.org/10.1051/shsconf/20185001233.
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The paper analyses traditional and modern methods and technologies for preservation and restoration of wall paintings found through archaeological excavations in the Republic of Tajikistan. Medieval monuments such as the ancient Panjekent, Bundzhikat, Adzhina-Tepa and others gave a variety of works of pictorial art, including unique monumental paintings, the preservation of which presents a priority task for scientists, restorers and art experts. These artefacts are exposed in the State Hermitage Museum (St. Petersburg), the National Museum of Antiquities of Tajikistan, the Republican Museum of History and Local Lore of Rudaki in Penjikent and the National Museum of Tajikistan. The paintings portray diverse and interrelated household, mythological, religious and epic plots, battle scenes, scenes of feasts and hunting, as well as geometrical, vegetable, and zoomorphic motives. The study of these paintings helps scientists to study in detail the medieval history of Tajik people. Therefore, their preservation is the primary task of the corresponding experts. The paper is based on personal experience of the author in preservation and restoration of monumental paintings within international projects on preservation of cultural heritage of Tajik people.
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Kolbiarz, Artur. "From Świdnica to Bratislava: The sculpture of Christ the Saviour from the collection of the Slovak National Gallery." Muzeológia a kultúrne dedičstvo 8, no. 3 (September 2020): 75–93. http://dx.doi.org/10.46284/mkd.2020.8.3.4.
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Among the works that stand out in the Baroque sculpture collection of the Slovak National Gallery (SNG) is the figure of the Saviour by Georg Leonhard Weber of Świdnica. Surveys conducted in Slovak, Czech and Polish museums, combined with field studies, have made it possible to provide hitherto unexplored artistic context of the work. They have made it possible to trace the formal origins of the Bratislava Saviour as well as its later imitations. The sculpture is carved with virtuosic precision; it develops a concept derived from ancient art and is the finest example of Weber’s early oeuvre. Also, it constitutes a link between works made in his workshop over four decades. The present study demonstrates the advantages of an interdisciplinary and international analysis of museum collections. It highlights the significance of the sculpture in question to Central European cultural heritage, expanding the knowledge of museum collections in three different countries.
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Kuźmiński, Michał. "A glass Gem Depicting a Dying Niobid From the National Museum in Warsaw." Światowit, no. 59 (June 27, 2021): 169–75. http://dx.doi.org/10.31338/0082-044x.swiatowit.59.11.
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The National Museum in Warsaw holds a diverse collection of glass gems, both ancient and modern. One of these, a specimen depicting a dying Niobid supported by his sister, belongs to a wider group of objects scattered throughout various European museums. Such gems were mainly produced during the 1st century BC and their decoration is derived from a fragment of a relief carved by Pheidias on the statue of Zeus in Olympia which portrays the massacre of the Niobids. The fact that these gems were made of glass indicates that objects with such decorations were appreciated and popular. The myth of Niobe, in both Greek and Roman art, served multiple purposes highlighted by the choice of the story’s motives most often used in decorations. However, the reason for the use of this particular fragment of Pheidias’s relief to decorate gems as well as their popularity require additional explanation.
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PELEGGI, MAURIZIO. "From Buddhist Icons to National Antiquities: Cultural Nationalism and Colonial Knowledge in the Making of Thailand's History of Art." Modern Asian Studies 47, no. 5 (February 1, 2013): 1520–48. http://dx.doi.org/10.1017/s0026749x12000224.
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AbstractIn the mid 1920s Prince Damrong Rajanubhab and George Coedès jointly formulated the stylistic classification of Thailand's antiquities that was employed to reorganize the collection of the Bangkok Museum and has since acquired canonical status. The reorganization of the Bangkok Museum as a ‘national’ institution in the final years of royal absolutism responded to increasing international interest in the history and ancient art of Southeast Asia, but represented also the culmination of several decades of local antiquarian pursuits. This paper traces the origins of the art history of Thailand to the intellectual and ideological context of the turn of the twentieth century and examines its parallelism to colonial projects of knowledge that postulated a close linkage between race, ancestral territory and nationhood.
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Majewska, Aleksandra. "The Egyptian collection from Łohojsk in the National Museum in Warsaw." Światowit 57 (December 17, 2019): 249–57. http://dx.doi.org/10.5604/01.3001.0013.6854.
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The National Museum in Warsaw, founded in 1916, took over the function of the older Museum of Fine Arts in Warsaw, founded in 1862. Between 1918 and 1922, the National Museum was systematically enriched through donations by private persons and institutions. One of the most important collections, placed there in 1919, was that originating from an old private museum owned by the Tyszkiewicz family in Łohojsk, donated through the agency of the Society of Fine Arts ‘Zachęta’ in Warsaw. The museum in Łohojsk (today in Belarus, not far from Minsk) was founded by Konstanty Tyszkiewicz (1806–1868). The rich collection of family portraits, paintings, engravings, and other works of art was enriched in 1862 by Count Michał Tyszkiewicz (1828–1897), who bequeathed a substantial part of the Egyptian antiquities brought from his travel to Egypt in 1861–1862. The Łohojsk collection was partly sold by Konstanty’s son, Oskar Tyszkiewicz (1837–1897), but some of these objects were purchased in 1901 by a cousin of Michał Tyszkiewicz, who then donated them to the Society of Fine Arts ‘Zachęta’. At this stage, the whole collection amounted to 626 items, of which 163 were connected to Egypt. During World War II, the National Museum in Warsaw suffered serious losses. At present, the exhibits originating from Łohojsk include 113 original ancient Egyptian pieces, four forgeries, and 29 paper squeezes reproducing the reliefs from the tomb of Khaemhtat of the 18th Dynasty (Theban tomb no. 57).
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Piombino-Mascali, Dario, Lidija M. McKnight, and Rimantas Jankauskas. "Ancient Egyptians in Lithuania: A scientific study of the Egyptian mummies at the National Museum of Lithuania and the MK Čiurlionis National Museum of Art." Papers on Anthropology 23, no. 1 (July 1, 2014): 127. http://dx.doi.org/10.12697/poa.2014.23.1.11.
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Mohamed, Mostafa Khaled, Amal Abdou, and Doaa Abouelmagd. "Assessing “the Revival of the Egyptian Museum Initiative” for the People with Special Needs as an Approach for Social Sustainability." Academic Research Community publication 3, no. 4 (May 27, 2019): 64. http://dx.doi.org/10.21625/archive.v3i4.539.
