{"title":"In Personal Remembrance of Dr. Milena Secká","authors":"Martin Samal","doi":"10.37520/anpm.2022.001","DOIUrl":"https://doi.org/10.37520/anpm.2022.001","url":null,"abstract":"","PeriodicalId":38203,"journal":{"name":"Annals of the Naprstek Museum","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69918822","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}
Milan Stuchlík (1932–1980) was a renowned ethnographer, anthropologist, museologist, and academician. During his field research in Chile (1968–1973) he gathered a remarkable collection of material culture of the Mapuche ethnic group. This includes objects used for dining and food storage, textiles, simple tools, as well as artifacts associated with religious and festive life. Almost fifty years after the acquisition of this collection by the Náprstek Museum, the Stuchlík Collection is now published. Special attention is paid to the circumstances of the acquisition of the collection, the donors, and the original owners of the objects. The personality of Milan Stuchlík is also briefly introduced, with emphasis on his field research and collecting activities in Chile.
{"title":"Milan Stuchlík and Mapuche: The Ethnographic Collection in the Náprstek Museum","authors":"Tereza Melicharová","doi":"10.37520/anpm.2022.009","DOIUrl":"https://doi.org/10.37520/anpm.2022.009","url":null,"abstract":"Milan Stuchlík (1932–1980) was a renowned ethnographer, anthropologist, museologist, and academician. During his field research in Chile (1968–1973) he gathered a remarkable collection of material culture of the Mapuche ethnic group. This includes objects used for dining and food storage, textiles, simple tools, as well as artifacts associated with religious and festive life. Almost fifty years after the acquisition of this collection by the Náprstek Museum, the Stuchlík Collection is now published. Special attention is paid to the circumstances of the acquisition of the collection, the donors, and the original owners of the objects. The personality of Milan Stuchlík is also briefly introduced, with emphasis on his field research and collecting activities in Chile.","PeriodicalId":38203,"journal":{"name":"Annals of the Naprstek Museum","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69918923","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}
This article deals with the collection of prints Yokohama-e and kaika-e, which are part of the collection of woodblock prints in the Náprstek Museum. The Yokohama-e and kaika-e woodblock prints were created in the second half of the 19th century in response to Japan’s changing politics, the arrival of foreigners, and the modernization of the country, thus capturing both the first introduction to Western innovations and the manner in which these subjects were presented to the public in Japan. The modernization prints in the Náprstek Museum have not yet been evaluated by scholars; the aim of this article is to provide information concerning this part of the woodblock print collection – the artists of the prints, the subjects depicted, and the question of the donors through whose agency the prints came into the museum’s possession.
{"title":"Japanese Modernization Prints Collection (Yokohama-e and Kaika-e) in the Náprstek Museum","authors":"Adéla Tůmová","doi":"10.37520/anpm.2022.012","DOIUrl":"https://doi.org/10.37520/anpm.2022.012","url":null,"abstract":"This article deals with the collection of prints Yokohama-e and kaika-e, which are part of the collection of woodblock prints in the Náprstek Museum. The Yokohama-e and kaika-e woodblock prints were created in the second half of the 19th century in response to Japan’s changing politics, the arrival of foreigners, and the modernization of the country, thus capturing both the first introduction to Western innovations and the manner in which these subjects were presented to the public in Japan. The modernization prints in the Náprstek Museum have not yet been evaluated by scholars; the aim of this article is to provide information concerning this part of the woodblock print collection – the artists of the prints, the subjects depicted, and the question of the donors through whose agency the prints came into the museum’s possession.","PeriodicalId":38203,"journal":{"name":"Annals of the Naprstek Museum","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69919067","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}
This paper brings forth preliminary results of recent re-examination of the cave shrine at Jebel Qeili, the site best known for the rock carving shoving Meroitic Prince Shorakaror. The painted depictions in the cave shrine were examined, described, and published by H. A. MacMichael and other scholars in the 20th century. Their descriptions and reproductions are summarised and commented upon. Then they are confronted with the results of recent documentation. Using the modern digital imaging it was possible to improve the previous observations and partly re-evaluate the painted depiction of the god Amun.
这篇论文提出了最近对杰贝勒齐里洞穴圣地重新检查的初步结果，该遗址最著名的是推着麦罗亚王子Shorakaror的岩石雕刻。20世纪，H. A. MacMichael和其他学者研究、描述并出版了洞穴神殿中的绘画描绘。对他们的描述和复制品进行了总结和评论。然后他们要面对最近的文件结果。利用现代数字成像技术，有可能改进先前的观察结果，并在一定程度上重新评估阿蒙神的绘画描绘。
{"title":"MacMichael’s Rock Drawing at Jebel Qeili","authors":"Pavel Onderka","doi":"10.37520/anpm.2022.019","DOIUrl":"https://doi.org/10.37520/anpm.2022.019","url":null,"abstract":"This paper brings forth preliminary results of recent re-examination of the cave shrine at Jebel Qeili, the site best known for the rock carving shoving Meroitic Prince Shorakaror. The painted depictions in the cave shrine were examined, described, and published by H. A. MacMichael and other scholars in the 20th century. Their descriptions and reproductions are summarised and commented upon. Then they are confronted with the results of recent documentation. Using the modern digital imaging it was possible to improve the previous observations and partly re-evaluate the painted depiction of the god Amun.","PeriodicalId":38203,"journal":{"name":"Annals of the Naprstek Museum","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69919382","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}
The Egyptian goddess Tayt has always been connected with weaving, linen, and the clothing of the deities. Overall, one can observe a clear continuity in the depiction of Tayt in a purely anthropomorphic form from its earlier occurrences during the New Kingdom well into Roman times. However, during the Late and the Ptolemaic-Roman Period Tayt appears in several different forms, she is at times represented with the head of a lioness or with a cobra’s head. The article takes an in-depth look at the various occasions in which discontinuity can be observed in the traditional portrayal of the goddess and aims to provide answers to the various reasons and implications behind this change in appearance.
