Russian Art History

Издание посвящено творческой биографии академика архитектуры И.В. Жолтовского (1867-1959). Авторы предприняли попытку детализировать и верифицировать информацию о дореволюционном периоде биографии Жолтовского и его итальянской поездке середины 1920-х годов, опираясь на данные архивных источников, многие из которых впервые вводятся ими в научный оборот В приложении впервые опубликованы воспоминания о Жолтовском его ученика и сотрудника С.Н. Кожина.

Ознакомительная версия.

Полная версия на сайте музея "Собрание" - https://mus-col.com/books/lorie/book_0.pdf


Издание посвящено многолетнему партнерству двух ювелиров – Фёдора Лорие, вставшего во главе семейной фирмы, и самобытного русского мастера Егора Черятова. Опираясь на архивные документы, авторы прослеживают историю фирмы, особенности ее управления, принципы сотрудничества с мастерами, а также взаимоотношения с предприятием «Фаберже». Рассматривается и повседневная жизнь семьи Фёдора Антоновича. Обширная каталожная часть – уникальные предметы из коллекции Давида и Михаила Якобашвили (многие публикуются впервые), и объемная искусствоведческая статья позволят не только составить представление о стилистике, в которой работали ювелиры, но и насладиться красотой созданных ими предметов.

Trial edition.

The book is dedicated to the long-term partnership of two jewellers - Fedor Lorie, who became the head of the house and the original Russian master Egor Cheryatov. Based on archival documents, the authors trace the history of the company, the specifics of its management, the principles of cooperation with the masters, as well as the relationship with House of Fabergé. The daily life of Fedor Lorie's family is also considered. An extensive catalog part – unique items from the collection of David and Mikhail Yakobashvili (many of them are published for the first time) and a voluminous art history article will not only give an idea of the style in which the jewellers worked, but also enjoy the beauty of the objects they created.

This is the fourth volume in the ICOMOS series on the Thematic Studies on Rock Art. The three previous volumes have focused upon: Latin America and the Caribbean (2006); Rock Art of Sahara and North Africa (2007) and Rock Art in Central Asia (edited by Jean Clottes, 2011).

The idea behind the series was to provide an overall yet relatively precise view of what is known about the rock art of a wide geographical area. In the regions fortunate enough to have had a long tradition of research, in Western Europe for instance, this should not be too difficult. On the other hand, the situation is quite different in many parts of the world where such in-depth research has not (yet) taken place.

Many of the vast areas covered in this volume fall into this second category. The scope of the current volume is the Rock Art of East Asia, from Siberia in the north to Malaysia in the south and stretching as far west as needed to cover all regions lying to the east of the previous volume in this series that concerned the Rock Art of Central Asia. The countries covered by this volume are Far Eastern Russia, the Republic of Korea; Japan; Mongolia; China; Vietnam; Laos; Cambodia; Thailand and Malaysia.

The coverage of the individual countries covered in the volume is necessarily uneven because the amount of rock art and research in each country varies considerably. China, for example, has been subdivided into three different zones. This has allowed the authors to provide a wealth of details on the rock art of regions which up to now were all but unknown internationally.

ICOMOS provided each contributor with a Brief in which they were asked to cover the following topics:

Profile of Sub-Zone
Based on defined rock art traditions in relation to distribution in space and time and to archaeological context.
• Characteristic features of natural landscape and the geographical boundaries of the Sub-zone;
• Prevailing types of landscapes which are characteristic for rock art sites in this Sub-zone; types of bedrock for rock art;
• Number and extent of rock art sites in this Sub-zone;
• Dating of rock art objects;
• Rock art traditions identified;
• Archaeological context of the Sub-zone (brief description, state of knowledge on archaeological cultures relevant to the identified rock art traditions);
• Present ethno-cultural context of rock art sites; presence or absence of recorded traditions of respect and worship connected to the rock art sites. 1

Links with other Sub-zones
i.e. overlaps with rock art traditions in other zones.
• Extent, to which the identified rock art traditions go beyond the boundaries of this sub-zone;
• Similarities and differences in landscapes and bedrock types;
• Representativeness of these identified rock art traditions for the other sub-zones (number of images, repertoire, artistic features, similarity or exclusiveness).