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Disability is one of the greatest challenges faced by the societies. Recent statistics from the World Health Organization indicated that the percentage of people with special needs with different disability problems is around 13% globally and exceeds 10% at the local level.Despite the many national laws and codes that seek to make people with special needs have corresponding life to that of others, there are still barriers to their involvement in the society adequately, especially their use of the social infrastructure, and public and cultural buildings like museums.Museums are one of the most important establishments that must be suitable for the use of every person including people with special needs. They are catalysts for culture, history, art and science as well as their representation of the progress and renaissance of countries and societies.The Egyptian Museum with its 19th century neoclassical style has been one of the most prominent landmarks of downtown Cairo for more than 100 years. It has the largest collection of works of ancient Egyptian history and art. Despite its status as one of the most important museums in the world, it has suffered a great deterioration over several decades, which reflected the building and the exhibits negatively. As a result, “The Revival of the Egyptian Museum Initiative” was launched in May 2012 to define the national and international future role of the museum. It aimed to study the current situation of the museum and develop a comprehensive plan for rehabilitation.The paper discusses and assesses “The Revival of the Egyptian Museum Initiative” and its suitability for the people with special needs as an approach to achieve social sustainability. Moreover, the paper analyzes the appropriateness of the Egyptian Museum for the use of people with special needs and its comparison with a similar global example to come up with a set of recommendations to increase the efficiency of the Egyptian museum and it’s surrounding area.
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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.
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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.
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Seviset, Somchai. "The Role of Chinese Art in Influencing Thai Traditional Cupboard Furniture Designs." Applied Mechanics and Materials 556-562 (May 2014): 6631–37. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.6631.
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China has had her relations with Thailand for many centuries since the Sukhothai Period (A.D. 1250-1438) including trade contact, diplomatic relations set forth as per an abundance of documentary evidences, architectural works, and artistic object with significant artistic evidences of a long history of Thai-China relations. In Ayutthaya Period (A.D.1350-1767) which was corresponding to China’s Ming Dynasty (A.D. 1368-1644) there were Xi Yuan’s supporting written literature (A.D. 1565-1628). He was a Chinese historian who noted that China sent a large junk ship for trade to Ayutthaya fetching goods of silk, and chinaware from China for sale to Siam Court. Thai Traditional Cupboard Furniture in the past also had an interesting mix of Chinese art. Chinese artwork which appeared in the Thai Traditional Cupboard Furniture made from hardwood with surrounding decoration around it were created during the period of A.D. 18-19. From a number of Thai ancient cupboard furniture exhibited in the Phra Nakhon National Museum (the Largest National Museum in Bangkok Metropolis). This case study will explain the inspiration of Chinese art which the Thai craftsmen applied on the design to decorate the cupboard.
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Sidyawati, Lisa, Joni Agung Sudarmanto, Abdul Rahman Prasetyo, and Encik Muhammad Hawari Bin Berahim. "NUSANTARA MASK HERITAGE MALAYSIA: INFOGRAPHIC APPLICATION DEVELOPMENT OF MASKS OF MALAYSIAN INDIGENOUS TRIBES AT THE MUSEUM OF ASIAN ART MALAYSIA BASED ON AUGMENTED REALITY AS MEDIA OF TOURISM EDUCATION." Jurnal IPTA 7, no. 2 (December 30, 2019): 163. http://dx.doi.org/10.24843/ipta.2019.v07.i02.p07.
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The museum is a fun learning tool for the community. The Museum of Asian Art is one of the museums in Malaysia which was founded by Malaya University. The museum has three showroom floors and represents three civilizations; India, China and Islam. Every day the museum is very crowded by tourists to find information about artifact objects. Lots of artifacts stored in this museum include textiles, musical instruments, ceramics, masks, paintings, weapons and others. The museum itself is the right place to store and preserve ancient objects so they can still be seen and used as a source of learning and cultural preservation for the nation's next generation. This research takes the artifacts that are masks because the results of observations made by researchers, information about masks at the Museum of Asian Art Malaysia is very minimal compared to other artifacts, there are only name tags but there is no deeper information about the mask. So that it still cannot be used as a learning medium to the maximum. From this problem, researchers developed Nusantara Mask Heritage Malaysia (NUSMARI MALAYSIA) products based on Augmented Reality. The research method used is the development model into 4 steps: (1). Research and Information Collecting, (2). Planning, (3). Develop Preliminary Form Of Product, (4). Final Product Revision. The result of this development is a learning media application that can help tourists of all ages to more easily learn the mask of the Orang Asli Malaysia in the museum.
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Vertiienko, H. V. "«ORIENTAL APHRODITE» ON THE OBJECTS FROM TERRITORY OF SCYTHIA (on the origins of iconography)." Archaeology and Early History of Ukraine 33, no. 4 (December 25, 2019): 340–47. http://dx.doi.org/10.37445/adiu.2019.04.25.
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The article analyzes the origins of the iconography of a woman’s face with a hairstyle that has characteristic curls, which have been deployed in different directions, on the objects of Scythian material culture. This feature of iconography is fixed twice. The first case are four silver and gilded pendants from the barrow 34 near the village Sofiyivka, Kherson region (Museum of Historical Treasures of Ukraine — a branch of the National Museum of History of Ukraine, inv. no. 2755/1—4). The second case, is the image on the working part of a bronze stamp from the Kamyanskoe settlement (Archaeology Museum of the Karazin National University of Kharkiv, inv. no. VN 2089). As for the female hairstyle on these images, it is not typical for classical Hellenic art, but finds parallels in the art of the Eastern Mediterranean and Ancient East. This style is similar to the so-called «Hathoric wig» in the art of ancient Egypt (on stelae, sculptures, amulets, painting on coffins, mirrors, musical instruments, etc.), which influenced the iconography of the hairstyles of female deities («Oriental Aphrodite») of the Mediterranean. The image of the goddess in the «Hathoric wig» could permeate to the Northern Pontic Sea Region through the Hellenic craftsmen, as a replica of the image of «Oriental Aphrodite» cult of whom may have existed in the region. At the same time, these images could be a «copy» (imitation) made by the Scythian craftsmen directly from the Egyptian original, most likely from some faience amulet, which usually has similar size and sometimes reproduces the head of Hathor. According to Herodotus, in the Scythian pantheon, the figure of Celestial Aphrodite (Aphrodite Urania) was corresponded by Argimpasa (Herod. IV, 59). Consequently, in such an iconographic form these images could depict this goddess. The image of the «Hathoric wig» on these objects can be considered the most northern examples of this iconographic element.
