Pub Date : 2022-01-01DOI: 10.46284/mkd.2022.10.1.3
M. Orlenko, Y. Ivashko, J. Kobylarczyk, Dominika Kuśnierz-Krupa
This paper is a report on experience collected during archaeological studies of structures in the territory of Ukraine. It discusses the archaeological study of architectural monuments over the period of the operation of the Ukrrestavratsiia Corporation and presents the observation that most known varieties of masonry systems, featuring different combinations of materials and mortars, were observed in findings dated to the period of the Kyivan Rus, and that the list of foundation schemes present was limited to a few types. It was also found that of the schemes observed, the Old Russian scheme displayed an evolution. The study also highlights the significance of the role of foundation musealisation in the restoration and reconstruction of damaged architectural monuments.
{"title":"Study of foundations in Ukraine from the eleventh to eighteenth centuries and their preservation and conservation methods: Experiences","authors":"M. Orlenko, Y. Ivashko, J. Kobylarczyk, Dominika Kuśnierz-Krupa","doi":"10.46284/mkd.2022.10.1.3","DOIUrl":"https://doi.org/10.46284/mkd.2022.10.1.3","url":null,"abstract":"This paper is a report on experience collected during archaeological studies of structures in the territory of Ukraine. It discusses the archaeological study of architectural monuments over the period of the operation of the Ukrrestavratsiia Corporation and presents the observation that most known varieties of masonry systems, featuring different combinations of materials and mortars, were observed in findings dated to the period of the Kyivan Rus, and that the list of foundation schemes present was limited to a few types. It was also found that of the schemes observed, the Old Russian scheme displayed an evolution. The study also highlights the significance of the role of foundation musealisation in the restoration and reconstruction of damaged architectural monuments.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70480428","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: 10.46284/mkd.2021.10.4.5
A. Wierzbicka, M. Arno
Sacral objects are an important part of Europe’s religious heritage. For centuries, temples have constituted a key element in the urban morphology; they fit into the urban fabric of European cities and are permanently embedded there. Due to the current laicization of Europe, the adaptation of sacred buildings into secular functions has become a necessity for economic reasons. Their owners, architects, conservators and historians are faced with a dilemma: whether to preserve an object or transform it into another function? Places of worship cannot be considered in solely economic terms due to the identity of the place, its current function and its symbolism. Sacred spaces, apart from their function, structure and form, also have meaning. In holy sites, the symbol becomes a narrative tool. The purpose of a narrative in the cultural context is related to the site, the narrator, the recipient and the time of the narrative. Narrative research into semantic architecture, as one of the means of researching sacred architecture, has potential both in analysis and as a tool to facilitate design processes for the appropriate transformation of sacred buildings to serve secular functions.
{"title":"Adaptation of places of worship to secular functions with the use of narrative method as a tool to preserve religious heritage","authors":"A. Wierzbicka, M. Arno","doi":"10.46284/mkd.2021.10.4.5","DOIUrl":"https://doi.org/10.46284/mkd.2021.10.4.5","url":null,"abstract":"Sacral objects are an important part of Europe’s religious heritage. For centuries, temples have constituted a key element in the urban morphology; they fit into the urban fabric of European cities and are permanently embedded there. Due to the current laicization of Europe, the adaptation of sacred buildings into secular functions has become a necessity for economic reasons. Their owners, architects, conservators and historians are faced with a dilemma: whether to preserve an object or transform it into another function? Places of worship cannot be considered in solely economic terms due to the identity of the place, its current function and its symbolism. Sacred spaces, apart from their function, structure and form, also have meaning. In holy sites, the symbol becomes a narrative tool. The purpose of a narrative in the cultural context is related to the site, the narrator, the recipient and the time of the narrative. Narrative research into semantic architecture, as one of the means of researching sacred architecture, has potential both in analysis and as a tool to facilitate design processes for the appropriate transformation of sacred buildings to serve secular functions.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478655","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: 10.46284/mkd.2021.10.4.6
J. Sedlacek, Daniel Matějka, Z. Fialová, Radim Klepárník
Creating an exhibition is a multidisciplinary task which, besides the work of the authors of the scenario, copywriters and experts in the given topic, involves also the work of architects and landscape architects. Although the paper reflects on various completed exhibitions, the scenario and form of an exhibition cannot be separated. The paper focuses on spatial aspects of outdoor exhibitions from the perspective of an architect and landscape architect and documents them via various completed exhibitions. In terms of architecture they can be classified upon the aspects of form and content, wherein form covers the spatial, i.e. architectural, design of the exhibition and means, and content covers the quantity, complexity, style and chronology of the information communicated. The motivation for the paper is the need to identify the factors influencing the educational quality of exhibitions that the professionals designing the space and form of exhibitions may use in their practice. This covers predominantly those factors that relate to the designing of spaces where exhibitions take place based on the given scenarios, to which the viewers react rather subconsciously.The method used for the research is a spatial and content analysis of three exhibitions presenting cultural and natural heritage, specifically Hardangervidda National Park in Norway, Kongernes Jelling visitor centre in Denmark, and the National Museum of Rural Life at Wester Kittochside – Scottish National Museum in Great Britain. Factors considered include: the connection to the site – landscape context; authenticity; spatial scenario; and so-called warm-up and cool-down spaces that create atmosphere. A scenario, as in a film, connects the environment and content in a defined chronology. By this research we want to follow up on the trend in museums and exhibitions to present information through powerful narrative storytelling.
