Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.036
Elena A. Batorova, T. Boronoeva
This article studies the collection of tinderboxes from the nineteenth to twentieth centuries from the National Museum of the Republic of Buryatia, more particularly, the funds of the M. N. Khangalov Museum of Buryatia History and Ts. S. Sampilov Art Museum. The Buryat flint has not been a subject of specialized research previously. It was studied in the context of research on the history of traditional culture and national costume in several works on history, ethnography, cultural studies of the twentieth and early twenty-first centuries by B. E. Petri, P. P. Khoroshikh, N. V. Kocheshkov, A. A. Badmaev, R. D. Badmaeva, and V. A. Banaeva. In art criticism, separate descriptions were given in the works of I. I. Soktoeva and A. V. Tumakhani. The authors employ the iconographic, iconological, and comparative methods and aim to consider the art objects in terms of form, technology, decoration with certain motifs within the framework of the pre-Soviet, Soviet, and post-Soviet periods. The attribution of the objects from the Pre-Baikal and Transbaikal Buryats, as well as those of some local ethnic groups, follows the typology of the Turkic-Mongolian tinderboxes. The analysis reveals the artistic features of the craftsmen’s work. The conclusion of the article contains the results of the study. The variative uniqueness of the collection of tinderboxes of the late nineteenth and early twentieth centuries from the M. N. Khangalov Museum of Buryatia History is undeniable. The unique products from the funds of the Ts. S. Sampilov Art Museum created by hereditary jewelers of the twentiethcentury demonstrate the preservation of traditions and the introduction of innovations. The item is presented as an integral part of a series of magnificent sets intended for festive national costumes and museum display.
本文研究了布里亚特共和国国家博物馆19世纪至20世纪的火药盒收藏，特别是布里亚特共和国历史博物馆M. N. Khangalov博物馆和S. S. Sampilov艺术博物馆的资金。布里亚特燧石以前并不是专门研究的对象。B. E. Petri、P. P. Khoroshikh、N. V. Kocheshkov、A. A. Badmaev、R. D. Badmaeva和V. A. Banaeva在20世纪和21世纪初的几本关于历史、民族志、文化研究的著作中对传统文化和民族服装的历史进行了研究。在艺术评论中，I. I. Soktoeva和A. V. Tumakhani的作品分别给出了不同的描述。作者采用图像学、图像学和比较方法，目的是在前苏联、前苏联和后苏联时期的框架内，从形式、技术、装饰等方面考虑艺术品。这些物品的归属来自前贝加尔湖和外贝加尔湖布里亚特，以及一些当地民族的物品，遵循突厥-蒙古火绒盒的类型。分析揭示了工匠作品的艺术特征。文章的结论部分包含了研究的结果。布里亚特历史博物馆(M. N. Khangalov Museum of Buryatia)收藏的19世纪末和20世纪初的火药盒的多样性独特性是不可否认的。由20世纪的世袭珠宝商从S. S. Sampilov艺术博物馆的资金中创造的独特产品展示了传统的保存和创新的引入。这个项目是作为节日民族服装和博物馆展示的一系列华丽套装的组成部分。
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.027
Dmitrii M. Nechiporuk
This article examines the evolution of ideas on the post-war development of Pskov based on the city’s master plans. Modern Pskov with many ancient churches and fortress walls was restored after severe military destruction which had happened during the Great Patriotic War. The master plan of 1945 worked out by Leningrad architects assumed a complete ensemble building system inside the center of Pskov with the restoration of Orthodox churches as well as the relocation of industrial enterprises from the city center to the outskirts. An important feature of the new look of Pskov was to be the city center with low buildings, emphasizing the importance of ancient monuments raised from the ruins. This vision of the historical center of the city was actively defended by the restorer and architect Yu. P. Spegalsky, who, however, failed to interest the local government in his ideas. As a result, the postwar Pskov was restored and developed with an eye kept on the current needs of the city’s development. In the 1950s, the area to be built in Pskov was significantly expanded. From an open space with a view of the Trinity Cathedral and a proposed monument to Alexander Nevsky, Sovetskaya Square, the center of the city, was turned into Lenin Square, a transport junction, surrounded from different sides by new buildings, which had an important ideological meaning (Oktiabr movie theater, Trade Union House of Culture). The new master plan of 1963 was focused on mass construction of model housing and development of urban infrastructure. But this master plan did not take into account the value and importance of ancient architectural monuments. After the consolidation of the professional community in the mid-1960s in Pskov, the attitude towards the monuments began to change. This was reflected in the master plan of 1973, which tried to combine the further growth of the city and the development of Pskov as a tourist center.