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Hixenbaugh, Randall. "The Current State of the Antiquities Trade: An Art Dealer’s Perspective." International Journal of Cultural Property 26, no. 3 (August 2019): 227–38. http://dx.doi.org/10.1017/s0940739119000183.
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Abstract:The antiquities trade is the subject of contentious debate. The anti-trade position stems from a long unquestioned stance within academia that private ownership of antiquities inherently results in archaeological site destruction and the loss of valuable data. However, there is little data to support this notion. It also ignores the enormous contributions to our shared knowledge of the past that have been made through art collecting and museum acquisitions. The narrative that the destruction of ancient sites is directly tied to Western demand for ancient art is overly simplistic. Despite the ongoing destruction in the Middle East and North African region, virtually no artifacts from there have entered the Western trade in recent years. Opportunistic treasure hunting by desperate locals and intentional destruction of ancient objects for religious reasons cannot be curtailed by increased legislation in Western nations. Fetishizing mundane ubiquitous antiquities as sacrosanct objects of great national importance that must be retained within modern borders in a globalized world and demanding criminalization of the legitimate international art trade are counterproductive. In many archaeologically rich countries, antiquities are regarded as items to sell to foreigners at best or sacrilegious objects to be destroyed at worst. The free trade in cultural objects is itself an institution that needs to be protected. An open legitimate trade in antiquities is now more than ever necessary to ensure the preservation and dissemination of worldwide cultural property.
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Economou, G., E. Konstantinidi-Syvridi, I. Kougemitrou, M. Perraki, and D. C. Smith. "A MINERALOGICAL STUDY OF SOME MYCENAEAN SEALS EMPLOYING MOBILE RAMAN MICROSCOPY." Bulletin of the Geological Society of Greece 43, no. 2 (January 23, 2017): 804. http://dx.doi.org/10.12681/bgsg.11246.
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The National Archaeological Museum in Athens is the largest archaeological museum in Greece, and one of the most important museums in the world, devoted to Ancient Greek art and history. Among other exhibits, it owns a large collection of gemstones some of which were used during prehistoric times (Mycenaean period) as seals. Their shape varies from round to oval, flattish or cylindrical, and they are delicately engraved as intaglios with a variety of depictions (lions, bulls, man, etc). They show a wide range of colours from reddish, brown, to purplish and blue. The six sealstones described here come from the Chamber Tombs of Mycenae (15th-14th cent. BC). Museum exhibit labels recognize them as varieties of quartz such as jasper (NAM 3138), sardonyx (NAM 2316 & 2865), agate (NAM 4928), amazonite (NAM 2863) and gold-mounted carnelian (NAM 6489). Raman Spectroscopic analysis has been carried out with a new MRM (Mobile Raman Microscope) using a Kaiser Holoprobe with a NIR 785nm laser. The Raman spectra acquired from 1s-60s measurements confirmed that, in all six sealstones, quartz was the major mineral species clearly identified by its characteristic peaks. The second most important phase was moganite, a little-known polymorph of quartz. The amber-coloured sealstone (NAM 6489) was confirmed as carnelian, whereas the blue-green amazonite-coloured sealstone (NAM 2863) was not detected as amazonite. Small amounts of haematite were detected in the NAM 2865 & NAM 3138.
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Dubiński, Krzysztof, and Ewa Katarzyna Świetlicka. "LEOPOLD BINENTAL AND THE HISTORY OF HIS COLLECTION." Muzealnictwo 58, no. 1 (June 21, 2017): 109–22. http://dx.doi.org/10.5604/01.3001.0010.1024.
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Leopold Jan Binental (1886–1944) was a musicologist and journalist, and an indefatigable promoter of Frederic Chopin’s compositions and researcher into his life story in the inter-war period. He wrote and published a great deal in professional periodicals as well as in the national and foreign popular press, mainly in France and Germany. Until 1939, he was a regular music critic for "Kurier Warszawski". He was thought to be a competent and respected Chopinologist, and his reputation in Europe was confirmed by the monograph Chopin published in Warsaw (1930 and 1937) and in Paris (1934) and the album Chopin. On the 120th anniversary of his birth. Documents and mementoes (Warsaw 1930 and Leipzig 1932) presenting Chopin’s mementoes, prints, drawings, handwritten musical notes and letters. He initiated and co-organised famous exhibitions about Chopin in the National Museum in Warsaw (1932) and the Polish Library in Paris (1932 and 1937). He was Executive Secretary on the Management Board of the Fryderyk Chopin National Institute created in 1934. Binental amassed a private collection of Chopin’s manuscripts and mementoes which is highly regarded in musicological circles. He also collected works of art; his collection comprised ancient, Middle Eastern and modern European ceramics, medieval sculpture and tapestries, goldsmithery and Judaica. After the outbreak of war in autumn 1939, Binental took certain steps to secure his collections. Three chests with ceramics and works of art were deposited in the National Museum in Warsaw. However, it is not known what happened to the collection of Chopin’s objects. At the beginning of 1940, Binental and his wife managed to leave Poland and reach France, where his daughter lived. In 1944 he was arrested by Gestapo and sent to Auschwitz from which he did not return. After the war, at the request of his daughter Krystyna, some of the works of art deposited in the collections of the National Museum were found. With her approval, they are currently to be found in public collections in Poland, although the fate of his Chopin collection remains unknown. Every now and then, some proof appears on the world antiquarian market that the collection has not been damaged, despite remaining missing.
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Dias, Luís, Tânia Rosado, António Candeias, José Mirão, and Ana Teresa Caldeira. "A change in composition, a change in colour: The case of limestone sculptures from the Portuguese National Museum of Ancient Art." Journal of Cultural Heritage 42 (March 2020): 255–62. http://dx.doi.org/10.1016/j.culher.2019.07.025.
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Barysheva, Ekaterina A. "Programs for Preservation of the National Book Heritage in the Library Policy of the People’s Republic of China." Bibliotekovedenie [Russian Journal of Library Science] 69, no. 1 (March 11, 2020): 73–84. http://dx.doi.org/10.25281/0869-608x-2020-69-1-73-84.
