Pub Date : 1900-01-01DOI: 10.21638/spbu27.2021.202
I. Ladynin, O. Vasilyeva
The article publishes a document from the Archives of the State Hermitage in St. Petersburg (fund 1, dossier 17, unit 6/9, pp. 1–6), a memorandum presenting arguments to transfer to the Hermitage the famous collection of Egyptian antiquities, which was gathered by Vladimir Golenischeff and placed upon its purchase by the state in 1909 at the Museum of Fine Arts in Moscow. The handwriting in the manuscript makes it possible to identify the compiler of the document as Vasily Struve (1889–1965), a prominent researcher of the ancient Orient in the early Soviet period and the keeper of the Hermitage Egyptian collection since the mid-1910s. A comparison with a document from the archives of the A. S. Pushkin Museum of Fine Arts, which mentions and quotes the memorandum, allows dating it to the middle of 1923. The context of Struve’s initiative was the mobility of academic and cultural institutions in the post-revolutionary years and, probably, more specifically, the attempts to reorganize the collections of Egyptian antiquities in Moscow (to centralize them in the so-called Museum-Institute of the Classical Orient launched by Vladimir Vikentiev). As expected, this initiative was met with harsh objections from the Museum of Fine Arts, most likely backed by Tatiana Borozdina-Kozmina who was Boris Turaev’s successor as the keeper of the museum’s Egyptian collection. In the end, this initiative was never implemented. The episode reflected in this document is an interesting illustration of the degree of mobility even in the life of the leading and best-established museum collections in post-revolutionary Russia.
这篇文章发表了一份来自圣彼得堡冬宫档案馆的文件(1基金，档案17，第6/9单元，第1 - 6页)，这是一份备忘录，提出了将著名的埃及文物收藏品转移到冬宫的论点，这些文物由弗拉基米尔·戈伦尼斯切夫收集，并于1909年由国家在莫斯科美术博物馆购买。从手稿上的笔迹可以确定这份文件的编纂者是瓦西里·斯特鲁夫(1889-1965)，他是苏联早期著名的古代东方研究者，自20世纪10年代中期以来一直是埃尔米塔什埃及藏品的保管者。A·s·普希金美术博物馆(A. S. Pushkin Museum of Fine Arts)档案中的一份文件提到并引用了这份备忘录，将其与之比较，可以将其追溯到1923年中期。斯特鲁维倡议的背景是革命后学术和文化机构的流动性，更具体地说，可能是试图重组莫斯科的埃及文物收藏(将它们集中在弗拉基米尔·维琴捷夫(Vladimir Vikentiev)发起的所谓的东方古典博物馆-研究所中)。不出所料，这一提议遭到了美术博物馆的强烈反对，很可能得到了塔蒂亚娜·博罗兹迪娜-科兹米娜的支持，她是鲍里斯·图拉耶夫的继任者，担任博物馆埃及藏品的管理员。最终，这一倡议从未得到实施。这份文件中反映的事件是一个有趣的例子，说明了即使在革命后的俄罗斯，领先和最成熟的博物馆藏品的生活中，流动性的程度也是如此。
{"title":"Vasily Vassilievich Struve and the Egyptian collection of the Museum of Fine Arts, Moscow, in the early 1920s","authors":"I. Ladynin, O. Vasilyeva","doi":"10.21638/spbu27.2021.202","DOIUrl":"https://doi.org/10.21638/spbu27.2021.202","url":null,"abstract":"The article publishes a document from the Archives of the State Hermitage in St. Petersburg (fund 1, dossier 17, unit 6/9, pp. 1–6), a memorandum presenting arguments to transfer to the Hermitage the famous collection of Egyptian antiquities, which was gathered by Vladimir Golenischeff and placed upon its purchase by the state in 1909 at the Museum of Fine Arts in Moscow. The handwriting in the manuscript makes it possible to identify the compiler of the document as Vasily Struve (1889–1965), a prominent researcher of the ancient Orient in the early Soviet period and the keeper of the Hermitage Egyptian collection since the mid-1910s. A comparison with a document from the archives of the A. S. Pushkin Museum of Fine Arts, which mentions and quotes the memorandum, allows dating it to the middle of 1923. The context of Struve’s initiative was the mobility of academic and cultural institutions in the post-revolutionary years and, probably, more specifically, the attempts to reorganize the collections of Egyptian antiquities in Moscow (to centralize them in the so-called Museum-Institute of the Classical Orient launched by Vladimir Vikentiev). As expected, this initiative was met with harsh objections from the Museum of Fine Arts, most likely backed by Tatiana Borozdina-Kozmina who was Boris Turaev’s successor as the keeper of the museum’s Egyptian collection. In the end, this initiative was never implemented. The episode reflected in this document is an interesting illustration of the degree of mobility even in the life of the leading and best-established museum collections in post-revolutionary Russia.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"19 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":"127796443","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/spbu27.2019.102
I. Andreeva
{"title":"Method of Museum-exposition design as a basis of classification museum expositions","authors":"I. Andreeva","doi":"10.21638/11701/spbu27.2019.102","DOIUrl":"https://doi.org/10.21638/11701/spbu27.2019.102","url":null,"abstract":"","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"145 8 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":"129725962","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/spbu27.2022.212
N. Xing, Vera M. Leonova