Known sites
Including cultural and natural World Heritage Sites; sites on World Heritage Tentative Lists (all these already identified and listed by ICOMOS).

Significant Rock Art Sites
To include a description of each Site:
• Location (region, district, distance from the nearest villages and towns);
• Geographical area, coordinates and altitude;
• Main types of bedrock (type of rock, relief, physical qualities of surfaces);
• Characteristics of physical parameters of images (technique, dimensions, color of patina or paint, exposition);
• Total number of images;
• Area of distribution of images;
• Description of various rock art traditions identified within the site (techniques, repertoire, style), their dating and percentage;
• Archaeological context (other known archaeological objects found within the same territory, state of research and cultural-chronological attribution);
• Cultural context (absence or presence of any recorded traditions related to rock art performance and/or respect to rock art sites from the side of local communities).

Content and forms of Documentation available:
For instance:
• Archaeological maps (showing the location of rock art and other objects);
• Other special maps (geological, geo-morphological, tectonic, landscape, etc.);
• Topographic maps of separate localities of rock images;
• Indexed panoramas of separate localities of rock images (graphic and photographic);
• Photographs of individual surfaces with images;
• Rubbings of individual surfaces with images;
• Other types of documentation (aerial photos, video, 3D digital models, etc.);
• Types of inventory records;
• Location of documentation.

Research
How far have rock art sites been researched for their associations to societies both past and present, particularly significances which indigenous populations give (or have given) to the decorated sites.

Protection
• Existing laws and other official protection systems and mechanisms;
• Legal protection, protection zoning, safeguarding.

Conservation
As complete and as correct a picture as possible to include:
• Present state of conservation and affecting factors (rock art and other archaeological objects, and landscape);
• Methods and materials used in practical conservation;
• Preventative conservation methods.

Management:
To include:
• Management, maintenance, monitoring (including traditional forms of management and management of natural values);
• Main agencies involved in management;
• Whether Management plans exist;
• Links with, and involvement of, local communities;
• Modern use of the site (e.g. agriculture, pasture, hunting, recreation, etc.);
• Tourism and access;
• Limitations in resources.

Main threats
For instance:
• Changes to surrounding vegetation;
• Rock fissures/laminations/water ingress;
• Climate change;
• Limitations in funding;
• Lack of management;
• Inappropriate uses.

Conclusions for the Sub-zone
Conclusions on:
• Scope and extent of evidence;
• Documentation;
• Problems with management and conservation as well as good practice;
• Threats;
• What Pre-Nomination support might be needed;
• Potential of Zone to contribute sites to the World Heritage List;
• Recommendations for the future.
These recommendations are meant to cover all possible issues and to be useful for the contributors who are thus provided with a detailed framework. Not surprisingly, conservation problems are duly stressed, as rock art is vulnerable and more threatened than ever all over the world.

This book brings together thirteen scholars to introduce the newest and most cutting-edge research in the field of Russian and East European art history. Reconsidering canonical figures, re-examining prevalent debates, and revisiting aesthetic developments, the book challenges accepted histories and entrenched dichotomies in art and architecture from the nineteenth century to the present. In doing so, it resituates the artistic production of this region within broader socio-cultural currents and analyzes its interconnections with international discourse, competing political and aesthetic ideologies, and continuous discussions over identity.

The presented edition shows us a completely new era of collecting in Russia. If in 1991-2015 there was an accumulation of collections, when Russian collectors be-came buyers at Russian sales in 90% cases of the largest antique auctions in the world, replacing foreigners. But the last five years there are outstanding descriptions of collections in their documentary approach, made at a high scientific and artistic level. It’s especially important that the biographies of Russian masters whose have been until unknown are being studied. The latter is especially valuable in the publication about the creative activity of Vasily Grachev.