{"title":"Spatial aspects of the interpretation of cultural heritage","authors":"J. Sedlacek, Daniel Matějka, Z. Fialová, Radim Klepárník","doi":"10.46284/mkd.2021.10.4.6","DOIUrl":"https://doi.org/10.46284/mkd.2021.10.4.6","url":null,"abstract":"Creating an exhibition is a multidisciplinary task which, besides the work of the authors of the scenario, copywriters and experts in the given topic, involves also the work of architects and landscape architects. Although the paper reflects on various completed exhibitions, the scenario and form of an exhibition cannot be separated. The paper focuses on spatial aspects of outdoor exhibitions from the perspective of an architect and landscape architect and documents them via various completed exhibitions. In terms of architecture they can be classified upon the aspects of form and content, wherein form covers the spatial, i.e. architectural, design of the exhibition and means, and content covers the quantity, complexity, style and chronology of the information communicated. The motivation for the paper is the need to identify the factors influencing the educational quality of exhibitions that the professionals designing the space and form of exhibitions may use in their practice. This covers predominantly those factors that relate to the designing of spaces where exhibitions take place based on the given scenarios, to which the viewers react rather subconsciously.The method used for the research is a spatial and content analysis of three exhibitions presenting cultural and natural heritage, specifically Hardangervidda National Park in Norway, Kongernes Jelling visitor centre in Denmark, and the National Museum of Rural Life at Wester Kittochside – Scottish National Museum in Great Britain. Factors considered include: the connection to the site – landscape context; authenticity; spatial scenario; and so-called warm-up and cool-down spaces that create atmosphere. A scenario, as in a film, connects the environment and content in a defined chronology. By this research we want to follow up on the trend in museums and exhibitions to present information through powerful narrative storytelling.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70478721","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: 10.46284/mkd.2021.10.1.4
Janusz Łach, A. Krzemińska, Krzysztof Widawski, Anna Zaręba
Protestant refuge churches were built in Silesian Protestant principalities, and in the borderline areas of Saxony, Brandenburg and Poland before the end of Thirty Years’ War and the signing of the Peace of Westphalia. In the most part, the churches were erected by means of adapting Catholic churches to the needs of Protestant believers, e.g. by building emporas (choir galleries), a pulpit and an altar inside the church. The acquisition of churches in Silesia was peaceful, without any violence almost everywhere, and it was not a rare phenomenon that a single church was used by two religions at the same time. At the end of the eighteenth century, there were approximately 110 refugee churches in Silesia. Currently, there are no churches of this type in Lower Silesia, and their extraordinary decoration was preserved in only a few of them. The main aim is to analyse this specific, forgotten sacral Protestent heritage, i.e. refuge churches in Lower Silesia, from the historical, sociological and architectural perspective. The main objective is to focus on the historical importance of the refuge churches in Lower Silesia – restoring identity as exemplified by the church in Großburg (Polish: Borek Strzeliński), analyse the degree to which the Protestant cultural legacy was preserved in the material rural architecture of Großburg and analyse the acceptance of the Evangelical heritage in the mentality of the local community.
