Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.103
Francisca Foortai
The article attempts to analyze Pasolini’s great trilogy, which includes the films “Decameron”, “Canterbury Tales”, and “Flower of the Thousand and One Nights”, taking into account the distance of half a century. This article shows the multi-layered nature of a great work of art, which serves as the basis for different understandings and evaluations of these works that took place during the life of Pasolini and decades after his tragic and mysterious death. The article also draws attention to difference in the methods of artistic expression between the elements of the literary image (phonemes) and cinematic visuality (kinemas), with which Pasolini experimented. Not agreeing with the established point of view that compares the “Trilogy of Life” with Dante’s division of hell, purgatory, and paradise, the author believes that Pasolini’s films based on literary works are not correctly considered as analogies with the metaphysical, “vertical” journey of Dante to the postmortem worlds. On the contrary, the movements in Pasolini’s trilogy — South, North-West, East — are “horizontal”, terrestrial, and even chronologically almost identical. Pasolini’s “Trilogy of Life” is rather three life modules that a person meets, in which “Decameron” is everyday life in its relationship with art (we see a similar situation in “Andrey Rublev” by A. Tarkovsky). “Canterbury Tales” is an expression of the joy of life associated with the comical nature of human corporeality. “Flower of the Thousand and One Nights” is a dream or tale about conquering love, in the entourage of the charming East, seen through the eyes of a European. This is why these films can rightly be called the “Trilogy of Life”.
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.403
S. Aitova
In this article we take up a problem concerning the compositional and semantic role of the saint’s image in the new vita (living) icons type, appeared in the 17th century in Old Rus’ (for example, vita icon of the Saint John the Forerunner taking place in the iconostasis of the church of Elijah the Prophet in Yaroslavl, beginning of the 1660s). Such an approach is unique except for Preobrazhenskii’s article. This article is interdisciplinary in nature dealing with a problem of narration inherent to the Christian art, of the relationship between icons and sociocultural tendencies in the transitional period of the Late Middle Ages in Russia. This study allows to consider icons not only in the context of Old Rus’ painting, but also like an expression of the universal functioning, compositional structure and rhetoric of the image. Attention to the saint’s image, represented as a “portrait”, is explained by the fact that the narrative cycle is placed in the saint’s zone. In the traditional vita (living) icon a saint is placed in the central zone (“srednik”) being semantically the same as the saint in the new type. The narrative cycle is placed on the border. Thus the saint in the new icons’ type is regarded from the perspective of the earthly living. Through the Christian history of image a saint’s “portrait” is often presented in some implicit narration even if there’s no plot. In our article this effect is more intensified because of the focus on the earthly world occupying almost all the composition. The painting technique called “life-likeness” (“zhivopodobie”) also contribute to this effect. Moreover, we think that the saint’s image in these icons follows the Stroganov school icons in the context of the transformations of the self-consciousness in the 17th century.
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.204
E. Vasilyeva
This article analyzes the problem of image and object in photography. The study proceeds from the assumption that the presentation of a thing implies its special status in photography. The article considers the position of things in photography as a semantic and ideological problem. A photographic demonstration of an object can be interpreted as a special pictorial strategy. The thing is the condition of the shot: a photography is impossible without an object. The problem of the relationship between photography and things looks like a large-scale contradiction. Photography fundamentally changes the object both visually and qualitatively. Acquiring the status of an image, a thing loses its material qualities. The object in the frame is deprived not only of its practical meaning — it loses its subject program. From a three-dimensional object, a thing turns into an ephemeral and phantom unit. The thing as a given experience in photography becomes an illusion. The constituted qualities of the subject are lost in the frame. In photography, a thing becomes a false distorted image, an element of a deceptive perception of the world. The subject in the photograph is an ephemeral entity, an imaginary and non-existent phantom. The frame verifies the presence of the object and, at the same time, endows the meaning of the authentic that which is not. Within the framework of this study, it is important that the status of a thing in photography is not only possessed by an object with strict outlines and boundaries. The disembodied and formless acquire the quality of an object in photography. The study draws attention to the fact that photography turns the world into a set of units, where the quality of a thing is possessed not only by the object, but also by the surrounding space.