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The purpose of the article is to summarize the information on the state of collections of ancient and rare books in the library institutions of the People’s Republic of China (PRC) by the beginning of the 21st century, to consider the content and the course of implementation of the state programs of the PRC in the field of registration, cataloguing, conservation, restoration, preservation and promotion of the national book heritage monuments. The author presents definitions of the terms “Ancient books” and “Rare books” used in China. All manuscript books and printed publications created before 1912 are considered Ancient books. Rare books include all books dated back to the period before 1795 and editions published in 1796—1912 that have outstanding historical, cultural, art and aesthetic value, as well as publishing products and documents from the period of the Republic of China (1912—1949). Chinese publications often use the term “Rare ancient books”, which refers to all manuscript books and printed publications before 1795. There are about 27 million 175 thousand copies of ancient books in the country’s libraries, including 2,5 million books created before 1795; and about 45 thousand ancient books have been preserved in a single copy.The article focuses on the programs developed with the participation of the National Library of China (NLC) and approved by the PRC Government in 2007—2018. The author reveals the main provisions of the “National Plan for Preservation of Ancient Books” (2007), as well as the powers and tasks of the National Centre for Conservation and Preservation of Ancient Chinese Books (NC), which has become the lead agency responsible for the implementation of the Plan. The paper considers the system of regional and local centres for the conservation and restoration of ancient and rare books, headed by the NC, that has developed in the PRC at present, shows the role of these centres in the field of identification, registration and cataloguing of book heritage monuments, in the creation and maintenance of a normative storage regime in old library buildings, ensuring the activities of restoration workshops, digitization of documents, preparation and online publication of full-text databases of ancient and rare books. The article emphasizes the importance of the National Museum of Classical Books, opened in July 2014 at the NLC, for promoting the national book heritage.The author notes that the priority task for the coming years is the construction of three new buildings of the National Book Depository in Beijing and Chéngdé (Hebei Province). The article concludes that over the past ten years, owing to the government support and targeted funding, China has managed to organize systematic activities in the field of conservation, preservation and promotion of the national book heritage.
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Dauben, Joseph W. "The Evolution of Mathematics in Ancient China: From the newly discovered 數 Shu and 算數書 Suan Shu Shu Bamboo Texts to the Nine Chapters on the Art of Mathematics." Revista Brasileira de História da Matemática 19, no. 37 (October 16, 2020): 25–78. http://dx.doi.org/10.47976/rbhm2019v19n3725-78.
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The history of ancient Chinese mathematics and its applications has been greatly stimulated in the past few decades by remarkable archaeological discoveries of texts from the pre-Qin and later periods that make it possible to study in detail mathematical material from the time at which it was written. By examining the recent Warring States, Qin and Han bamboo mathematical texts currently being conserved and studied at Tsinghua University and Peking University in Beijing, the Yuelu Academy in Changsha, and the Hubei Museum in Wuhan, it is possible to shed new light on the history of early mathematical thought and its applications in ancient China. Also discussed here are developments of new techniques and justifications given for the problems that were a significant part of the growing mathematical corpus, and which eventually culminated in the comprehensive Nine Chapters on the Art of Mathematics. What follows is a revised text of an invited plenary lecture given during the 10th National Seminar on the History of Mathematics at UNICAMP in Campinas, SP, Brazil, on March 27, 2013.
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Kuntjara, Hagung. "Kritik Seni dengan Kasus Festival Seni Rupa “Nagari Ngayogyakarta Hadiningrat”." Humaniora 4, no. 2 (October 31, 2013): 755. http://dx.doi.org/10.21512/humaniora.v4i2.3503.
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"War againt the forgot" – Some time ago the government through a bill drafted by the Ministry of Home Affairs rolled leadership succession issues covered in the bill of Privileges Yogyakarta which hands polemical dichotomy of choice 'Sultan is not automatically Governor' (by election) or 'Sultan is automatically Governor' (direct designation). Social and political conditions that nation endlessly polemical dichotomy is heating up at the public grassroot level to the national level lead to opposite parties and keep fire as unresolved. A Fine Arts Festival event titled "Nagari Ngayogyakarta Hadiningrat" one century to coincide with HB IX, was presented in Jogja National Museum (JNM) 13 April 2012 and 2 weeks later, became a kind of 'witness marker' of the existence and the constellation 'Nagari Yogyakarta Sultanate - HB IX' with the Republic of Indonesia. Form of attitudes, arts events as a marker – ‘Titi pranoto mongso’ - in ancient agrarian societies of Java was used as a natural event signs to be observed, the Arts Festival events can be read as a reminder to not forget, will conduct historical Yogyakarta. Practice of art criticism writing is about the Arts Festival event "Nagari Ngayogyakarta Hadiningrat" in the perspective of art criticism, which is not only a cultural festival article coverage of events, but also the existence of a strong side shoot 'Nagari Yogyakarta Sultanate - HB IX 'is presented in the form of representation of the works of art are very diverse and are free to respond to a given topic.
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Sheikh, Gulammohammed. "TALKING POINT Whose Inheritance?" Journal of Heritage Management 1, no. 2 (December 2016): 91–97. http://dx.doi.org/10.1177/2455929616687900.
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The visual culture forming part of India’s ‘inheritances’ is staggering in scale, diversity and range. However, we need further comprehensive documentation, publications, and innovative steps like museums devoted to ‘heritage’ and popular visual cultures etc., and a national archive of heritage monuments, accessible to all. Further, while sites and art belonging to ancient and medieval times get attention other periods, like treasures of the nineteenth century, are often overlooked. In part, the social mind-set and attitude towards art reinforced by an imbalanced system of education, is to blame. Art is equated with hobby or entertainment, and rarely with vocation or profession. There is also a clear division between verbal and visual cultures. Most educated people are brought up on verbal cultures; a few respond to performing arts and only a fraction are visually literate. A people’s movement for a cultural resurgence free of chauvinistic objectives is required. Such a movement could counter the consumerism and brutalization that seems to have swept the minds of a growing generation. It could be a national agenda.
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Diamantis, Alexandros. "Il Convegno AICA del 1984. La Presidenza Hăulică e la questione dei Marmi del Partenone." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 157–73. http://dx.doi.org/10.24193/subbhistart.2020.08.