{"title":"Aspects of Continuity and Change in the Representation of the Goddess Tayt","authors":"Dorotea Wollnerová","doi":"10.37520/anpm.2021.005","DOIUrl":"https://doi.org/10.37520/anpm.2021.005","url":null,"abstract":"The Egyptian goddess Tayt has always been connected with weaving, linen, and the clothing of the deities. Overall, one can observe a clear continuity in the depiction of Tayt in a purely anthropomorphic form from its earlier occurrences during the New Kingdom well into Roman times. However, during the Late and the Ptolemaic-Roman Period Tayt appears in several different forms, she is at times represented with the head of a lioness or with a cobra’s head. The article takes an in-depth look at the various occasions in which discontinuity can be observed in the traditional portrayal of the goddess and aims to provide answers to the various reasons and implications behind this change in appearance.","PeriodicalId":38203,"journal":{"name":"Annals of the Naprstek Museum","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69918427","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}
Small several-compartment cases called inrō were a supplement to Japanese men‘s clothing during the Edo period and were used to store various small items (especially personal stamps). Decorated with various techniques, such as decorating with gold, nacre (mother of pearl), and inlaying with metals, they gradually became a decorative accessory for Japanese clothing. In the 19th century inrō became favorite collector’ items in Europe. This article deals with inrō collection in the Naprstek Museum, its origin, but also with the techniques of inrō production.
{"title":"The Inrō Collection in the Náprstek Museum","authors":"Adéla Tůmová","doi":"10.37520/anpm.2021.008","DOIUrl":"https://doi.org/10.37520/anpm.2021.008","url":null,"abstract":"Small several-compartment cases called inrō were a supplement to Japanese men‘s clothing during the Edo period and were used to store various small items (especially personal stamps). Decorated with various techniques, such as decorating with gold, nacre (mother of pearl), and inlaying with metals, they gradually became a decorative accessory for Japanese clothing. In the 19th century inrō became favorite collector’ items in Europe. This article deals with inrō collection in the Naprstek Museum, its origin, but also with the techniques of inrō production.","PeriodicalId":38203,"journal":{"name":"Annals of the Naprstek Museum","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69918503","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}
This study focuses on a description of the Boxer Rebellion in Beijing, in the first months of 1901, written by E. S. Vraz during his second journey to China. Enrique Stanko Vraz (1860–1932) was a Czech naturalist and explorer, renowned for his travels to Africa, Latin America, and Asia, which he depicted in a series of books addressed to a broader public. His travelogue on Beijing during the Boxer Rebellion is particularly engaging, since it shows the country in the midst of great turmoil and chaos, just after the uprising had reached its climax. It is also extremely interesting from the ethnographical and anthropological perspective, because Vraz not only comments on the activities of the allied forces in China, but he also describes the Chinese people, their customs, Chinese culture and society, and in doing so develops an interpretation of the kingdom, governed by the dichotomy between ‘civilization’ and modernity, on one hand, and ‘barbarism’ and obscurantism, on the other. Vraz’s narrative therefore seems to be inexorably bound to an ethnocentric paradigm, so characteristic of travel writing at the beginning of the 20th century. I argue, however, that this statement is oversimplifying, and that Vraz’s text is self-aware of these antagonisms and therefore defies any straightforward reading.