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.404
Iana S. Sokolova
This paper is dedicated to the painting ceiling created in the middle of the 18th century by the Venetian artist Bartolomeo Tarsia for the Dance Hall of the Great Peterhof Palace. The plafond was badly destroyed during the Second World War and was re-painted by Soviet artists in the second half of the last century from preserved pre-war photographs and a preparatory drawing. These documents formed the basis of our research. Starting from the 19th century, the subject of the plafond is interpreted mainly as “Apollo and the Muses on mount Parnassus”. An accurate examination and analysis of Tarsia’s preparatory drawing, along with an appeal to well-known prototypes from Western European painting, made it possible to come to some conclusions about the subject of the artwork, the nature of its iconography, and also to revise the established interpretation. In particular, we considered the problem of the iconography of Parnassus and Helikon, we also noted the co-presence on the ceiling of the figures of Minerva, the Muses and Pegasus, referring to one specific episode from Ovid’s Metamorphoses; it was also discovered that in the Tarsia’s native Republic of Venice — in Padua — there is a plafond by Giuseppe Le Gru, known as the “Triumph of the Sciences”, correlated in time of creation and content to Tarsia’s plafond. Like Parnassus, the subject with Minerva and/or Apollo and the Muses on Mount Helicon has an allegorical meaning — the prosperity and glory of the sciences and arts. The Peterhof plafond also has this allegorical character. The image of the supreme goddess Juno crowning the composition serves as an additional confirmation of this, and also allows us to attribute this ceiling to examples of the embodiment of female mythological iconography, which generally corresponds to the logic of the decorative decoration of the palace and corresponds to the spirit of the time. In addition, the possible parallels with other works of the middle of the 18th century, with which the Peterhof plafond shows ideological and compositional similarity, are proposed in the paper. Among such examples, there is one of the illustrations by Giambattista Piazzetta for the grandiose Venetian edition of “La Gerusalemme liberata (Jerusalem delivered)” by Torquato Tasso in 1745.
这篇论文是专门为18世纪中叶威尼斯艺术家Bartolomeo Tarsia为大彼得霍夫宫舞厅创作的绘画天花板而写的。该平台在第二次世界大战期间遭到严重破坏，并在上世纪下半叶由苏联艺术家根据保存下来的战前照片和准备图纸重新绘制。这些文件构成了我们研究的基础。从19世纪开始，这个平台的主题主要被解释为“阿波罗和帕纳萨斯山上的缪斯”。对Tarsia的准备图纸进行准确的检查和分析，以及对来自西欧绘画的知名原型的呼吁，使得有可能得出一些关于艺术品主题的结论，其图像的性质，并修改既定的解释。特别地，我们考虑了帕纳索斯和海利康的肖像问题，我们也注意到密涅瓦、缪斯和帕伽索斯的形象在天花板上的共同存在，参考了奥维德的《变形记》中的一个特定情节;人们还发现，在塔西亚的故乡威尼斯共和国——帕多瓦——有一个朱塞佩·勒·格鲁(Giuseppe Le Gru)设计的平台，被称为“科学的胜利”，在创作和内容上与塔西亚的平台相关。就像帕那萨斯一样，密涅瓦和/或阿波罗和在赫利康山上的缪斯的主题具有寓言意义-科学和艺术的繁荣和荣耀。彼得霍夫平台也有这种讽喻的特点。至高无上的女神朱诺为这一构图加冕的形象进一步证实了这一点，也使我们能够将这一天花板归因于女性神话形象的体现，这总体上符合宫殿装饰装饰的逻辑，符合时代精神。此外，本文还提出了彼得霍夫平台与18世纪中叶其他作品的可能相似之处，这些作品在思想和构图上与之相似。在这些例子中，有一幅是詹巴蒂斯塔·皮亚泽塔(Giambattista Piazzetta)为1745年由托尔夸托·塔索(Torquato Tasso)创作的宏伟威尼斯版《耶路撒冷送达》(La Gerusalemme liberata)绘制的插图。
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.105
A. Bobrikov
This article examines the influence of art magazines on processes in art of the twentieth century — and the possibility of constructing a typology of periodicals based on this principle. General characteristics of the “magazine of influence” are based on the material of the second half of the twentieth century. The model of this type of periodical is considered on the example of Artforum, the most authoritative magazine of the second half of the 1960s and the first half of the 1970s, whose experience (positive and negative) was used to form the editorial policy of October. From the history of October, the main periodical on contemporary art of the last four decades, the early stage (when its influence was maximum) was selected. The formation of the journal is examined from different points of view. The first point is the art and art history methodologies of the 1960s and the legacy of Artforum associated with the name Rosalind Krauss. The second point, presented by Annette Michelson, refers to the semiotics of French theory and the problem of the “political.” The third subject is built around Douglas Crimp and his curatorial project, the “Pictures” exhibition: this is the newest art (postmodernism of the second half of the 1970s, its specificity, its connection with the “photographic” and postmedial nature of this “photographic”) and the methodology of its analysis. The combination of new art with a journal of a new type (creating an apparatus for its methodological description) creates a situation that allows us to speak about the beginning of a new era, the era of postmodernism, a specific version of conceptual art, where the border between art itself and its critical and theoretical interpretation almost disappears.
