Pub Date : 1900-01-01DOI: 10.21638/spbu27.2022.109
Irina V. Bakanova
Pushkin Museum was often ahead of its time, laying the groundwork for major changes. For example, with the opening of the Museum of Private Collections as part of the State Museum of Fine Arts, the rehabilitation of private collecting in the country took place. The December Nights festival created by Irina Antonova in collaboration with the brilliant pianist Svyatoslav Richter in 1981 became a matrix of art festivals that took place in various museums of the country during the following decades. The Pushkin State Museum of Fine Arts was charged with promoting Western art in the USSR, of which it brilliantly took the advantage when started displaying works by Picasso, Matisse, Leonardo da Vinci’s Mona Lisa, masterpieces of drawing from the Albertina Museum in Vienna, Western European and American paintings from American museums and others famous exhibitions. This is the visible part of Irina Antonova’s dynamic activity. She approached academic work no less thoroughly, as well as the organization of study and cataloguing of the collection of the State Museum of Fine Arts. And, of course, much credit must go to Irina Antonova for preparing the program for the development and reconstruction of the Pushkin Museum, which has been repeatedly revised and is being finalized before our very eyes under the direction of Marina Loshak.
{"title":"To the 100th anniversary of Irina Antonova","authors":"Irina V. Bakanova","doi":"10.21638/spbu27.2022.109","DOIUrl":"https://doi.org/10.21638/spbu27.2022.109","url":null,"abstract":"Pushkin Museum was often ahead of its time, laying the groundwork for major changes. For example, with the opening of the Museum of Private Collections as part of the State Museum of Fine Arts, the rehabilitation of private collecting in the country took place. The December Nights festival created by Irina Antonova in collaboration with the brilliant pianist Svyatoslav Richter in 1981 became a matrix of art festivals that took place in various museums of the country during the following decades. The Pushkin State Museum of Fine Arts was charged with promoting Western art in the USSR, of which it brilliantly took the advantage when started displaying works by Picasso, Matisse, Leonardo da Vinci’s Mona Lisa, masterpieces of drawing from the Albertina Museum in Vienna, Western European and American paintings from American museums and others famous exhibitions. This is the visible part of Irina Antonova’s dynamic activity. She approached academic work no less thoroughly, as well as the organization of study and cataloguing of the collection of the State Museum of Fine Arts. And, of course, much credit must go to Irina Antonova for preparing the program for the development and reconstruction of the Pushkin Museum, which has been repeatedly revised and is being finalized before our very eyes under the direction of Marina Loshak.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128806363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.206
E. A. Shishka
The Western campaign of the Mongols in Eastern and Central Europe in 1236–1242, led by Batu and the military commander Subedei, has long been imprinted in the memory of contemporaries and descendants. The central place in the historical literary and visual monuments of the Late Middle Ages was occupied by the Battle of Legnica — a battle between the Polish-German army and the Mongols on April 9, 1241. This article examines the image of the Mongols in book min-iatures of the Shlakenwerter Codex, presented in the Getty Museum (USA), on an altar painting created in the 30–40s. The 15th century is currently in the collection of the National Museum in Warsaw and in the images of the Freytag Codex, stored in the collections of the library of the University of Wroclaw (Poland). The author notes the preserved interest of Europeans in the Gentiles and in the events of the past centuries. The corpus of ethnic markers used by European artists to designate “strangers” is highlighted. Also, an association is made between the creation of images with Mongols in regard to the invasions of Tatar and Hussite troops in Silesia in the 14th–15th centuries and the struggle with the Moors on the Iberian Peninsula as well as the need to consolidate Christian society in the fight against the enemies of the Catholic Church.