{"title":"The role of the Protestant legacy in shaping Lower Silesian cultural heritage as exemplified by the refuge church in Borek Strzeliński (Großburg)","authors":"Janusz Łach, A. Krzemińska, Krzysztof Widawski, Anna Zaręba","doi":"10.46284/mkd.2021.10.1.4","DOIUrl":"https://doi.org/10.46284/mkd.2021.10.1.4","url":null,"abstract":"Protestant refuge churches were built in Silesian Protestant principalities, and in the borderline areas of Saxony, Brandenburg and Poland before the end of Thirty Years’ War and the signing of the Peace of Westphalia. In the most part, the churches were erected by means of adapting Catholic churches to the needs of Protestant believers, e.g. by building emporas (choir galleries), a pulpit and an altar inside the church. The acquisition of churches in Silesia was peaceful, without any violence almost everywhere, and it was not a rare phenomenon that a single church was used by two religions at the same time. At the end of the eighteenth century, there were approximately 110 refugee churches in Silesia. Currently, there are no churches of this type in Lower Silesia, and their extraordinary decoration was preserved in only a few of them. The main aim is to analyse this specific, forgotten sacral Protestent heritage, i.e. refuge churches in Lower Silesia, from the historical, sociological and architectural perspective. The main objective is to focus on the historical importance of the refuge churches in Lower Silesia – restoring identity as exemplified by the church in Großburg (Polish: Borek Strzeliński), analyse the degree to which the Protestant cultural legacy was preserved in the material rural architecture of Großburg and analyse the acceptance of the Evangelical heritage in the mentality of the local community.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479006","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: 10.46284/mkd.2021.10.2.4
Sebastian Wróblewski
The main aim of the present paper is to present the latest achievements in the process of protection of the applied art which was a part of post 1950s architecture in Poland. During the period 1945–1990 many buildings were adorned with different applied art forms: sgraffito, wall paintings, mosaics and other art techniques. The research focuses on the transformation of the society’s approach to applied art after a period of neglect and different forms of protection. In many cases applied art forms like mosaics and ceramic artworks became longer lasting elements than the architecture which they originally adorned. After the demolition of modernist constructions, artworks are frequently transferred to new architecture. That process proves that vita (architecturae) brevis, ars longa.
{"title":"Vita brevis, Ars longa – applied art and modernist architecture in Poland: Transformation of approach to applied art and contemporary protection","authors":"Sebastian Wróblewski","doi":"10.46284/mkd.2021.10.2.4","DOIUrl":"https://doi.org/10.46284/mkd.2021.10.2.4","url":null,"abstract":"The main aim of the present paper is to present the latest achievements in the process of protection of the applied art which was a part of post 1950s architecture in Poland. During the period 1945–1990 many buildings were adorned with different applied art forms: sgraffito, wall paintings, mosaics and other art techniques. The research focuses on the transformation of the society’s approach to applied art after a period of neglect and different forms of protection. In many cases applied art forms like mosaics and ceramic artworks became longer lasting elements than the architecture which they originally adorned. After the demolition of modernist constructions, artworks are frequently transferred to new architecture. That process proves that vita (architecturae) brevis, ars longa.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479054","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 effectiveness in the protection of works of art constituting national heritage depends on many factors. These factors include, among other things, binding legal regulations within the scope of the protection of works of art and national heritage sites, good organisation of police forces specialising in this type of activities and cooperation in this field with other state and local government institutions and the wider society. Apart from police officers’ commitment and experience, police databases that are dedicated to works of art also play an extremely important role. This article presents selected police databases devoted to works of art that are currently used by police organisations and the role of these databases in protecting national heritage in selected European Union countries. The content of the article was prepared on the basis of the analysis of literature, existing legislation and interviews with police officers and experts. The information obtained during the interviews was subjected to qualitative analysis and presented in a descriptive version
{"title":"The practical use of police databases of stolen works of art in the protection of national heritage in selected European Union countries","authors":"Jacek Dworzecki","doi":"10.46284/MKD.2021.9.2.6","DOIUrl":"https://doi.org/10.46284/MKD.2021.9.2.6","url":null,"abstract":"The effectiveness in the protection of works of art constituting national heritage depends on many factors. These factors include, among other things, binding legal regulations within the scope of the protection of works of art and national heritage sites, good organisation of police forces specialising in this type of activities and cooperation in this field with other state and local government institutions and the wider society. Apart from police officers’ commitment and experience, police databases that are dedicated to works of art also play an extremely important role. This article presents selected police databases devoted to works of art that are currently used by police organisations and the role of these databases in protecting national heritage in selected European Union countries. The content of the article