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.029
M. V. Beklenishcheva, Olga N. Shikhova
This article describes the experience of an interdisciplinary field study devoted to the examination of the collective memory of eyewitnesses of twinning ties of small towns of Sverdlovsk Region and the West Bohemian Region of Czechoslovakia in the 1960s–1990s. The study refers to five towns of the Middle Urals: Bogdanovich, Zarechny, Karpinsk, Pervouralsk, and Sysert. The theme of memory unites the efforts of historians and sociologists in the context of a general trend — the turn of society towards the local past, its assessment, and the formation of ideological positions for the present. The purpose of the article is to show the possibilities of historical and sociological understanding of twinning in the aspect of temporal dimensions. The choice and justification of methods for the applied study of the phenomenon of twinning ties is based on the methodology of collective memory: the category of “contextuality” of memory, described in the works of M. Halbwachs, J. Olick, is important for the authors; the study of memories of the recent past is carried out within the theory of the experience of the generation of K. Mannheim and M. Mead; the position of P. Hutton makes a significant basis about the measure of reproduction of the past; the “elaboration” of preliminary prejudices is built within the framework of the methodology of oral history. On the site of the Local History Museums of each of the five towns, round tables were held with participants of twinning ties. In addition, guests who had no such experience attended the events. The topic of interaction with residents of the Western Bohemian Region was proposed for discussion. It could be memories of trips to Czechoslovakia, or the arrival of the twin “brothers” in the Middle Urals. At the time of the events described, the participants of the round tables could perform various social roles.
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.1.002
M. Y. Popova, S. Ermolenko
The dynamics of the steppe chronotope in the work of E. P. Rostopchina has not been the subject of analysis previously. Meanwhile, the study of this space-time continuum makes it possible to clarify the idea of the creative evolution of the writer which is a controversial issue in literary studies. Based on the ideas about the chronotope and, more particularly, the steppe chronotope set forth in the works of Russian literary critics (M. M. Bakhtin, Yu. M. Lotman, V. N. Toporov), the authors of the article prove that the image of the steppe in E. P. Rostopchina’s works is dynamic. During the Anna period of her creative work, the steppe is “lifeless”, “sad”, “silent”, an alien and boundless desert, in which a person full of physical and spiritual strength is uncomfortable and lonely. During the St Petersburg period, the image of the steppe appears as a habitable space that has become a saving “cell” for sensitive and exalted souls tired of the meaningless whirlwind of secular life. Finally, in the late Moscow period, a symbolic national image of the steppe emerges, which is associated with the eternal Russian world: Russia’s heroic past, its difficult present, and the future stretching infinitely. Relying on the traditional interpretations of the steppe existing in Russian literature (A. S. Pushkin, N. V. Gogol, P. A. Vyazemsky, etc.), E. P. Rostopchina brings her own semantic nuances to this image. The consideration of the chronotope of the steppe in its dynamics makes it possible to conclude what contribution E. P. Rostopchina made to the formation of the “steppe text” as a specifically national one for Russian literature.