The purpose of this article is to describe Chinese creative unions’ activities during the COVID-19 pandemic. As well as museums and art education institutions Chinese creative associations (unions) are important element of national artistic society. The article provides the reader with information on experience of creative associations based on the analysis of associations’ official publication, scientific literature, and media publications in Chinese language. The impact on society that is demonstrated by Chinese artistic associations during the pandemic has been quite significant. The purpose of this article is to provide an overview of the activities of Chinese artists’ associations (unions) in the conditions shaped by the collision with the coronavirus pandemic in 2020–2021. The relevance of the study is due, first of all, to the need to comprehend the experience of using alternative methods and strategies in the modern artistic environment during the period of globalization and pandemic. The study has shown that the activities of the unions of artists can be flexible. There has been a noticeable expansion of range of interacting practices with spectator as well as the professional community during the lockdown. It is revealed that secondary forms of interaction (online activities) have become predominant, the creativity of art associations’ members have aimed at the moral and material maintenance of society, inter-institutional and inter-regional cooperation has intensified. Thus, creative unions have demonstrated the ability to respond to topical issues of the time and to influence the perception of the happening in society.
{"title":"Possibilities of lockdown: Chinese art associations’ experience of organization of exhibitions and other activities during the COVID-19 pandemic","authors":"N. Xing, Vera M. Leonova","doi":"10.21638/spbu27.2022.212","DOIUrl":"https://doi.org/10.21638/spbu27.2022.212","url":null,"abstract":"The purpose of this article is to describe Chinese creative unions’ activities during the COVID-19 pandemic. As well as museums and art education institutions Chinese creative associations (unions) are important element of national artistic society. The article provides the reader with information on experience of creative associations based on the analysis of associations’ official publication, scientific literature, and media publications in Chinese language. The impact on society that is demonstrated by Chinese artistic associations during the pandemic has been quite significant. The purpose of this article is to provide an overview of the activities of Chinese artists’ associations (unions) in the conditions shaped by the collision with the coronavirus pandemic in 2020–2021. The relevance of the study is due, first of all, to the need to comprehend the experience of using alternative methods and strategies in the modern artistic environment during the period of globalization and pandemic. The study has shown that the activities of the unions of artists can be flexible. There has been a noticeable expansion of range of interacting practices with spectator as well as the professional community during the lockdown. It is revealed that secondary forms of interaction (online activities) have become predominant, the creativity of art associations’ members have aimed at the moral and material maintenance of society, inter-institutional and inter-regional cooperation has intensified. Thus, creative unions have demonstrated the ability to respond to topical issues of the time and to influence the perception of the happening in society.","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":"121136721","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/spbu27.2022.211
Oksana B. Vakhromeeva
Starting from the 2022–2023 academic year, St Petersburg State University of Industrial Technologies and Design will begin lecturing and conducting practiacademic disciplines “Modern Cultural Policy of Russian Federation”. This course has been introduced into the educational process of many Russian universities in connection with the Decree of the President of the Russian Federation “Fundamentals of State Cultural Policy” (2014). State cultural policy is an integral part of Russia’s national security strategy. Within its framework, specific tasks are set and carried out. The article describes the structure of the regulatory framework that forms the state policy of Russia in the field of culture. The normative legal acts that make it up serve as sources of the legal field of the museum sphere. The novelty of the study lies in the method of systematizing the legal documents that underlie the legislation on Russian museums in order to present the foundations of modern cultural policy to students of St Petersburg State University of Applied Arts. The scientific significance lies in the fact that the latest legal acts affecting museum issues are analyzed, interpreted with the comments of the researchers of the issue in order to form students’ understanding that the protection of the common good, including in the field of museums, is associated with the organizational and power activities of the state. This article analyzes separate legal sources of the Russian Federation regarding the state and functioning of the Museum Fund and museums in Russia, in particular, the Federal Law “On the Museum Fund of the Russian Federation and museums in the Russian Federation”.