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"The 1984 Conference of the International Association of Art Critics. The Presidency of Dan Hăulică and the Issue of the Parthenon Sculptures. In 1984, the Conference of the International Association of Art Critics (AICA), chaired by the Romanian Dan Hăulică (1932-2014), was organized for the first time in Greece; the event offered an opportunity for historians and art critics of various nationalities to meet. The theme of the conference, „Contemporary art and the Greek world. The XXth century in the face of the civilizations that have followed one another in the Greek space”, on the one hand honored the host country and on the other, placing the accent on the relationship between XXth century art and the Western artistic tradition, was part of the international discussion on the end of the avant-gardes. The complex relationships between the ancient and the contemporary were discussed in terms of influences, continuity and discontinuity. Particular attention was paid to the concept of myth and the mythical dimension of contemporary art. On the other hand, the generic definition of „Greek world"", intentionally chosen by the Greek section of the AICA, re-proposed the national narrative of an essentially unitary historical-artistic development. The Conference also had a dimension of international political significance connected to the fact that the previous year the AICA, an organization affiliated with UNESCO, had approved a motion for the return to Greece of the Parthenon marbles kept at the British Museum. In Athens, the confirmation of solidarity with the Greek cause was also a matter of electoral campaign for the renewal of the Presidency of the AICA. Keywords: AICA Congress, art discourse, contemporary art, Parthenon marbles, classical heritage, myth "
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Tialiou, Kelley. "Inhabiting Liminality: Cosmopolitan World-Making in Naeem Mohaiemen’s Tripoli Cancelled." Humanities 8, no. 2 (June 24, 2019): 117. http://dx.doi.org/10.3390/h8020117.
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Motivated by “the need to embody … the palpable tension between the North and the South as it is reflected, articulated, and interpreted in contemporary cultural production”, documenta 14’s selection of Athens as a “vantage point … where Europe, Africa, the Middle East, and Asia face each other” is in line with the ancient Greek concept of the ‘cosmopolite’, a term that Diogenes first coined “as a means of overcoming the usual dualism Hellene/Barbarian”. In this article, I suggest that Naeem Mohaiemen’s feature film, Tripoli Cancelled (2017), commissioned by documenta 14 and premiered at the National Contemporary Art Museum in Athens, proposes a rich and compelling model of cosmopolitan world-making. Shot at the abandoned Elliniko Airport, the film is poetically suspended between fact and fiction, past and present, the historical and the incidental, the local and the global. Creatively positioning the concepts of cosmopolitanism, nostalgia, and hospitality in dialogue, I develop a theoretical model through which I seek to explore how the literally and metaphorically liminal space inhabited by the film’s anonymous protagonist resonates with the contemporary conditions of desperate migration.
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Бравина, Розалия Иннокентьевна, and Зинаида Ивановна Иванова-Унарова. "The Glow of Silver: The Traditional Ornaments of the Yakuts. From the Origins to the Present." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (June 25, 2020): 51–62. http://dx.doi.org/10.26158/tk.2020.21.2.005.
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Ювелирное искусство народа саха исследуется в статье в междисциплинарном аспекте: изучаются истоки его возникновения, этнокультурные связи народов Евразии по материалам археологических памятников Позднего Средневековья, искусствоведческая характеристика украшений (традиции и новаторские черты в современном искусстве якутских ювелиров). В основу работы положен анализ находок из археологических раскопок якутских погребений XIV-XVIII вв., предметов из фондов музеев Республики Саха (Якутия) и Американского музея естественной истории в Нью-Йорке, а также авторских ювелирных изделий современных мастеров. Подробное изучение ансамбля якутских украшений и отдельных его частей содержится в трудах этнографов Ф. М. Зыкова, В. П. Дьяконовой и др. Классификация украшений, описание техники и способов обработки металла, к которым обращались эти авторы, не входят в задачи данной статьи. Металлические украшения древних якутов, найденные в археологических памятниках, рассматриваются нами в сравнительно-историческом аспекте и соотносятся с изделиями древних кочевников Центральной и Передней Азии, Китая и Южной Сибири. Якутское ювелирное искусство приобрело устойчивые формы, орнаментальный декор и национальное своеобразие в XVII-XIX вв. На современном этапе сохраняется многовековая традиция изготовления ансамбля украшений, но параллельно развивается творчество дизайнеров-ювелиров по созданию оригинальных художественных произведений, вырабатывающих неповторимый стиль этномодерна. The article examines the jewelry of the Sakha people from an interdisciplinary perspective. It examines its origins and sources; considers the ethno-cultural relations of the peoples of Eurasia, based on the materials of archaeological monuments from the late Middle Ages; and considers art history (traditions and innovative features in the modern art of Yakut jewelers). The work is based on archaeological excavations of Yakut burials of the 16th through 18th centuries, items from the collections of the museums of the Republic of Sakha (Yakutia), and the American Museum of Natural History in New York, as well as the author’s jewelry created by modern masters. A detailed study of Yakut jewelry and its individual parts is contained in the works of the ethnographers F. M. Zykov, V. P. Diakonova, and others, and the classification of jewelry and descriptions of the techniques and methods of metal processing that these scholars provided are not considered in this article. On the other hand, metal ornaments of ancient Yakuts found in archaeological sites are analyzed in a comparative historical context and correlated with the products of ancient nomads from Central and Western Asia, China and Southern Siberia. Yakut jewelry art acquired stable forms, ornamental design and national distinctiveness in the 17th - 19th centuries. The traditional Yakut way of making an ensemble of jewelry has been preserved, but at the same time, jewelry designers have also been creating original works of art that develop a unique “ethnomodern” style.
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Kaczmarska, Elżbieta. "Contemporary symbols in the space of Baku." Budownictwo i Architektura 19, no. 2 (August 28, 2020): 121–36. http://dx.doi.org/10.35784/bud-arch.2166.
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When performing even a cursory analysis of the visual image of contemporary Baku, the capital of Azerbaijan, one simply cannot ignore its ancient history, the political influence of nearby powers and the almost age-old dependence on Soviet Russia. The regaining of independence in 1991, associated with the policy of then-national leader Heydar Aliyev, stimulated the young country’s ambition to open up to the world and organise an international cultural event. The preparation for the Eurovision Song Contest in 2012 initiated another construction boom in the history of Baku, fuelled with petrodollars, and became an occasion to present a new vision of the capital. In the years 2007–2012, numerous new cultural, artistic and sports buildings were constructed and which are now a hallmark and symbol of contemporary Baku. One such building, which creates a new, futuristic city space and is presented in the article, is the Heydar Aliyev Centre, a centre of art and museum designed by Zaha Hadid. The author notes the creative intent, external appearance and structure of the building, as well as new means of expression in creating place-based ambience. Also noted were the use of contemporary art in the creation of attractive utilitarian spaces. Other presented buildings display the ages-old symbols of the ‘Land of Fire’ in a new way and are embedded into the contemporary panorama of the city
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Lyons, Claire L. "Thinking about Antiquities: Museums and Internationalism." International Journal of Cultural Property 21, no. 3 (August 2014): 251–65. http://dx.doi.org/10.1017/s0940739114000149.