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.102
Natalia P. Savkina
Prokofiev’s enormous correspondence reflects a universe that is densely populated and reflects the enormous amount of his correspondence. The multifaceted nature of his inner-self is revealed in his letters to different people, which displays great diversity in style. Varied accents and perspectives appear in his letters: some personality traits come forward, new facts emerge, some creative aspects appear in unaccustomed ways. Prokofiev’s fourteen letters to his mother chronologically cover a little more than the last two months out of three that he spent in America in the winter of 1920. One important feature of Prokofiev’s nature is reflected in letters to his mother: passion for travel. He moves constantly and still enjoys a difficult life, full of hassle, on tour. His letters to his mother were sent from the Savoiya crossing the Pacific Ocean, from the train to California, and from New York City, Chicago, Appleton, San Francisco, San Diego, and Los Angeles. These documented sources are interesting not only because of their content. Prokofiev was writing to a person who had almost lost her sight. The composer’s usual briefness of utterance is maximized there. The informational content of this cursive writing is extremely high, and the short messages and postcards written in large round letters condense massive informative layers: the young musician’s life, the staging of his operas (about which he works many angles), tragic backwashes of the Russian history, signals from the past lost in Saint Petersburg flat where his papers had been missed, commissioned and uncommissioned works, an exhibit hall of nearly outlined characters, and a constant lack of money. This is a counterpoint voice to the Diary.
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Pub Date : 2022-01-01DOI: 10.21638/spbu15.2022.301
Marianna S. Vysotskaya
The evolutionary processes in the field of musical notation, which characterize the second half of the 20th century, reflected the main trend in the individualization of styles. The large-scale development of new instrumental techniques and technologies for synthesis and electronic sound processing stimulated the further development of a musical notation system as one of the means of visualizing a musical idea. Marco Stroppa, one of the leading composers of modern Europe, made significant developments in the field of graphic fixation of both new timbres and various aspects of the interaction of acoustic and electronic instruments within the framework of a mixed type composition. The interpenetration of the techniques of sound synthesis and instrumental writing as a special subject of Stroppa’s interest is reflected not only in his musical work, but also in his texts. The musicological literature in Russian about Stroppa is represented by the only article by the author of this publication, in which, for the first time, a number of aspects of Stroppa’s compositional method were analyzed using the example of the triptych “Traiettoria” for piano and computer-generated sounds, and the history of the birth of the piece was recreated. This publication focuses on the problem of notation in a mixed type composition and introduces into scientific use Stroppa’s compositional developments, implemented by him in the score “Traiettoria… deviate”, the first part of the “Traiettoria” cycle. The symbolic graphics of electronic sounds (“sound ‘objects’”) are considered, based on the composer’s commentary, such essential concepts for his workshop as a sound complex-“code”, temporal and frequency “staves” are characterized, examples of dynamic levels notation, pitch indication are presented as well as the schemes of the spatial disposition of the “synthetic orchestra” — a complex of multiple sound sources that organize the “spatial polyphony” of the piece.
{"title":"On the Problem of Notation in Mixed Type Composition: From the Experience of Marco Stroppa","authors":"Marianna S. Vysotskaya","doi":"10.21638/spbu15.2022.301","DOIUrl":"https://doi.org/10.21638/spbu15.2022.301","url":null,"abstract":"The evolutionary processes in the field of musical notation, which characterize the second half of the 20th century, reflected the main trend in the individualization of styles. The large-scale development of new instrumental techniques and technologies for synthesis and electronic sound processing stimulated the further development of a musical notation system as one of the means of visualizing a musical idea. Marco Stroppa, one of the leading composers of modern Europe, made significant developments in the field of graphic fixation of both new timbres and various aspects of the interaction of acoustic and electronic instruments within the framework of a mixed type composition. The interpenetration of the techniques of sound synthesis and instrumental writing as a special subject of Stroppa’s interest is reflected not only in his musical work, but also in his texts. The musicological literature in Russian about Stroppa is represented by the only article by the author of this publication, in which, for the first time, a number of aspects of Stroppa’s compositional method were analyzed using the example of the triptych “Traiettoria” for piano and computer-generated sounds, and the history of the birth of the piece was recreated. This publication focuses on the problem of notation in a mixed type composition and introduces into scientific use Stroppa’s compositional developments, implemented by him in the score “Traiettoria… deviate”, the first part of the “Traiettoria” cycle. The symbolic graphics of electronic sounds (“sound ‘objects’”) are considered, based on the composer’s commentary, such essential concepts for his workshop as a sound complex-“code”, temporal and frequency “staves” are characterized, examples of dynamic levels notation, pitch indication are presented as well as the schemes of the spatial disposition of the “synthetic orchestra” — a complex of multiple sound sources that organize the “spatial polyphony” of the piece.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90885994","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 : 2022-01-01DOI: 10.21638/spbu15.2022.303