{"title":"The legal field of Russian museums as the basis of the modern cultural policy of the Russian Federation","authors":"Oksana B. Vakhromeeva","doi":"10.21638/spbu27.2022.211","DOIUrl":"https://doi.org/10.21638/spbu27.2022.211","url":null,"abstract":"Starting from the 2022–2023 academic year, St Petersburg State University of Industrial Technologies and Design will begin lecturing and conducting practiacademic disciplines “Modern Cultural Policy of Russian Federation”. This course has been introduced into the educational process of many Russian universities in connection with the Decree of the President of the Russian Federation “Fundamentals of State Cultural Policy” (2014). State cultural policy is an integral part of Russia’s national security strategy. Within its framework, specific tasks are set and carried out. The article describes the structure of the regulatory framework that forms the state policy of Russia in the field of culture. The normative legal acts that make it up serve as sources of the legal field of the museum sphere. The novelty of the study lies in the method of systematizing the legal documents that underlie the legislation on Russian museums in order to present the foundations of modern cultural policy to students of St Petersburg State University of Applied Arts. The scientific significance lies in the fact that the latest legal acts affecting museum issues are analyzed, interpreted with the comments of the researchers of the issue in order to form students’ understanding that the protection of the common good, including in the field of museums, is associated with the organizational and power activities of the state. This article analyzes separate legal sources of the Russian Federation regarding the state and functioning of the Museum Fund and museums in Russia, in particular, the Federal Law “On the Museum Fund of the Russian Federation and museums in the Russian Federation”.","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":"122661806","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/spbu27.2022.205
Gunay N. Qafarova
The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibition activities of the museum is given, in which both collections of Russian and foreign museums were exhibited in different years. In various years, the museum hosted exhibitions of the fraternal republics, as well as China, India, Iran. After each exhibition, the museum’s collection was replenished with new exhibits. The museum constantly held and held personal exhibitions of representatives of various schools of painting in Azerbaijan. The country’s artists are proud that their paintings are exhibited and stored in one of the country’s major museums. In the context of the article, a special place is given to the work of the first theater artist R.Mustafayev, whose name the museum bore for many decades, and whose works are kept in his collection. Unfortunately, the name of this talented artist is little known to the younger generation, although his contribution to the development of national scenography and the protection of architectural monuments is invaluable. Thanks to his artistic flair, the performances “Koroglu” and “Arshin Mal Alan” designed by him have been successfully staged on the stage of various theaters. Тhe analysis of his work is an important thematic contribution to the history of the study of the Azerbaijan National Museum of Art.