在e.p. Rostopchina的工作中，草原时间的动态还没有被分析过。同时，对这一时空连续体的研究，也为厘清作家创作演化的概念提供了可能，这是文学研究中一个颇有争议的问题。基于俄国文学评论家(巴赫金，于。)的作品中关于时记，特别是草原时记的观点。M. Lotman, V. N. Toporov)，本文的作者证明了e.p. Rostopchina作品中的草原形象是动态的。在安娜创作时期，草原是“死气沉沉的”、“悲伤的”、“寂静的”，是一片陌生的、无边无际的沙漠，一个充满体力和精神力量的人在其中是不舒服的、孤独的。在圣彼得堡时期，草原的形象作为一个可居住的空间出现，已经成为一个拯救的“细胞”敏感和崇高的灵魂厌倦了世俗生活的无意义旋风。最后，在莫斯科晚期，草原的象征性国家形象出现了，它与永恒的俄罗斯世界联系在一起:俄罗斯的英雄般的过去，艰难的现在，以及无限延伸的未来。依托俄罗斯文学中对草原的传统解读(普希金、果戈理、维亚泽姆斯基等)，e.p. Rostopchina在这一意象中加入了她自己的语义上的细微差别。考虑到草原的时代体在其动态中，可以得出e.p. Rostopchina对“草原文本”作为俄罗斯文学的特定民族文本的形成做出了什么贡献。
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.031
Y. Zvereva
This article examines dialect names of immature cones of coniferous trees recorded in the Russian dialects of Perm Region. There are no lexical units to denote this culture-specific element in the literary language and in various Russian dialects, while in Perm dialects they are numerous. The author carries out an analysis of this group of vocabulary in linguo-geographic and semantic-motivational aspects, which makes it possible to draw conclusions about the peculiarities of the nomination of units, identify foreign lexemes, and establish areal connections between Perm dialects and other Russian dialects. It is established that throughout the territory of Perm Region, there are lexical units naming young cones of coniferous trees, which is due to their widespread use as a dietary supplement. Most of these linguistic units refer to spruce and pine strobili, less often there are special names for cedar and fir (Abies) cones. For the most part, these names are Russian in origin, the motivation is based on such features as shape, structural features, and color. There are borrowings from the Komi-Permyak language — козоль (козолька), кузёнка (гузёнка), which are found in the dialects of the northern areas of Perm Region. The greatest overlapping in this group of vocabulary is observed with the Vyatka dialects, which border on the Perm dialects in the northwest. The names of immature cones of coniferous trees can be attributed to the periphery of the lexical system of Russian dialects, which is reflected in phraseology. There is only the word шишка, which means the ripened fruit of coniferous trees in idioms, proverbs, and sayings. The lexeme often denotes something useless in phraseology, since in most conifers, this part of the plant is inedible.
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.1.005
V. Amirov, T. A. Glebovich
This article analyses aspects underlying the functioning of the “cold war” ideologeme in the media texts of two historical periods. The aggravation of political relations between the collective West and Russia actualises the concept of “cold war” which entered the lexicon of the Soviet media after the end of World War II and is being increasingly used by journalists to characterise what is happening today. The methodology of structural and thematic analysis employed to study the practices of functioning of the ideologeme “cold war”, as well as elements of content analysis make it possible to identify and characterise the features of the use of this ideologeme in modern Russian political media texts. What makes this study original is the approach the authors use to substantiate the conclusions of the article comparing the journalistic practices of using the ideologeme “cold war” in two historical periods: Soviet and Russian (from 2014 to the present). The theoretical basis of the article is the research of renowned Russian scholars, and the analysis is based on the development of the topic in papers on philology. The empirical basis formed for the article includes more than 500 publications of the Soviet and Russian media from Sovetskaya Rossiya, Nezavisimaya Gazeta, Vedomosti, Trud, Novaya Gazeta, Krasnaya Zvezda, Izvestia, Komsomolskaya Pravda, Pravda, and REGNUM news agency which contain the “cold war” ideologeme. As a result of the study, the authors demonstrate the differences in the practice of applying the ideologeme and the conditionality of these differences. They establish that the Soviet stage of the use of the ideologeme “cold war” is representative, while the Russian stage significantly expands and changes its functional possibilities.