was prepared on the basis of the analysis of literature, existing legislation and interviews with police officers and experts. The information obtained during the interviews was subjected to qualitative analysis and presented in a descriptive version","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479869","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 Leopolis Collection (at the Museum of Independence) constitutes a valuable source of knowledge on the past of Lviv and its surroundings as well as the fate of the Polish people living there. Created in 1992 as a result of the efforts of Borderland circles, its contribution is used for research by museum specialists, professional historians and researchers of the Borderlands past. The artefacts, archival materials and publications collected there are made use of for preparing exhibitions, scholarly articles and monographs. These valuable collections in relation to exhibitions are still awaiting a systematic study. Research undertaken so far has borne fruit in the form of valuable monographs and studies, but there are many valuable materials still waiting to be unearthed. For the purposes of accessing the museum materials the creation of a Leopolis Collection catalogue is necessary so that its contents can be more broadly made use of – both in historical research and that pertaining to museum-based studies.
{"title":"Leopolis collection, Museum of Independence – wellspring of knowledge, state of research and recommendations","authors":"Jolanta Załęczny","doi":"10.46284/mkd.2021.9.3.6","DOIUrl":"https://doi.org/10.46284/mkd.2021.9.3.6","url":null,"abstract":"The Leopolis Collection (at the Museum of Independence) constitutes a valuable source of knowledge on the past of Lviv and its surroundings as well as the fate of the Polish people living there. Created in 1992 as a result of the efforts of Borderland circles, its contribution is used for research by museum specialists, professional historians and researchers of the Borderlands past. The artefacts, archival materials and publications collected there are made use of for preparing exhibitions, scholarly articles and monographs. These valuable collections in relation to exhibitions are still awaiting a systematic study. Research undertaken so far has borne fruit in the form of valuable monographs and studies, but there are many valuable materials still waiting to be unearthed. For the purposes of accessing the museum materials the creation of a Leopolis Collection catalogue is necessary so that its contents can be more broadly made use of – both in historical research and that pertaining to museum-based studies.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479948","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 article is focused on the mobility of museum collections today in Slovakia and Czechia. The paper begins with a brief overview of the first specialist conferences to focus on the issue of collections mobility in Europe. It continues with an overview of present-day information support for sharing collections between museums in Slovakia and Czechia. It analyses the online activities of museums and cultural institutions and currently literature on the issue, as well as changes to legislation which affect the awareness of collections mobility and facilitate the process of loaning collection objects between museums. In particular, it summarises changes to the Slovak Law no. 207/2009 on conditions pertaining to the export and import of objects of cultural significance, which was amended in 2018. The conclusion includes a brief list of the most basic and, at the same time, the latest approaches to collections mobility in Europe.
{"title":"Collections Mobility Today: How is the mobility of collections encouraged in Slovakia and Czechia?","authors":"Marianna Tutková","doi":"10.46284/MKD.2021.9.1.8","DOIUrl":"https://doi.org/10.46284/MKD.2021.9.1.8","url":null,"abstract":"The article is focused on the mobility of museum collections today in Slovakia and Czechia. The paper begins with a brief overview of the first specialist conferences to focus on the issue of collections mobility in Europe. It continues with an overview of present-day information support for sharing collections between museums in Slovakia and Czechia. It analyses the online activities of museums and cultural institutions and currently literature on the issue, as well as changes to legislation which affect the awareness of collections mobility and facilitate the process of loaning collection objects between museums. In particular, it summarises changes to the Slovak Law no. 207/2009 on conditions pertaining to the export and import of objects of cultural significance, which was amended in 2018. The conclusion includes a brief list of the most basic and, at the same time, the latest approaches to collections mobility in Europe.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479531","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 1890, Vincent van Gogh moved from Paris to Auvers-sur-Oise, where he met Dr. Paul-Ferdinand Gachet, who agreed to host and take care of the painter, especially regarding his mental health. However, he did not manage to save the artist, who committed suicide the same year. His hopeless mental health was seen in the famous portrait of Dr. Gachet, which radiated a distinct melancholy and sadness. The Portrait of Dr. Gachet was bought for $ 82.5 million by a Japanese millionaire and art collector, Ryoei Saito, who said that after his death it was to be burned along with his corpse. It raised loud objections in the art world, which recognised the common good and the legacy of our cultural heritage in the painting. This case is a classic example of a dispute between the ideals of liberalism and communitarianism and is seen as a hard case in law. The aim of the article is to present the history of The Portrait of Dr. Gachet and its place in the dispute between liberalism and communitarianism (in the context of cultural heritage law), which in turn means that this case can be seen as a hard case.