{"title":"Azerbaijan National Museum of Art: On the history of foundation","authors":"Gunay N. Qafarova","doi":"10.21638/spbu27.2022.205","DOIUrl":"https://doi.org/10.21638/spbu27.2022.205","url":null,"abstract":"The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibition activities of the museum is given, in which both collections of Russian and foreign museums were exhibited in different years. In various years, the museum hosted exhibitions of the fraternal republics, as well as China, India, Iran. After each exhibition, the museum’s collection was replenished with new exhibits. The museum constantly held and held personal exhibitions of representatives of various schools of painting in Azerbaijan. The country’s artists are proud that their paintings are exhibited and stored in one of the country’s major museums. In the context of the article, a special place is given to the work of the first theater artist R.Mustafayev, whose name the museum bore for many decades, and whose works are kept in his collection. Unfortunately, the name of this talented artist is little known to the younger generation, although his contribution to the development of national scenography and the protection of architectural monuments is invaluable. Thanks to his artistic flair, the performances “Koroglu” and “Arshin Mal Alan” designed by him have been successfully staged on the stage of various theaters. Тhe analysis of his work is an important thematic contribution to the history of the study of the Azerbaijan National Museum of Art.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"33 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":"115968912","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/spbu27.2022.105
Oksana B. Vakhromeeva
Distance education is a hotly debated subject in the scientific and pedagogical environment of the newest period; in the methodological literature, issues of practical and theoretical nature are actively discussed (from the effectiveness of remote servers to ethical issues that arise during classes). As a positive experience, the article presents the materials of practical classes of the course “History of civilizations”, which is read by the author at St Petersburg State University of Industrial Technologies and Design, in a distance format as well. The material is built according to the problem-chronological principle, that allows students to consolidate what they have learned in lectures, supplement their knowledge using various visualization and illustration methods, thus deepening their understanding of the topic as a whole. An indirect appeal to historical sources is possible when analyzing monographic studies on the cultures of ancient ethnic groups, the 18-volume encyclopedia “Disappeared Civilizations”, and the content of the official websites of world museums that store the heritage of ancient civilizations. M.Montaigne in “Experiments” used the term ‘civilization’ (1581). Descartes in “Discourse on Methods” contrasted the concepts of “wild” and “civilized”; Herder was one of the first to connect civilization with the development of culture, pointing to the civilization of the East as the most ancient. In the 19th century, the concepts of “civilization” and “culture” were synonymous. In the 20th century, anthropological understanding of culture as a result of acquired behavioral skills began to be replaced by the concept of civilization. The article is devoted to a thematic review of individual historical monuments of a number of ancient civilizations, stored in various museums around the world, which can serve as illustrations for the educational discipline “History of Civilizations” in a distance format. The choice fell on some ancient “disappeared civilizations” that arose in various historical and geographical conditions.
{"title":"The role of the discourse of museum collections in the distance course on the history of ancient civilizations","authors":"Oksana B. Vakhromeeva","doi":"10.21638/spbu27.2022.105","DOIUrl":"https://doi.org/10.21638/spbu27.2022.105","url":null,"abstract":"Distance education is a hotly debated subject in the scientific and pedagogical environment of the newest period; in the methodological literature, issues of practical and theoretical nature are actively discussed (from the effectiveness of remote servers to ethical issues that arise during classes). As a positive experience, the article presents the materials of practical classes of the course “History of civilizations”, which is read by the author at St Petersburg State University of Industrial Technologies and Design, in a distance format as well. The material is built according to the problem-chronological principle, that allows students to consolidate what they have learned in lectures, supplement their knowledge using various visualization and illustration methods, thus deepening their understanding of the topic as a whole. An indirect appeal to historical sources is possible when analyzing monographic studies on the cultures of ancient ethnic groups, the 18-volume encyclopedia “Disappeared Civilizations”, and the content of the official websites of world museums that store the heritage of ancient civilizations. M.Montaigne in “Experiments” used the term ‘civilization’ (1581). Descartes in “Discourse on Methods” contrasted the concepts of “wild” and “civilized”; Herder was one of the first to connect civilization with the development of culture, pointing to the civilization of the East as the most ancient. In the 19th century, the concepts of “civilization” and “culture” were synonymous. In the 20th century, anthropological understanding of culture as a result of acquired behavioral skills began to be replaced by the concept of civilization. The article is devoted to a thematic review of individual historical monuments of a number of ancient civilizations, stored in various museums around the world, which can serve as illustrations for the educational discipline “History of Civilizations” in a distance format. The choice fell on some ancient “disappeared civilizations” that arose in various historical and geographical conditions.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"388 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":"123262605","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/spbu27.2022.210
The article is devoted to the history of the Museum of Arts and Antiquities of Kazan University. There are different opinions in the literature about who should be considered the founder of the Museum of Arts and Antiquities, who was the first director, who, when and how carried out the reorganization of the museum. The chronological framework of the study — 1870–1922 — also includes the history of the Museum of Ethnography, Antiquities and Fine Arts, which was considered in the literature in terms of collecting local historical, archaeological and ethnographic collections, but in reality laid the foundation for the art collection of Kazan University. The article for the first time describes the circle of persons directly connected with the Museum of Arts and Antiquities of Kazan University, as well as with its predecessor — the Museum of Ethnography, antiquities and fine arts is presented in full. These are professors-heads N.A.Firsov, D.F.Belyaev, D.V.Ainalov, D.I.Naguyevsky, A.M.Mironov; keepers D.A.Korsakov, I.V. Sokolovsky, S.K.Kuznetsov, P.V.Traubenberg, assistants B.P.Denike and K.N.Kravchenko, unofficial assistants of heads, scientific consultants. Through their activities, the continuity of the development of museums, the results of the formation of the library and art collection are traced. The article traces the continuity of the development of museums, the results of the formation of a library and an art collection. The article focuses on the following aspects of the history of the Museum: the status of the museum, financial and logistical support, the number and composition of collections, the role of the museum in scientific, educational and educational work, fate in the Soviet era.