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.1.017
A. Rychkov
This article considers the reasons for the aggravation of the ecological situation which manifested itself in the wind erosion of soil over vast territories during the mass development of virgin lands in the Soviet Union through the prism of the history of agricultural science. The author refers to materials from central and regional archives, most of which are being introduced into scholarly circulation for the first time; the article also refers to special agricultural literature. The author outlines the main approaches to solving the grain problem in the eastern part of the USSR: the introduction of new territories into agricultural use, on the one hand, and the introduction of new varieties of grain crops into production, on the other. In conditions where the main attention of the state was directed to accelerated industrialisation, scientists considered these approaches the most accessible and realistic. It is substantiated that the subsequent reorientation of science towards selection as the main means of developing agricultural production led to the curtailment of research in the field of soil science and agricultural technology. According to the author, this negatively affected both the process of allocating land for virgin land development and limited the possibilities of science in terms of the operational development of a soil-protective system of agriculture. Later, by the end of the 1950s, the accumulation of virgin soil experience and research by scientists made it possible to propose recommendations to ensure soil protection from wind erosion. However, their implementation was restrained by the predominance of administrative approaches in implementation activities and the associated mistrust of production workers in the recommendations of science. The author concludes that the widespread introduction of a soil-protective system of agriculture became possible only in the second half of the 1960s when the necessary state-legal and organisational-scientific conditions were created for this and administrative “excesses” were eliminated. The development of the entire front of scientific research and the formation of a mechanism for the rapid introduction of scientific recommendations into production are necessary conditions for the implementation of major national economic programmes.
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.021
Sergei A. Kozlov
This article deals with the historical and geographical analysis of the description of the “Route from the Varangians to the Greeks” — a key reference point in the system of spatial coordinates of the Primary Chronicle. The author reconsiders the “ultra-philological” approaches to this description and the cosmographic introduction of the Primary Chronicle as a purely literary (and manuscript) reality and argues in favor of the real geographical basis of the passage about the “Route from the Varangians to the Greeks”. Contrary to the traditional historiographical idea, the scheme mainly reflects not the water, but the overland route covered by the hypothetical author of this passage. Firstly, this is indicated by the obvious view of the “Route from the Varangians to the Greeks” “from land” (волоки), and not “from the river / sea”. Secondly, the medieval word usage of the term “волок” in the sense of a land route through a vast watershed space and at the same time about this space itself, which finds analogies not only in Old Russian sources but also in at least one medieval Icelandic text. The author draws a comparison of the building activity of prince Vsevolod Yaroslavich with his special attitude to the cult of Andrew the Apostle which makes it possible to assume that the author of the description of the “Route from the Varangians to the Greeks” was Metropolitan Ephrem of Pereyaslavl. Being of Greek origin, Ephrem entered the close circle of Vsevolod Yaroslavich after his marriage to the daughter of the Byzantine Emperor Constantine IX Monomachos. Ephrem personally made a journey along the “route from the Varangians to the Greeks” and left a topographically detailed description typical of Greek (Byzantine) culture, i.e. an eye-witness observation. In accordance with Christian cosmography, his task was to “normalize” the vast territory of Rus’ which had never been part of the universal Roman imperial (and later Christian) order.
{"title":"According to Chronicles, Did the “Route from the Varangians to the Greeks” Go by Sea or Overland?","authors":"Sergei A. Kozlov","doi":"10.15826/izv2.2023.25.2.021","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.2.021","url":null,"abstract":"This article deals with the historical and geographical analysis of the description of the “Route from the Varangians to the Greeks” — a key reference point in the system of spatial coordinates of the Primary Chronicle. The author reconsiders the “ultra-philological” approaches to this description and the cosmographic introduction of the Primary Chronicle as a purely literary (and manuscript) reality and argues in favor of the real geographical basis of the passage about the “Route from the Varangians to the Greeks”. Contrary to the traditional historiographical idea, the scheme mainly reflects not the water, but the overland route covered by the hypothetical author of this passage. Firstly, this is indicated by the obvious view of the “Route from the Varangians to the Greeks” “from land” (волоки), and not “from the river / sea”. Secondly, the medieval word usage of the term “волок” in the sense of a land route through a vast watershed space and at the same time about this space itself, which finds analogies not