1236年至1242年，蒙古人在东欧和中欧的西部战役，由拔图和军事指挥官苏别代伊领导，长期以来一直铭刻在同时代人和后代的记忆中。列格尼卡战役(Battle of Legnica)占据了中世纪晚期历史文学和视觉古迹的中心位置——1241年4月9日，波兰-德国军队与蒙古人之间的一场战役。本文考察了在盖蒂博物馆(美国)展出的Shlakenwerter手抄本的书籍小图中蒙古人的形象，这是一幅创作于30 - 40年代的祭坛画。15世纪的作品目前在华沙国家博物馆收藏，在弗罗茨瓦夫大学图书馆收藏的弗莱塔格抄本图像中保存。作者注意到欧洲人对外邦人和过去几个世纪的事件保持着浓厚的兴趣。欧洲艺术家用来称呼“陌生人”的种族标记的语料库被突出显示。此外，还将14 - 15世纪在西里西亚的鞑靼和胡斯军队的入侵与伊比利亚半岛上与摩尔人的斗争以及在与天主教会的敌人的斗争中巩固基督教社会的需要与蒙古人的形象创作联系起来。
{"title":"Visual image of the Mongols in the Battle of Legnica in visual monuments of the 14th–15th centuries","authors":"E. A. Shishka","doi":"10.21638/spbu27.2021.206","DOIUrl":"https://doi.org/10.21638/spbu27.2021.206","url":null,"abstract":"The Western campaign of the Mongols in Eastern and Central Europe in 1236–1242, led by Batu and the military commander Subedei, has long been imprinted in the memory of contemporaries and descendants. The central place in the historical literary and visual monuments of the Late Middle Ages was occupied by the Battle of Legnica — a battle between the Polish-German army and the Mongols on April 9, 1241. This article examines the image of the Mongols in book min-iatures of the Shlakenwerter Codex, presented in the Getty Museum (USA), on an altar painting created in the 30–40s. The 15th century is currently in the collection of the National Museum in Warsaw and in the images of the Freytag Codex, stored in the collections of the library of the University of Wroclaw (Poland). The author notes the preserved interest of Europeans in the Gentiles and in the events of the past centuries. The corpus of ethnic markers used by European artists to designate “strangers” is highlighted. Also, an association is made between the creation of images with Mongols in regard to the invasions of Tatar and Hussite troops in Silesia in the 14th–15th centuries and the struggle with the Moors on the Iberian Peninsula as well as the need to consolidate Christian society in the fight against the enemies of the Catholic Church.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114070663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.212
Y. Elikhina
The article examines the caves of Dunhuang and Yulin — world famous Buddhist complexes. The tradition of cave temples with wall paintings and sculpture came from India. The Dunhuang and Yulin caves were decorated in this manner. The highest peak in the development of Dunhuang art falls on the period of the Tang Dynasty (618-907), it was at this time that numerous murals appeared depicting the Pure Land of Buddha Amitabha, the Lord of the West, where the souls of the righteous dwell, the Pure Land of Buddha of healing Bhaishajyaguru and other subjects. The main source for the creation of works of art in Dunhuang was Chinese Buddhism, which was formed under the influence of local cults and beliefs and was reflected in the sutras. A certain influence on the painting of Dunhuang was exerted by the art of the cave complexes of the Great Silk Road, and later by the artistic and iconographic traditions of the Tanguts and Mongols. The findings from Dunhuang in the collection of the State Hermitage Museum includes three hundred items. In 1914–1915, the Second Russian Turkestan Expedition under the leadership of academician S. F. Oldenburg worked there and brought these artifacts back. In addition, the expedition acquired a large number of manuscripts in Sanskrit, Chinese, Uyghur, Sogdian, Tibetan and Tangut. Currently, these priceless monuments are kept at the Institute of Oriental Manuscripts in St. Petersburg. The Dunhuang and Yulin cave complexes are a monument of world culture in terms of their size, quantity and quality of paintings, as well as in the variety of subjects, which constitute an encyclopedia of Buddhism in pictorial and sculptural images.