K. Adishirinov
The theatre in Nukha was founded by the amateur theatre troupe who staged the comedy “Haji Kara” by Mirza Fatali Akhundzade, a prominent playwright of the Azerbaijani literature in the 19th century. The path opened by the theatre amateurs was later expanded, and it led to getting a state status of the Nukha Theatre in 1936. The path of the Nukha Theatre had not been smooth enough, and as it is mentioned in the article, the Nukha Theatre had to be closed in 1949 due to a lack of financial support by the government and a lack of actors. In the 70s of the 20th century, the theatre life in Nukha was revived by a group of students of the Azerbaijan Institute of Culture and Arts sent to Sheki to work, and the theatre stepped to its new successful stage of its history. The activity of the Nukha Theatre in the 30s–40s was out of research and became a history in archive documents till the writing of this article. Indeed, limited information about the development of the Nukha Theatre was given by theatre researchers in the direction of research of the Azerbaijani Theatre, but the path of development of theatre had not been studied in the specific direction. This article is a part of the first step in this direction. The topicality of the article is a systematic and historical — chronological study of the Nukha Theatre, which was the integral part of the Azerbaijani Theatre in the 30s–40s of the 20th century, for the first time in a wide range. The scientific novelty of the topic is related to introducing the path of development of the Nukha Theatre in the 30s–40s of the 20th century to readers broadly.
{"title":"Nukha’s Theatrical Life in the 30s–40s of the 20th Century (Challenges, Progress, Problems)","authors":"K. Adishirinov","doi":"10.21638/spbu15.2022.303","DOIUrl":"https://doi.org/10.21638/spbu15.2022.303","url":null,"abstract":"The theatre in Nukha was founded by the amateur theatre troupe who staged the comedy “Haji Kara” by Mirza Fatali Akhundzade, a prominent playwright of the Azerbaijani literature in the 19th century. The path opened by the theatre amateurs was later expanded, and it led to getting a state status of the Nukha Theatre in 1936. The path of the Nukha Theatre had not been smooth enough, and as it is mentioned in the article, the Nukha Theatre had to be closed in 1949 due to a lack of financial support by the government and a lack of actors. In the 70s of the 20th century, the theatre life in Nukha was revived by a group of students of the Azerbaijan Institute of Culture and Arts sent to Sheki to work, and the theatre stepped to its new successful stage of its history. The activity of the Nukha Theatre in the 30s–40s was out of research and became a history in archive documents till the writing of this article. Indeed, limited information about the development of the Nukha Theatre was given by theatre researchers in the direction of research of the Azerbaijani Theatre, but the path of development of theatre had not been studied in the specific direction. This article is a part of the first step in this direction. The topicality of the article is a systematic and historical — chronological study of the Nukha Theatre, which was the integral part of the Azerbaijani Theatre in the 30s–40s of the 20th century, for the first time in a wide range. The scientific novelty of the topic is related to introducing the path of development of the Nukha Theatre in the 30s–40s of the 20th century to readers broadly.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77961214","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 : 2022-01-01DOI: 10.21638/spbu15.2022.209
Vladimir S. Torbik
Using an analysis of archival documents, this article considers methods of preserving items of furniture decoration during operation throughout the 19th century. The process of selecting craftsmen for producing works on the preservation of furniture in proper condition on the basis of tenders is described. A description of the trading conditions is given. The basic methods of furniture finishing are revealed. A method of furniture surface treatment, named “with strong vodka” is described. It was the method of the surface treatment of the furniture with the nitric acid solution followed by heating of the surface. This method had been rather often used in the furniture making in the first half of the 19th century. Also there are presented documents that allow you to see the attitude towards upholstery and upholstery materials. Among these methods could be met replacement of the upholstery fabric, using of the back side for the facial surface, cutting of the old curtains for the upholstery of the furniture and some others, including a moire tip when repainting fabrics. The interiors of the palace were not rebuilt during the 19th century, however, the furniture required constant repairs and the introduction of new items into the interior, if necessary. Also, the above documents show how the interiors were equipped with furniture that came from furniture craftsmen or a furniture warehouse. The above materials reveal a picture of a very difficult life of an object in time, and also introduces documents into scientific circulation that make it possible to make clarifications in the attribution of furniture items.