{"title":"The Protection of Cultural Heritage vs. the Right to Private Property: The Extraordinary Case of the Portrait of Dr. Gachet by Vincent van Gogh","authors":"Kamil Zeidler, A. Guss","doi":"10.46284/mkd.2021.9.4.4","DOIUrl":"https://doi.org/10.46284/mkd.2021.9.4.4","url":null,"abstract":"In 1890, Vincent van Gogh moved from Paris to Auvers-sur-Oise, where he met Dr. Paul-Ferdinand Gachet, who agreed to host and take care of the painter, especially regarding his mental health. However, he did not manage to save the artist, who committed suicide the same year. His hopeless mental health was seen in the famous portrait of Dr. Gachet, which radiated a distinct melancholy and sadness. The Portrait of Dr. Gachet was bought for $ 82.5 million by a Japanese millionaire and art collector, Ryoei Saito, who said that after his death it was to be burned along with his corpse. It raised loud objections in the art world, which recognised the common good and the legacy of our cultural heritage in the painting. This case is a classic example of a dispute between the ideals of liberalism and communitarianism and is seen as a hard case in law. The aim of the article is to present the history of The Portrait of Dr. Gachet and its place in the dispute between liberalism and communitarianism (in the context of cultural heritage law), which in turn means that this case can be seen as a hard case.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479661","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 discusses the museum system of modern Kazakhstan and offers, for the first time ever, a classification and typology of the country’s museums.In recent years in independent Kazakhstan, on the basis of the Soviet system, a modern museum network has been formed which currently lists 250 museums. Among them are 17 national-level museums, 54 at the regional level, 73 at the provincial level, 103 branches of regional- and district-level museums and four private museums.The purpose of this article is to analyse the museum system of modern Kazakhstan and develop a classification and typology of the country’s museums.In the course of the study, conducted in 2017–2018, data was collected on the activities of museums at the national, regional and district levels over the past seven years. From the results of this investigation, the museums of Kazakhstan were systematized according to the subject or topic of the museum (e.g. history, art, scientific), its affiliation (national, regional district), and by size, measured by number of employees.
{"title":"The Museum System of Modern Kazakhstan: Classification and Typology of Museums","authors":"A. Satubaldin, Kunikey Sakhiyeva","doi":"10.46284/MKD.2021.9.2.5","DOIUrl":"https://doi.org/10.46284/MKD.2021.9.2.5","url":null,"abstract":"This article discusses the museum system of modern Kazakhstan and offers, for the first time ever, a classification and typology of the country’s museums.In recent years in independent Kazakhstan, on the basis of the Soviet system, a modern museum network has been formed which currently lists 250 museums. Among them are 17 national-level museums, 54 at the regional level, 73 at the provincial level, 103 branches of regional- and district-level museums and four private museums.The purpose of this article is to analyse the museum system of modern Kazakhstan and develop a classification and typology of the country’s museums.In the course of the study, conducted in 2017–2018, data was collected on the activities of museums at the national, regional and district levels over the past seven years. From the results of this investigation, the museums of Kazakhstan were systematized according to the subject or topic of the museum (e.g. history, art, scientific), its affiliation (national, regional district), and by size, measured by number of employees.","PeriodicalId":41312,"journal":{"name":"Muzeologia a Kulturne Dedicstvo-Museology and Cultural Heritage","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70479768","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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