{"title":"The Dunhuang and Yulin cave museum complexes","authors":"Y. Elikhina","doi":"10.21638/spbu27.2021.212","DOIUrl":"https://doi.org/10.21638/spbu27.2021.212","url":null,"abstract":"The article examines the caves of Dunhuang and Yulin — world famous Buddhist complexes. The tradition of cave temples with wall paintings and sculpture came from India. The Dunhuang and Yulin caves were decorated in this manner. The highest peak in the development of Dunhuang art falls on the period of the Tang Dynasty (618-907), it was at this time that numerous murals appeared depicting the Pure Land of Buddha Amitabha, the Lord of the West, where the souls of the righteous dwell, the Pure Land of Buddha of healing Bhaishajyaguru and other subjects. The main source for the creation of works of art in Dunhuang was Chinese Buddhism, which was formed under the influence of local cults and beliefs and was reflected in the sutras. A certain influence on the painting of Dunhuang was exerted by the art of the cave complexes of the Great Silk Road, and later by the artistic and iconographic traditions of the Tanguts and Mongols. The findings from Dunhuang in the collection of the State Hermitage Museum includes three hundred items. In 1914–1915, the Second Russian Turkestan Expedition under the leadership of academician S. F. Oldenburg worked there and brought these artifacts back. In addition, the expedition acquired a large number of manuscripts in Sanskrit, Chinese, Uyghur, Sogdian, Tibetan and Tangut. Currently, these priceless monuments are kept at the Institute of Oriental Manuscripts in St. Petersburg. The Dunhuang and Yulin cave complexes are a monument of world culture in terms of their size, quantity and quality of paintings, as well as in the variety of subjects, which constitute an encyclopedia of Buddhism in pictorial and sculptural images.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114073022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/11701/spbu27.2019.103
Lyubov V. Stromilyuk
{"title":"Oil paintings of the 18th century in St. Sophia Cathedral in Kiev: problems of research, dating and attribution","authors":"Lyubov V. Stromilyuk","doi":"10.21638/11701/spbu27.2019.103","DOIUrl":"https://doi.org/10.21638/11701/spbu27.2019.103","url":null,"abstract":"","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"261 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123756346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2022.208
K. Tumanova
The collection of the Mining Museum of the Mining University in St Petersburg contains a variety of minerals, ores and rocks from almost all corners of the globe. Mineralogical and petrographic collections collected by the outstanding Finnish scientist Nils Gustaf Nordenskiöld are always of particular interest. His petrographic collection, which was received by the museum in 1836 and 1841 from Finland, remained for a long time without due attention. The first collection was delivered to the Mining Museum from N.G.Nordenskiöld in 1836. Now there are 80 items in the petrographic collection of the Mining Museum (two items are missing): basically, these are minerals, various rocks, distributed by the places of finds — the provinces of the Grand Duchy of Finland. Some complexity of linking the sample to a specific place is due to the fact that it is difficult to make out the spelling of a particular locality on the label due to poor handwriting, as well as the use of Latin and Cyrillic letters in one word. Besides, in Finland, many localities still have equal Finnish and Swedish names. It is impossible to predict which option will be used for naming a particular place. There are slightly more than half of petrographic samples in the collection — 49 items, the rest (31 samples) are minerals and ores. It is actually a mixed, combined, author’s collection. The second petrographic collection from N.G.Nordenskiöld entered the museum in 1841. The research of the collection recorded as “Finnish marbles” including 23 items was carried out. The “marbles” were selected on a regional basis. Materials were taken for the manufacture of grinds in order to more thoroughly study their petrographic composition. As a result of the research of the grinds, it was not possible to unambiguously determine the “marble”. The collection identified: 10 items of marble, 9 items of limestones, 2 items of sandstones. Single samples of dolomite and slate were also identified. The author concludes that the collections of N.G.Nordenskiöld, the father of Finnish mineralogy, the founder of the Finnish Scientific Society, head of the Mining Department, must be preserved in the Mining Museum in its entirety, “without fragmentation”.