{"title":"Heads, assistants and employees of the Museum of Arts and Antiques of Kazan University","authors":"","doi":"10.21638/spbu27.2022.210","DOIUrl":"https://doi.org/10.21638/spbu27.2022.210","url":null,"abstract":"The article is devoted to the history of the Museum of Arts and Antiquities of Kazan University. There are different opinions in the literature about who should be considered the founder of the Museum of Arts and Antiquities, who was the first director, who, when and how carried out the reorganization of the museum. The chronological framework of the study — 1870–1922 — also includes the history of the Museum of Ethnography, Antiquities and Fine Arts, which was considered in the literature in terms of collecting local historical, archaeological and ethnographic collections, but in reality laid the foundation for the art collection of Kazan University. The article for the first time describes the circle of persons directly connected with the Museum of Arts and Antiquities of Kazan University, as well as with its predecessor — the Museum of Ethnography, antiquities and fine arts is presented in full. These are professors-heads N.A.Firsov, D.F.Belyaev, D.V.Ainalov, D.I.Naguyevsky, A.M.Mironov; keepers D.A.Korsakov, I.V. Sokolovsky, S.K.Kuznetsov, P.V.Traubenberg, assistants B.P.Denike and K.N.Kravchenko, unofficial assistants of heads, scientific consultants. Through their activities, the continuity of the development of museums, the results of the formation of the library and art collection are traced. The article traces the continuity of the development of museums, the results of the formation of a library and an art collection. The article focuses on the following aspects of the history of the Museum: the status of the museum, financial and logistical support, the number and composition of collections, the role of the museum in scientific, educational and educational work, fate in the Soviet era.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"95 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":"124734481","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/spbu27.2019.110
E. I. Maizik
{"title":"International communication of museums in the Yenisei province in the end of the 19th century","authors":"E. I. Maizik","doi":"10.21638/11701/spbu27.2019.110","DOIUrl":"https://doi.org/10.21638/11701/spbu27.2019.110","url":null,"abstract":"","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"32 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":"130735110","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/SPBU27.2020.211
N. Krasnodembskaya
The ethnographic focus of the Russian Indological school was mainly developed in St. Petersburg and, above all, in the Peter the Great Museum of Anthropology and Ethnography (MAE). The author identifies five main stages of its development. Thus, the purpose of the article is to determine the time frame, the main life circumstances of a particular stage, the main actors, the tools and tasks of scientific activity, key scientific activities and the main result/product of labor. The first period refers to the last third of the XIX century and is associated with the name of Ivan Minaev (1840–1890), founder of the Russian Indological School. The next stage is connected with the names of the director of the MAE Vasily Radlov and the Indologists Alexander and Lyudmila Mervart, who carried out a special ethnographic expedition to Ceylon and India in 1914–1918, for the reorganization of the scientific and educational activities of the museum. The early Soviet period (from 1917 to the middle of the 20th century) was connected with the separation of MAE from world science and other restrictions, but Indologists (Virendranath Chattopadhyaya, Valery Krasnodembsky, etc.) at that time found ways to acquire new ethnographic knowledge, the directions of scientific research were partly expanded. The revival of all areas of MAE Indological activity occurred after the liberation of the countries of South Africa from colonial dependence. The current state of affairs in the MAE inspires a certain optimism. There is a well-prepared team of Indologists and the most important traditions have been preserved.