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Abstract:John Henry Merryman’s seminal writings established the twin poles of nationalism and internationalism, which have framed debates over cultural patrimony for three decades. He has long advocated a cosmopolitan ideal of sharing the world’s artistic heritage as the best course for preservation, knowledge, and public access. Although the tensions between national ownership and universal circulation frequently put countries and museums at odds, above all when it comes to ancient art and archaeological objects, a middle ground has been found that can bridge the gap. This article reviews several recent MOUs that U.S. museums and cultural ministries in Italy, Greece, and Turkey have established for exhibition loans and research collaborations. The J. Paul Getty Museum’s experiences in implementing four international cultural agreements illuminate how sharing works in practice, and the benefits (and costs) of an object-oriented approach to cultural diplomacy.
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Moignard, Elizabeth. "A. M. L. Touati: Ancient Sculptures in the Royal Museum. The Eighteenth-century Collection in Stockholm, 1. Pp. 176, 53 ills, 43 pls. Stockholm: Swedish National Art Museum, 1998. Cased. ISBN: 91-7100-567-6." Classical Review 50, no. 1 (April 2000): 370–71. http://dx.doi.org/10.1017/s0009840x00145020.
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Narendra, Albertoes Pramoekti. "Preservation and Conservation of Lontar Gedong Kirtya Liefrinck-Van Der Tuuk Singaraja Bali." Record and Library Journal 7, no. 1 (June 29, 2021): 28–39. http://dx.doi.org/10.20473/rlj.v7i1.115.
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Background of study: Lontar used as a writing tool before people know the paper. One of the world famous lontar library collections is the Lontar Gedong Kirtya Museum. Gedong Kirtya and the Buleleng Museum are located in the Singaraja Sasana Budaya Art Temple, on Jalan Veteran no. 23 Singaraja Bali. Gedong Kirtya is one of the oldest lontar libraries in Indonesia and even in the world which is a heritage of knowledge of the nation's local cultural knowledge. Purpose: This study is to determine the concrete efforts made to preserve the ancient lontar manuscripts. Method: This study used a qualitative descriptive method using interviews, observations at the Gedong Kirtya museum and books to find out the care and care of lontar manuscripts. Findings: The results showed that the Lontar Gedong Kirtya Museum carried out various preservation and conservation efforts of lontar collections which were realized by storing the palm oil in a special place, maintaining the air temperature in the collection room, cleaning the lontar collection with special chemicals so that the letters do not fade, reforming the lontar manuscripts, and reproduction. Conclusion: The conclusion of this research is that preservation and conservation efforts have been carried out in steps that adjust to the damage that has occurred. This effort was realized through the action of storing in a special place, maintaining the air temperature in the collection room, cleaning the lontar collection with special chemicals so that the letters do not fade, reforming lontar manuscripts, and reproducing so that the manuscript can still survive today.
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Plantzos, Dimitris. "Behold the raking geison: the new Acropolis Museum and its context-free archaeologies." Antiquity 85, no. 328 (May 2011): 613–25. http://dx.doi.org/10.1017/s0003598x00068009.
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In December 1834 Athens became the capital city of the newly founded Hellenic Kingdom. King Otto, the Bavarian prince whose political and cultural initiative shaped much of what modern Greece is today, sought to design the new city inspired by the heavily idealised model of Classical Hellas (see Bastea 2000). The emerging capital was from the outset conceived as aheterotopiaof Hellenism, a Foucauldian 'other space' devoted to Western Classicism in view of the Classical ruins it preserved. The Acropolis became, naturally, the focal point of this effort. At the same time, however, and as Greek nationalist strategies were beginning to unfold, Classical antiquity became a disputedtopos,a cultural identity of sorts contested between Greece on the one hand and the 'Western world' on the other (see Yalouri 2001: 77–100). Archaeological sites thus became disputed spaces, claimed by various interested parties of national or supra-national authority wishing to impose their own views on how they should be managed — and to what ends (Loukaki 2008). The Acropolis was duly cleansed from any non-Classical antiquities and began to be constructed as an authentic Classical space, anationalproject still in progress. As Artemis Leontis has argued in her discussion of Greece as a heterotopic 'culture of ruins', the Acropolis of Athens, now repossessed by architectural renovation and scholarly interest, functions'as a symbol not of Greece's ancient glory but of its modern predicament'(Leontis 1995: 40–66; see also McNeal 1991; Hamilakis 2007: 85–99).
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Silva, Teresa P., Maria-Ondina Figueiredo, Maria-Alexandra Barreiros, and Maria-Isabel Prudêncio. "Decorative 18th Century Blue-and-White Portuguese Tile Panels: A Type-Case of Environmental Degradation." Journal of Materials 2013 (February 12, 2013): 1–6. http://dx.doi.org/10.1155/2013/972018.
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Decorated glazed ceramic tiles are used as an ornamental art, constituting an important cultural heritage whose preservation is mandatory. Environmental conditions are responsible for the degradation of exposed ancient tile panels originating various pathologies, related to the development of microorganisms. This is the case of a valuable 18th century blue-and-white Portuguese tile panel called “Cura do Cego,” belonging to the collection of the National Tile Museum (MNAz), where green stains are nowadays observable in the glaze. A prospective diagnosis of this green tarnishing was the aim of the present work. Small tile fragments were directly irradiated using nondestructive techniques: X-ray fluorescence spectrometry with a wavelength-dispersive system (WDXRF) for chemical characterization of the tile glaze and X-ray powder diffraction (XRD) to assess the phase constitution of both the glaze and the ceramic body. A destructive technique (scanning electron microscopy with energy-dispersive system (SEM/EDS)) was applied to tentatively infer the chemical changes induced in the glaze by the green staining and also to characterize the morphology of the microorganisms associated to this staining. The obtained results are reported and discussed, as a preliminary step for testing an innovative nondestructive decontamination technique applying gamma radiation, particularly suitable for overcoming such tile pathologies.