{"title":"On the Maintenance and Restoration of the Furniture of the Elaginoostrovsky Palace","authors":"Vladimir S. Torbik","doi":"10.21638/spbu15.2022.209","DOIUrl":"https://doi.org/10.21638/spbu15.2022.209","url":null,"abstract":"Using an analysis of archival documents, this article considers methods of preserving items of furniture decoration during operation throughout the 19th century. The process of selecting craftsmen for producing works on the preservation of furniture in proper condition on the basis of tenders is described. A description of the trading conditions is given. The basic methods of furniture finishing are revealed. A method of furniture surface treatment, named “with strong vodka” is described. It was the method of the surface treatment of the furniture with the nitric acid solution followed by heating of the surface. This method had been rather often used in the furniture making in the first half of the 19th century. Also there are presented documents that allow you to see the attitude towards upholstery and upholstery materials. Among these methods could be met replacement of the upholstery fabric, using of the back side for the facial surface, cutting of the old curtains for the upholstery of the furniture and some others, including a moire tip when repainting fabrics. The interiors of the palace were not rebuilt during the 19th century, however, the furniture required constant repairs and the introduction of new items into the interior, if necessary. Also, the above documents show how the interiors were equipped with furniture that came from furniture craftsmen or a furniture warehouse. The above materials reveal a picture of a very difficult life of an object in time, and also introduces documents into scientific circulation that make it possible to make clarifications in the attribution of furniture items.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72686800","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 : 2022-01-01DOI: 10.21638/spbu15.2022.208
N. Borovkova, Anastasiya R. Pilipenko, Mar’ya N. Yakimaha
The article explores English stone-cutting products of the 18th century from Blue John fluorite. The objects of research are items from the Mining Museum collection. The authors have identified a wide range of analogues from various collections of Russian and European museums, auction houses. The article considers the history of the development of stone-cutting production from Blue John fluorite; possible stone-cutting workshops have been identified. In the study determined the technical and technological features of the manufacture of fluorite products in England at the end of the 18th century. The article deals with issues of attribution and reconstruction of museum items using 3D-visualization. The technical and technological features of fluorite processing and the technology for producing art objects was clarified thanks to the involvement of the laboratory base of the Center for Collective Use of the Mining University. A chemical study was carried out on samples of the substance used to stabilize the stone material of objects. On the basis a wide visual range the appearance of the destroyed vases was restored using 3D-technologies and the places of loss in objects from the Mining Museum were supplemented. The use of modern technological innovations made it possible to restore the appearance of monuments with unsatisfactory preservation and include objects of the 18th century. into scientific circulation. A significant corpus of archival documents has been revealed, giving an idea of the sources and methods of entry of items from English fluorite into the collection of the Mining Museum. The results obtained allowed us to change the idea of the formation of the collection of the Mining Museum; to supplement previously known information about the production of fluorite objects of arts and crafts in England.
{"title":"From England to Russia: Fluorite Vases from the Second Half of the 18th — Beginning of the 19th Centuries","authors":"N. Borovkova, Anastasiya R. Pilipenko, Mar’ya N. Yakimaha","doi":"10.21638/spbu15.2022.208","DOIUrl":"https://doi.org/10.21638/spbu15.2022.208","url":null,"abstract":"The article explores English stone-cutting products of the 18th century from Blue John fluorite. The objects of research are items from the Mining Museum collection. The authors have identified a wide range of analogues from various collections of Russian and European museums, auction houses. The article considers the history of the development of stone-cutting production from Blue John fluorite; possible stone-cutting workshops have been identified. In the study determined the technical and technological features of the manufacture of fluorite products in England at the end of the 18th century. The article deals with issues of attribution and reconstruction of museum items using 3D-visualization. The technical and technological features of fluorite processing and the technology for producing art objects was clarified thanks to the involvement of the laboratory base of the Center for Collective Use of the Mining University. A chemical study was carried out on samples of the substance used to stabilize the stone material of objects. On the basis a wide visual range the appearance of the destroyed vases was restored using 3D-technologies and the places of loss in objects from the Mining Museum were supplemented. The use of modern technological innovations made it possible to restore the appearance of monuments with unsatisfactory preservation and include objects of the 18th century. into scientific circulation. A significant corpus of archival documents has been revealed, giving an idea of the sources and methods of entry of items from English fluorite into the collection of the Mining Museum. The results obtained allowed us to change the idea of the formation of the collection of the Mining Museum; to supplement previously known information about the production of fluorite objects of arts and crafts in England.","PeriodicalId":40378,"journal":{"name":"Vestnik Sankt-Peterburgskogo Universiteta-Iskusstvovedenie","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84473048","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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