圣彼得堡矿业大学的矿业博物馆收藏了几乎来自世界各个角落的各种矿物、矿石和岩石。杰出的芬兰科学家Nils Gustaf Nordenskiöld收集的矿物学和岩石学收藏品总是特别有趣。他的岩画收藏于1836年和1841年由博物馆从芬兰收到，但在很长一段时间里没有得到应有的重视。第一批藏品于1836年从N.G.Nordenskiöld送到矿业博物馆。现在矿业博物馆的岩石学藏品有80件(缺少两件):基本上，这些是矿物，各种岩石，按发现地点分布-芬兰大公国的省份。将样品与特定地点联系起来的一些复杂性是由于这样一个事实，即由于手写不佳，很难辨认出标签上特定地点的拼写，以及在一个单词中使用拉丁和西里尔字母。此外，在芬兰，许多地方仍然有相同的芬兰语和瑞典语名称。无法预测将使用哪个选项来命名特定的位置。藏品中略多于一半的岩石样品(49件)，其余的(31件)是矿物和矿石。它实际上是一个混合的，组合的，作者的集合。来自N.G.Nordenskiöld的第二批岩画收藏于1841年进入博物馆。对记录为“芬兰弹珠”的23件藏品进行了研究。“弹珠”是按地区选出的。为了更彻底地研究它们的岩石组成，人们取了一些材料来制造研磨。由于对研磨的研究，不可能明确地确定“大理石”。经鉴定的藏品有:10件大理石，9件石灰石，2件砂岩。白云岩和板岩的单一样品也被鉴定出来。发件人的结论是，芬兰矿物学之父、芬兰科学学会创始人、矿业部部长N.G.Nordenskiöld的藏品必须完整地保存在矿业博物馆，“不得破碎”。
{"title":"Russia and Finland: Petrographic collections of N.G.Nordenskiöld in the collection of the Mining Museum","authors":"K. Tumanova","doi":"10.21638/spbu27.2022.208","DOIUrl":"https://doi.org/10.21638/spbu27.2022.208","url":null,"abstract":"The collection of the Mining Museum of the Mining University in St Petersburg contains a variety of minerals, ores and rocks from almost all corners of the globe. Mineralogical and petrographic collections collected by the outstanding Finnish scientist Nils Gustaf Nordenskiöld are always of particular interest. His petrographic collection, which was received by the museum in 1836 and 1841 from Finland, remained for a long time without due attention. The first collection was delivered to the Mining Museum from N.G.Nordenskiöld in 1836. Now there are 80 items in the petrographic collection of the Mining Museum (two items are missing): basically, these are minerals, various rocks, distributed by the places of finds — the provinces of the Grand Duchy of Finland. Some complexity of linking the sample to a specific place is due to the fact that it is difficult to make out the spelling of a particular locality on the label due to poor handwriting, as well as the use of Latin and Cyrillic letters in one word. Besides, in Finland, many localities still have equal Finnish and Swedish names. It is impossible to predict which option will be used for naming a particular place. There are slightly more than half of petrographic samples in the collection — 49 items, the rest (31 samples) are minerals and ores. It is actually a mixed, combined, author’s collection. The second petrographic collection from N.G.Nordenskiöld entered the museum in 1841. The research of the collection recorded as “Finnish marbles” including 23 items was carried out. The “marbles” were selected on a regional basis. Materials were taken for the manufacture of grinds in order to more thoroughly study their petrographic composition. As a result of the research of the grinds, it was not possible to unambiguously determine the “marble”. The collection identified: 10 items of marble, 9 items of limestones, 2 items of sandstones. Single samples of dolomite and slate were also identified. The author concludes that the collections of N.G.Nordenskiöld, the father of Finnish mineralogy, the founder of the Finnish Scientific Society, head of the Mining Department, must be preserved in the Mining Museum in its entirety, “without fragmentation”.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125273817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/11701/spbu27.2019.105
M. Kruglova, Vasilina I. Trubilko
{"title":"Phaleristics as a part of museum collections","authors":"M. Kruglova, Vasilina I. Trubilko","doi":"10.21638/11701/spbu27.2019.105","DOIUrl":"https://doi.org/10.21638/11701/spbu27.2019.105","url":null,"abstract":"","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127756216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/11701/spbu27.2019.112
Ekaterina V. Sayaparova
{"title":"On the question on the necessity of forming school museum space in the regions (for example Irkutsk city)","authors":"Ekaterina V. Sayaparova","doi":"10.21638/11701/spbu27.2019.112","DOIUrl":"https://doi.org/10.21638/11701/spbu27.2019.112","url":null,"abstract":"","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128145702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/11701/spbu27.2019.107
A. Trusov, historyˮ, M. P. Gracheva
This article analyzes the structure of the collection of the Kstovo Museum of Local Lore and History, which is located at the exposition “The Heroic Chronicle of Kstovo citizens”, which tells about the construction of Kstovo and the Novogorkovsky oil refinery in the Gorky region in the 1950s–1960s. The purpose of the analysis is to evaluate the potential of museum items in the solution of the task of reconstructing the image of the post-war socialist city and the daily life of its citizens. Various museum items — photographs, documents, prints, memorial objects, combined in the exposition — reveal the specific features of the socialist city of the period: the presence of a large industrial plant, the transition to standard housing and industrial development, the young population manifesting itself in labor, social and political life, preferring active forms of leisure. In the course of the research, earlier unpublished photo-graphs and documents from the museum’s collection are introduced into scientific circulation. Attention is paid to both museological and cultural aspects of the subject matter. The concept of a socialist city has been analyzed, and it has also been studied how completely the museum’s collection is capable of embodying the everyday reality of Soviet Kstov. Using the example of individual exhibits, authors demonstrated how the information content of each of the con-sidered types of objects influences the creation of a holistic image of the city in the museum’s exhibition space. At the same time, the article also shows a broader historical context in order to highlight the common and specific features of the construction of the city of Kstovo, as reflected in the exhibits. The article focuses on the ways of representing Soviet everyday life in the museum space.