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Afanasyeva, Tatiana I. "An Old Russian Service Book in Baltimore and Its Missing Fragment in St. Petersburg." Canadian-American Slavic Studies 52, no. 4 (December 7, 2018): 433–47. http://dx.doi.org/10.1163/22102396-05204011.
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AbstractThis study examines the history of an ancient Russian service book (sluzhebnik) dating from the first half of the fourteenth century, which was divided into two parts in the early nineteenth century. One of the two parts was purchased by the well-known Russian collector Alexander Sulakadzev and is currently held by the Manuscript Library of the Walters Art Museum in Baltimore, Maryland (USA). The other part was acquired by the Imperial Public Library in St. Petersburg (currently, the National Library of Russia) no later than the 1830s. Judging by the surviving inventories, Sulakadzev acquired the service book for his collection in 1816 at the earliest. While in his possession, Sulakadzev added several false notes to the sluzhebnik attempting to pass it off as a manuscript known to have been in Tmutarakan in 1079; other false handwritten notes in the service book were intended to imply that it had belonged to several famous Russian historical figures. This article corrects some errors made in earlier publications about the manuscript and establishes that Sulakadzev pasted into the service book a miniature of much later origin (which, however, has not survived). The article presents a reconstruction of the contents of the original sluzhebnik, including descriptions of both its parts.
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Susan, Seba, and Jatin Malhotra. "Recognising Devanagari Script by Deep Structure Learning of Image Quadrants." DESIDOC Journal of Library & Information Technology 40, no. 05 (November 4, 2020): 268–71. http://dx.doi.org/10.14429/djlit.40.05.16336.
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Ancient Indic languages were written in the Devanagari script from which most of the modern-day Indic writing systems have evolved. The digitisation of ancient Devanagari manuscripts, now archived in national museums, is a part of the language documentation and digital archiving initiative of the Government of India. The challenge in digitizing these handwritten scripts is the lack of adequate datasets for training machine learning models. In our work, we focus on the Devanagari script that has 46 categories of characters that makes training a difficult task, especially when the number of samples are few. We propose deep structure learning of image quadrants, based on learning the hidden state activations derived from convolutional neural networks that are trained separately on five image quadrants. The second phase of our learning module comprises of a deep neural network that learns the hidden state activations of the five convolutional neural networks, fused by concatenation. The experiments prove that the proposed deep structure learning outperforms the state of the art.
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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.
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In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era).
An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology.
The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’.
The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi).
Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain).
As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.
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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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Barlow, Jane A. "Ancient Cypriote Art in Copenhagen: The Collections of the National Museum of Denmark and the Ny Carlsberg Glyptotek. Vassos Karageorghis, Bodil Bundgaard Rasmussen, Lone Wriedt Sørensen, John Lund, Helle Horsnæs, and Anne Marie Nielsen." Bulletin of the American Schools of Oriental Research 328 (November 2002): 90–92. http://dx.doi.org/10.2307/1357785.
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Murdihastomo, Ashar. "GANESHA TANPA MAHKOTA DALAM PUSARAN RELIGI MASYARAKAT JAWA KUNA (SEBUAH KAJIAN PERMULAAN)." KALPATARU 29, no. 1 (July 15, 2020): 1–14. http://dx.doi.org/10.24832/kpt.v29i1.700.
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Abstract. The Ganesha statue without a crown is one of the unique depictions of archeological remains in Indonesia. These statues can be found in several areas such as Temanggung, Pekalongan, the National Museum, and Yogyakarta. This uniqueness is a reason to be appointed in an initial assessment. This is because no one has ever discussed this topic. Therefore, the challenge to be raised on this occasion is about the Ganesha in the community regarding their portrayal in the form without a crown? The objective to be achieved from this discussion is a discussion of Javanese society related to the previous discussion. In answering these questions, qualitative research methods are used by taking secondary data from a literature review. The approach used in this review discusses the iconology proposed to explain the background of phenomena that occur through related stories or mythologies. Through an analysis of the results, offering three initial responses to the crownless Ganesha statue, related to the story of Ganesh who prevented Ravana from bringing Atmalinga to Lanka, the spread of Gupta art in Southeast Asia, and related to traditions outside the palace.
Keywords: Ganesha, Ancient Java, Brahmin
Abstrak. Arca Ganesha tanpa mahkota merupakan salah satu bentuk penggambaran unik dari tinggalan arkeologi di Indonesia. Keberadaannya diketahui terdapat di beberapa wilayah seperti Temanggung, Pekalongan, dan Museum Nasional. Keunikan tersebut menjadi alasan untuk diangkat dalam sebuah kajian permulaan. Hal ini dikarenakan belum pernah ada kajian yang membahas topik tersebut. Oleh karena itu, permasalahan yang coba diangkat pada kesempatan ini adalah bagaimana posisi dewa Ganesha di lingkungan masyarakat pada penggambarannya dalam wujud tanpa mahkota? Tujuan yang ingin dicapai adalah mengetahui pandangan masyarakat jawa Kuno terkait dengan keberadaan arca tersebut. Dalam upaya menjawab permasalahan tersebut, digunakan metode penelitian kualitatif dengan mengambil data sekunder dari kajian pustaka. Pendekatan yang digunakan pada kajian ini adalah pendekatan ikonologi, yang berusaha untuk menjelaskan latar belakang keberadaan fenomena tersebut melalui kisah atau mitologi yang terkait. Melalui hasil analisis, diperoleh tiga asumsi awal terhadap keberadaan arca Ganesha tanpa mahkota, yaitu terkait dengan kisah Ganesha yang mencegah Rahwana membawa Atmalinga ke Lanka, terkait dengan persebaran gaya seni Gupta di Asia Tenggara, dan terkait dengan tradisi luar keraton.
Kata kunci: Ganesha, Jawa Kuna, Brahmana
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Chen, Chih Ho, and Sheng-Min Hsieh. "The Research of Aesthetics of Type as Image in Motion-Targeting Video Poetics at Type Motion: Type as Image in Motion Exhibition in Taiwan." Advances in Social Sciences Research Journal 7, no. 6 (June 22, 2020): 190–207. http://dx.doi.org/10.14738/assrj.76.8387.
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Characters are signs and symbols that record our thoughts and feelings and allow the documentation of events and history. Later, the appearance of motion images marked a new milestone in the use and application of characters. Not only were the original function of characters improved and enhanced, text that integrate sound and images are also able to communicate much more diverse and abundant information. This technique is commonly found in cinema, television, advertisement, and animation. Thanks to technological advances, the combination of characters, texts, or types and images once again changed how we read. It has also created new meaning for our time. Today, type image seems to have achieved an aesthetic autonomy of their own. This has a profound impact on image and art creation and human communication.