{"title":"In search of ethnographical reality (regarding the peculiarities of the traditions of the Russian school of Indology in St. Petersburg)","authors":"N. Krasnodembskaya","doi":"10.21638/11701/SPBU27.2020.211","DOIUrl":"https://doi.org/10.21638/11701/SPBU27.2020.211","url":null,"abstract":"The ethnographic focus of the Russian Indological school was mainly developed in St. Petersburg and, above all, in the Peter the Great Museum of Anthropology and Ethnography (MAE). The author identifies five main stages of its development. Thus, the purpose of the article is to determine the time frame, the main life circumstances of a particular stage, the main actors, the tools and tasks of scientific activity, key scientific activities and the main result/product of labor. The first period refers to the last third of the XIX century and is associated with the name of Ivan Minaev (1840–1890), founder of the Russian Indological School. The next stage is connected with the names of the director of the MAE Vasily Radlov and the Indologists Alexander and Lyudmila Mervart, who carried out a special ethnographic expedition to Ceylon and India in 1914–1918, for the reorganization of the scientific and educational activities of the museum. The early Soviet period (from 1917 to the middle of the 20th century) was connected with the separation of MAE from world science and other restrictions, but Indologists (Virendranath Chattopadhyaya, Valery Krasnodembsky, etc.) at that time found ways to acquire new ethnographic knowledge, the directions of scientific research were partly expanded. The revival of all areas of MAE Indological activity occurred after the liberation of the countries of South Africa from colonial dependence. The current state of affairs in the MAE inspires a certain optimism. There is a well-prepared team of Indologists and the most important traditions have been preserved.","PeriodicalId":115184,"journal":{"name":"The Issues of Museology","volume":"24 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":"131928775","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/spbu27.2022.103
Alexander V. Sevastyanov
The article deals with the museum direction in the popularization and research activities of the Russian Society for the Study of Crimea — the Society for the Study of Crimea against the background of the active development of the local history movement in the USSR in the 1920s and early 1930s. Three main forms of cooperation between the public scientific organization and the museum institutions in the region are traced: the participation of the Society members in the work of museums, and in creating new museums of local history (in Alushta and Kerch); publications of employees of Crimean museums about the profile work of institutions on the pages of the Society’s printed organ — the scientific journal “Krym”; author’s methodological articles of members of the Society on museum topics on the pages of the journal “Krym” (K.E.Grinevich, V.G.Opalov). Consideration of the plots of cooperation between amateur local historians, professional historians, archaeologists, ethnographers and museum workers allows us to form a comprehensive picture of the atmosphere and moods that were decisive in the scientific and social movement of the first decades of Soviet power. The dynamics of local history initiatives, the change of priorities in popularizing work helps to trace the patterns of transformation of the local history movement by the beginning of the 1930s. This was fully reflected in museum work, particularly in the leveling of any creative independence of museum teams and their incorporation into the structure of state ideological apparatus. This led to a crisis in the local history and museum movement and contributed to the unleashing of harassment and repression against local Soviet historians and museum workers, both at the all-Union and regional levels.
{"title":"From the history of museum work in Crimea: Activities of the Russian Society for the Study of the Crimea — Society for the Study of the Crimea (1922–1932)","authors":"Alexander V. Sevastyanov","doi":"10.21638/spbu27.2022.103","DOIUrl":"https://doi.org/10.21638/spbu27.2022.103","url":null,"abstract":"The article deals with the museum direction in the popularization and research activities of the Russian Society for the Study of Crimea — the Society for the Study of Crimea against the background of the active development of the local history movement in the USSR in the 1920s and early 1930s. Three main forms of cooperation between the public scientific organization and the museum institutions in the region are traced: the participation of the Society members in the work of museums, and in creating new museums of local history (in Alushta and Kerch); publications of employees of Crimean museums about the profile work of institutions on the pages of the Society’s printed organ — the scientific journal “Krym”; author’s methodological articles of members of the Society on museum topics on the pages of the journal “Krym” (K.E.Grinevich, V.G.Opalov). Consideration of the plots of cooperation between amateur local historians, professional historians, archaeologists, ethnographers and museum workers allows us to form a comprehensive picture of the atmosphere and moods that were decisive in the scientific and social movement of the first decades of Soviet power. The dynamics of local history initiatives, the change of priorities in popularizing work helps to trace the patterns of transformation of the local history movement by the beginning of the 1930s. This was fully reflected in museum work, particularly in the leveling of any creative independence of museum teams and their incorporation into the structure of state ideological apparatus. This led to a crisis in the local history and museum movement and contributed to the unleashing of harassment and repression against local Soviet historians and museum workers, both at the all-Union and regional levels.","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":"134524885","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}
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