{"title":"Postwar socialist city: reconstruction of its image based on materials from the collection of the Kstovo Museum of Local Lore and History (1950s–1960s)","authors":"A. Trusov, historyˮ, M. P. Gracheva","doi":"10.21638/11701/spbu27.2019.107","DOIUrl":"https://doi.org/10.21638/11701/spbu27.2019.107","url":null,"abstract":"This article analyzes the structure of the collection of the Kstovo Museum of Local Lore and History, which is located at the exposition “The Heroic Chronicle of Kstovo citizens”, which tells about the construction of Kstovo and the Novogorkovsky oil refinery in the Gorky region in the 1950s–1960s. The purpose of the analysis is to evaluate the potential of museum items in the solution of the task of reconstructing the image of the post-war socialist city and the daily life of its citizens. Various museum items — photographs, documents, prints, memorial objects, combined in the exposition — reveal the specific features of the socialist city of the period: the presence of a large industrial plant, the transition to standard housing and industrial development, the young population manifesting itself in labor, social and political life, preferring active forms of leisure. In the course of the research, earlier unpublished photo-graphs and documents from the museum’s collection are introduced into scientific circulation. Attention is paid to both museological and cultural aspects of the subject matter. The concept of a socialist city has been analyzed, and it has also been studied how completely the museum’s collection is capable of embodying the everyday reality of Soviet Kstov. Using the example of individual exhibits, authors demonstrated how the information content of each of the con-sidered types of objects influences the creation of a holistic image of the city in the museum’s exhibition space. At the same time, the article also shows a broader historical context in order to highlight the common and specific features of the construction of the city of Kstovo, as reflected in the exhibits. The article focuses on the ways of representing Soviet everyday life in the museum space.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132350051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/11701/spbu27.2019.101
Tatiana A. Litvin
{"title":"The actor-network theory of B. Latur and porcelain services of classicism: the relevance of a museological discussion","authors":"Tatiana A. Litvin","doi":"10.21638/11701/spbu27.2019.101","DOIUrl":"https://doi.org/10.21638/11701/spbu27.2019.101","url":null,"abstract":"","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114847126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.21638/spbu27.2022.108
Sofia A. Pushenkova, Dmitriy E. Lavrov
In the wake of the growing interest in the history of the Russian avant-garde, leading Russian museums become initiators, organizers and partners of large-scale exhibition projects dedicated to both individual personalities of the avant-garde era and iconic cultural institutions. In this regard, it is also important to understand how the museum community in Russia reacts to the given trend of turning to the heritage of the avant-garde era, and how regional museums are involved in this process. The artistic avant-garde was never limited to capitals, new trends penetrated all cities of the country, one way or another leaving a mark on the appearance of the city, its history and, of course, in museum collections. This is why researchers need to see the fullest possible picture of how regions are using their avant-garde heritage. The article is devoted to the study of the experience of using the avant-garde heritage in Russian regions on the example of the Saratov State Art Museum named after A.N.Radishchev and the Art Gallery of the Smolensk State Museum-Reserve. Based on sources of museum origin, electronic catalogs of museums, texts by regional authors, Internet sources (in particular, the State Catalog of the Museum Fund of the Russian Federation, and the Constructivist Project portal), as well as local news sources the article reviews the avant-garde collections of these museums, considers cultural and educational activity of urban cultural institutions and independent curatorial projects on this topic. An important part of this study is the assessment of the development prospects in the actualization of the avant-garde heritage of the regions, as well as the role of independent cultural institutions of cities in the actualization and use of the avant-garde heritage of these regions.
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