The emergence of cinema art in the late 19th century brought motion into written media and greatly expanded the possibilities of art. In today’s world of instant communication media, text and images face unprecedented changes. Chinese characters are one of the most ancient writing systems in human history. Unlike western alphabet, each Chinese character has its own form, sound, and meaning. Chinese characters are a highly figurative cultural element. This essay takes Chinese characters and the works featured in the concrete poetry/sound poetry and fragment poetry categories in the National Taiwan Museum of Fine Arts “Type Motion: Type as Image in Motion” exhibition as the subject of study to examine the history of text and media and changes in the way we deliver information and communicate. This essay also provides an analysis of the relationship between text and motion image and the interdependency between culture and technology and media. The connections and differences between Chinese characters in different time and space is also investigated to highlight the uniqueness of the characters as a medium, its application in motion writing techniques and aesthetic forms.
This essay focuses on the following four topics:
Artistic expression and styles related to the development of type as image in motion.
Video poetics: the association between poetics and video images, poetic framework, and analysis of film poetry.
Structure, format, characteristics, and presentation of meaning in concrete poetry/sound poetry, and fragment poetry.
how Chinese characters are used in Taiwan and the aesthetic features of type through the exhibited works.
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Welsby, Derek A. "Timothy Kendall, Kerma and the Kingdom of Kush, 2500–1500 BC: the archaeological discovery of an ancient Nubian empire. Washington DC: National Museum of African Art, Smithsonian Institution, 1997, 142 pp., US$29.95, ISBN 0 9656001 0 6." Africa 71, no. 2 (June 2001): 316–17. http://dx.doi.org/10.3366/afr.2001.71.2.316.
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Hughston, Milan R. "NATIONAL MUSEUM OF AMERICAN ART, SMITHSONIAN INSTITUTION. National Museum of American Art." Art Documentation: Journal of the Art Libraries Society of North America 16, no. 2 (October 1997): 53–54. http://dx.doi.org/10.1086/adx.16.2.27948904.
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Harney, Elizabeth. "National Museum of African Art." African Arts 35, no. 4 (December 1, 2002): 89. http://dx.doi.org/10.1162/afar.2002.35.4.89.
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Sabbahy, Lisa, and Fattah Sabbahy. "The Museum Trail: The Luxor Museum of Ancient Egyptian Art." Biblical Archaeologist 48, no. 4 (December 1985): 217–21. http://dx.doi.org/10.2307/3209958.
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Malinverni, E. S., R. Pierdicca, M. Paolanti, M. Martini, C. Morbidoni, F. Matrone, and A. Lingua. "DEEP LEARNING FOR SEMANTIC SEGMENTATION OF 3D POINT CLOUD." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 23, 2019): 735–42. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-735-2019.
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<p><strong>Abstract.</strong> Cultural Heritage is a testimony of past human activity, and, as such, its objects exhibit great variety in their nature, size and complexity; from small artefacts and museum items to cultural landscapes, from historical building and ancient monuments to city centers and archaeological sites. Cultural Heritage around the globe suffers from wars, natural disasters and human negligence. The importance of digital documentation is well recognized and there is an increasing pressure to document our heritage both nationally and internationally. For this reason, the three-dimensional scanning and modeling of sites and artifacts of cultural heritage have remarkably increased in recent years. The semantic segmentation of point clouds is an essential step of the entire pipeline; in fact, it allows to decompose complex architectures in single elements, which are then enriched with meaningful information within Building Information Modelling software. Notwithstanding, this step is very time consuming and completely entrusted on the manual work of domain experts, far from being automatized. This work describes a method to label and cluster automatically a point cloud based on a supervised Deep Learning approach, using a state-of-the-art Neural Network called PointNet++. Despite other methods are known, we have choose PointNet++ as it reached significant results for classifying and segmenting 3D point clouds. PointNet++ has been tested and improved, by training the network with annotated point clouds coming from a real survey and to evaluate how performance changes according to the input training data. It can result of great interest for the research community dealing with the point cloud semantic segmentation, since it makes public a labelled dataset of CH elements for further tests.</p>
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Tignor, Robert L. "W. R. Bascom and the Ife bronzes." Africa 60, no. 3 (July 1990): 425–34. http://dx.doi.org/10.2307/1160114.
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Opening ParagraphIn 1938 an African building a house in the city of Ife, the cultural capital of the Yorubas and the mythical cradle of Yoruba civilisation, came upon an extraordinary cache of ancient Nigerian bronzes. In all, at least fifteen bronzes were uncovered in 1938 in a compound only 100 yards from the palace of the Oni of Ife. These bronzes were to prove of great historical and artistic significance. Until that time only two other bronzes had been unearthed in the Yoruba area, and one of those had disappeared, leaving Nigeria only a single original and a replica. In the disposition of the priceless new finds there ensued a tale of intrigue, prevarication, outraged nationalism, and narrow-minded ethnocentricism that drew into its maelstrom the British colonial government of Nigeria, the US Consulate in Lagos, and the USA's Department of State. Although the Ife bronzes, which today reside in a handsome if small museum in the city of Ife, are not so well known as, for example, the Elgin marbles or certain other antiquities taken from the Third World, the controversy surrounding their removal from Nigeria and their eventual return was filled with the same emotion and employed the same arguments heard today over the rightful location of national cultural treasures. The Nigerian dispute is made all the more poignant in that one of the major protagonists was not a money-seeking antiquities dealer, but a young American anthropologist destined to be one of the most astute and sympathetic interpreters of Yoruba culture.
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Villafranca-Guzmán, Nancy, and Carlos Tortolero. "The National Museum of Mexican Art." Journal of Museum Education 35, no. 1 (April 2010): 83–92. http://dx.doi.org/10.1080/10598650.2010.11510652.
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Smith, Donna B. "National Museum of American Art9839National Museum of American Art." Electronic Resources Review 2, no. 4 (April 1998): 43–44. http://dx.doi.org/10.1108/err.1998.2.4.43.39.
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Cherpion, Nadine, B. V. Bothmer, and J. F. Romano. "The Luxor Museum of Ancient Egyptian Art. Catalogue." Journal of Egyptian Archaeology 71 (1985): 14. http://dx.doi.org/10.2307/3821659.
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