{"title":"Bestia Triumphans: Enrique Stanko Vráz in Beijing in 1901","authors":"Iveta Nakládalová","doi":"10.37520/anpm.2021.001","DOIUrl":"https://doi.org/10.37520/anpm.2021.001","url":null,"abstract":"This study focuses on a description of the Boxer Rebellion in Beijing, in the first months of 1901, written by E. S. Vraz during his second journey to China. Enrique Stanko Vraz (1860–1932) was a Czech naturalist and explorer, renowned for his travels to Africa, Latin America, and Asia, which he depicted in a series of books addressed to a broader public. His travelogue on Beijing during the Boxer Rebellion is particularly engaging, since it shows the country in the midst of great turmoil and chaos, just after the uprising had reached its climax. It is also extremely interesting from the ethnographical and anthropological perspective, because Vraz not only comments on the activities of the allied forces in China, but he also describes the Chinese people, their customs, Chinese culture and society, and in doing so develops an interpretation of the kingdom, governed by the dichotomy between ‘civilization’ and modernity, on one hand, and ‘barbarism’ and obscurantism, on the other. Vraz’s narrative therefore seems to be inexorably bound to an ethnocentric paradigm, so characteristic of travel writing at the beginning of the 20th century. I argue, however, that this statement is oversimplifying, and that Vraz’s text is self-aware of these antagonisms and therefore defies any straightforward reading.","PeriodicalId":38203,"journal":{"name":"Annals of the Naprstek Museum","volume":"241 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69918144","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}
The ethnographic photographic collection of the Náprstek Museum has two sets of photographic material documenting an excursion to North Africa, which was organized mainly for teachers in 1936 by the Excursion Department of the Central Association of Teachers in the Moravian-Silesian Lands. The main destinations of the excursion were Morocco, Algeria, and Tunisia. In 1961, the Náprstek Museum received a set of postcards which was collected by the writer Sida Volfová during the excursion. In the 1970s, teacher Karel Křížek donated three photo albums and loose photographs which he took during the excursion to the museum. Together with other preserved documents, it was possible to accurately reconstruct the course of the excursion and evaluate everything from both a geographic and thematic perspective.
{"title":"Photographs from an Excursion to North Africa in 1936","authors":"Jan Šejbl","doi":"10.37520/anpm.2021.011","DOIUrl":"https://doi.org/10.37520/anpm.2021.011","url":null,"abstract":"The ethnographic photographic collection of the Náprstek Museum has two sets of photographic material documenting an excursion to North Africa, which was organized mainly for teachers in 1936 by the Excursion Department of the Central Association of Teachers in the Moravian-Silesian Lands. The main destinations of the excursion were Morocco, Algeria, and Tunisia. In 1961, the Náprstek Museum received a set of postcards which was collected by the writer Sida Volfová during the excursion. In the 1970s, teacher Karel Křížek donated three photo albums and loose photographs which he took during the excursion to the museum. Together with other preserved documents, it was possible to accurately reconstruct the course of the excursion and evaluate everything from both a geographic and thematic perspective.","PeriodicalId":38203,"journal":{"name":"Annals of the Naprstek Museum","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69918733","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}
In 2015 the Naprstek Museum, in cooperation with the National Library of the Czech Republic, carried out a conservation survey of two rare folios from the Gulshan Album of the Mughal emperor Jahāngīr which form part of the Naprstek Museum’s Indian collection. During the survey an unknown signature by the painter Āqā Rezā was discovered in the border of one of them. The new finding was the impetus for this study, looking at the folio in more detail. In addition to the introductory part, which looks at the form and function of illustrated albums in the Mughal Empire, the study describes in detail both a miniature on one side of the folio and the calligraphy and border with human figures on the other side, and explains the relationship between them.
{"title":"Notes on a Folio from the Gulshan Album in the Collection of the Náprstek Museum, Prague","authors":"Adriana Stříbrná","doi":"10.37520/anpm.2021.003","DOIUrl":"https://doi.org/10.37520/anpm.2021.003","url":null,"abstract":"In 2015 the Naprstek Museum, in cooperation with the National Library of the Czech Republic, carried out a conservation survey of two rare folios from the Gulshan Album of the Mughal emperor Jahāngīr which form part of the Naprstek Museum’s Indian collection. During the survey an unknown signature by the painter Āqā Rezā was discovered in the border of one of them. The new finding was the impetus for this study, looking at the folio in more detail. In addition to the introductory part, which looks at the form and function of illustrated albums in the Mughal Empire, the study describes in detail both a miniature on one side of the folio and the calligraphy and border with human figures on the other side, and explains the relationship between them.","PeriodicalId":38203,"journal":{"name":"Annals of the Naprstek Museum","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69918093","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}
A part of the collections of the Náprstek Museum also includes exhibits documenting the life and activity of Vojta Náprstek. Among them belong thirty paintings of educational and social institutes of the Anglo-American world. They were painted by Alois Studnička, and Vojta Náprstek displayed them in 1865 at an exhibition at Žofín in Prague. The exhibition of more than a hundred paintings was accompanied by lectures not only concerning these institutions, but also concerning patrons who founded and supported these institutions. At the same time, he encouraged the listeners to follow his own example of promoting patronage.
{"title":"How Many New Asylums Do We Need for the Imbeciles? Náprstek’s Nurturing of Philanthropy","authors":"Milena Secká","doi":"10.37520/anpm.2021.009","DOIUrl":"https://doi.org/10.37520/anpm.2021.009","url":null,"abstract":"A part of the collections of the Náprstek Museum also includes exhibits documenting the life and activity of Vojta Náprstek. Among them belong thirty paintings of educational and social institutes of the Anglo-American world. They were painted by Alois Studnička, and Vojta Náprstek displayed them in 1865 at an exhibition at Žofín in Prague. The exhibition of more than a hundred paintings was accompanied by lectures not only concerning these institutions, but also concerning patrons who founded and supported these institutions. At the same time, he encouraged the listeners to follow his own example of promoting patronage.","PeriodicalId":38203,"journal":{"name":"Annals of the Naprstek Museum","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69918511","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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