only in Old Russian sources but also in at least one medieval Icelandic text. The author draws a comparison of the building activity of prince Vsevolod Yaroslavich with his special attitude to the cult of Andrew the Apostle which makes it possible to assume that the author of the description of the “Route from the Varangians to the Greeks” was Metropolitan Ephrem of Pereyaslavl. Being of Greek origin, Ephrem entered the close circle of Vsevolod Yaroslavich after his marriage to the daughter of the Byzantine Emperor Constantine IX Monomachos. Ephrem personally made a journey along the “route from the Varangians to the Greeks” and left a topographically detailed description typical of Greek (Byzantine) culture, i.e. an eye-witness observation. In accordance with Christian cosmography, his task was to “normalize” the vast territory of Rus’ which had never been part of the universal Roman imperial (and later Christian) order.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"9 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84860391","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 : 2023-01-01DOI: 10.15826/izv2.2023.25.2.026
Yegor V. Ogurenko
This article considers the development of the network of museums in Ural Region in 1923–1934. The author examines the features of the Ural museums, such as formation, organization, management, typology, educational activities, interaction with the Soviet authorities, the relationship of museums and the Ural local history movement, as well as the influence of state policy. Museums emerged in the Urals in the late nineteenth and early twentieth centuries. During the post-revolutionary period, i.e. in 1917–1923, in many ways due to the purposeful state policy, new institutions appeared in the museum network. The reorganization of the administrative and territorial division in the Urals influenced the interaction between the local authorities and the museums subordinate to them. The introduction of a new economic policy in 1921 positively influenced the activity of the museums. Local history organizations and societies actively conducted scientific and educational work on their basis. With the creation of the super-region, Ural Region, in 1924, the museum activity on its territory was directed at implementing the decisions of the RSFSR People’s Commissariat for Education. Based on data sent to the museum subdivision of the Ural Public Education Department, the author reconstructs the museum system of the region as of 1926. The results of the analysis make it possible to speak about the inefficiency of the accounting and control of museums by the Ural Public Education Department. In addition to the complex management of museums, the museum industry also faced other problems. Throughout the 1920s, the material and normative consolidation of the museum network took place. By the early 1930s, the rejection of the new economic policy was followed by the ideological rethinking of the museum’s functions. The museum and local history movement shifted its focus from education and excursion activity to propaganda and political-educational tasks. The author draws a conclusion about the contradictions in the development of museums in the Soviet Urals between the 1920s and the early 1930s characterized by the complexity of management, weakness of material resources, low financing of the creation of the new Soviet museum. The paper refers to documents of the State Archive of Sverdlovsk Region.
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Pub Date : 2023-01-01DOI: 10.15826/izv2.2023.25.2.034
I. Astakhova, Natalia E. Plaksina
This article considers the technical, technological, and archival aspects of the study of Old Believer carved works of art (icons and crosses) of the Lower Pechora, whose origin is associated with the Velikopozhensky Monastery on the Pizhma River (currently, Ust-Tsilma District of the Komi Republic). The reason for the study is the hypothesis about the local origin of the ochre used for painting the icons, as there are rich deposits in the vicinity of the village of Skitskaya (on the site of the former Velikopozhensky Skete). According to written sources, they were developed until the first quarter of the twentieth century. The article describes the methods of studying the composition of ochre samples from deposits in the vicinity of the village of Skitskaya, the colours of The Cross of Golgotha, a Velikopozhensky carved icon from the collection of the National Gallery of the Komi Republic (Syktyvkar). Also, the authors speak about the palette of F. O. Anshukov, a hereditary Old Believer spoon maker from the village of Skitskaya, research results, and their correlation with data from written sources. The study demonstrates that the white and other pigments of The Cross of Golgotha icon contain white lead. The red pigment is minium. The blue pigment corresponds to the composition of Prussian blue. Natural pigments (caput mortuum, ochre) are not used. In the spoon maker’s palette, red, brown, and blue pigments are mixed with lead white with an admixture of quartz, barite, and gypsum. Minium was used as a red pigment. The composition of the blue pigment corresponds to Prussian blue. The white paint in the palette is zinc white. The green paint was replaced with zinc white with an arsenic-containing pigment (Scheele’s green?). The brown paint contains iron oxides, which suggests the natural origin of the pigment (caput mortuum). The results of the research testify that in the eighteenth and nineteenth centuries, the inhabitants of the Velikopozhensky Skete and their descendants, masters of “Pyzhem painting” on wood, used mainly imported pigments of artificial origin.
本文从技术、工艺和档案方面研究了下佩科拉地区的老信徒雕刻艺术品(圣像和十字架)，这些艺术品的起源与皮兹马河上的Velikopozhensky修道院有关(目前位于科米共和国的Ust-Tsilma区)。这项研究的原因是关于用于绘制图标的赭石的当地起源的假设，因为在Skitskaya村附近(在前Velikopozhensky Skete的遗址上)有丰富的矿藏。根据书面资料，它们一直发展到20世纪的前25年。文章描述了研究Skitskaya村附近沉积物中赭石样品组成的方法，以及各各他十字架的颜色，这是科米共和国(Syktyvkar)国家美术馆收藏的Velikopozhensky雕刻的圣像。此外，作者还谈到了F. O. Anshukov的调色板，他是Skitskaya村的一位世袭的Old Believer调色板制造商，研究结果，以及它们与书面资料的相关性。研究表明，各各他十字架图标的白色和其他颜料含有白铅。红色颜料是微量的。蓝色颜料对应普鲁士蓝的成分。不使用天然色素(灰褐色、赭石)。在调色板中，红色、棕色和蓝色颜料与铅白以及石英、重晶石和石膏的混合物混合在一起。微量被用作红色颜料。蓝色颜料的成分相当于普鲁士蓝。调色板上的白色颜料是锌白。绿色涂料被一种含砷颜料(舍勒的绿色?)的锌白所取代。棕色颜料含有氧化铁，这表明颜料的天然来源(caput mortuum)。研究结果证明，在18世纪和19世纪，Velikopozhensky Skete的居民和他们的后代，在木材上“Pyzhem绘画”的大师，主要使用进口的人造颜料。
{"title":"Paints of Old Believer Carved Icons of the Lower Pechora: Technical, Technological, Historical, and Archival Aspects of Study","authors":"I. Astakhova, Natalia E. Plaksina","doi":"10.15826/izv2.2023.25.2.034","DOIUrl":"https://doi.org/10.15826/izv2.2023.25.2.034","url":null,"abstract":"This article considers the technical, technological, and archival aspects of the study of Old Believer carved works of art (icons and crosses) of the Lower Pechora, whose origin is associated with the Velikopozhensky Monastery on the Pizhma River (currently, Ust-Tsilma District of the Komi Republic). The reason for the study is the hypothesis about the local origin of the ochre used for painting the icons, as there are rich deposits in the vicinity of the village of Skitskaya (on the site of the former Velikopozhensky Skete). According to written sources, they were developed until the first quarter of the twentieth century. The article describes the methods of studying the composition of ochre samples from deposits in the vicinity of the village of Skitskaya, the colours of The Cross of Golgotha, a Velikopozhensky carved icon from the collection of the National Gallery of the Komi Republic (Syktyvkar). Also, the authors speak about the palette of F. O. Anshukov, a hereditary Old Believer spoon maker from the village of Skitskaya, research results, and their correlation with data from written sources. The study demonstrates that the white and other pigments of The Cross of Golgotha icon contain white lead. The red pigment is minium. The blue pigment corresponds to the composition of Prussian blue. Natural pigments (caput mortuum, ochre) are not used. In the spoon maker’s palette, red, brown, and blue pigments are mixed with lead white with an admixture of quartz, barite, and gypsum. Minium was used as a red pigment. The composition of the blue pigment corresponds to Prussian blue. The white paint in the palette is zinc white. The green paint was replaced with zinc white with an arsenic-containing pigment (Scheele’s green?). The brown paint contains iron oxides, which suggests the natural origin of the pigment (caput mortuum). The results of the research testify that in the eighteenth and nineteenth centuries, the inhabitants of the Velikopozhensky Skete and their descendants, masters of “Pyzhem painting” on wood, used mainly imported pigments of artificial origin.","PeriodicalId":42281,"journal":{"name":"Izvestiya Uralskogo Federalnogo Universiteta-Seriya 2-Gumanitarnye Nauki","volume":"22 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73017647","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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