Relevant bibliographies by topics / Nicholson Museum of Antiquities

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Nicholson Museum of Antiquities'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Nicholson Museum of Antiquities"

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Clerkin and Taylor. "Online Encounters with Museum Antiquities." American Journal of Archaeology 125, no. 1 (2021): 165. http://dx.doi.org/10.3764/aja.125.1.0165.

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Woodford, Susan, Alexander Cambitoglou, and E. G. D. Robinson. "Classical Art in the Nicholson Museum, Sydney." American Journal of Archaeology 101, no. 1 (January 1997): 193. http://dx.doi.org/10.2307/506284.

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Wise, Karen. "Museum Anthropology Reviews:Beyond Beauty: Antiquities as Evidence." American Anthropologist 101, no. 2 (June 1999): 407–8. http://dx.doi.org/10.1525/aa.1999.101.2.407.

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Zimmermann, Jean-Louis. "A Geometric Greek Horse in the Nicholson Museum." Antichthon 21 (1987): 1–8. http://dx.doi.org/10.1017/s0066477400003518.

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Although its origins are unknown, this small bronze statuette could well have come from Olympia, judging by its patina and by eight very similar figurines found in this sanctuary. These animals, which are distinguished by an exaggeratedly large head, and by the very noticeable contrast between the substantial body and the feet, which are considerably wider than they are thick, are typical products of the craftsmen of Olympia.
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Riggs, Christina. "Colonial Visions." Museum Worlds 1, no. 1 (July 1, 2013): 65–84. http://dx.doi.org/10.3167/armw.2013.010105.

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During the Egyptian revolution in January 2011, the antiquities museum in Tahrir Square became the focus of press attention amid claims of looting and theft, leading Western organizations and media outlets to call for the protection of Egypt’s ‘global cultural heritage’. What passed without remark, however, was the colonial history of the Cairo museum and its collections, which has shaped their postcolonial trajectory. In the late nineteenth and early twentieth centuries, the Cairo museum was a pivotal site for demonstrating control of Egypt on the world stage through its antiquities. More than a century later, these colonial visions of ancient Egypt, and its place in museums, continue to exert their legacy, not only in the challenges faced by the Egyptian Antiquities Museum at a crucial stage of redevelopment, but also in terms of museological practice in the West.
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Okhotnikov, S. B. "The Odessa Museum of Archaeology." Ancient Civilizations from Scythia to Siberia 1, no. 1 (1995): 75–79. http://dx.doi.org/10.1163/157005794x00345.

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AbstractThe Odessa Museum of Archaeology was founded in 1825 by local antiquarians. The museum's collection grew in part due to excavations of classical sites in the region, in part due to gifts and purchases from dealers in classical antiquities. Up to the Second World War the focus of the Museum's activities was classical archaeology. In the post-war period this expanded to include the whole of the ancient history of the region from the Stone Age to the Middle Ages. The museum now houses one of the best collections of Classical Antiquities in the former Soviet Union and the third-ranking Egyptological collection. The museum formed from 1972 part of the Soviet Academy system and undertook fieldwork on the Lower Dniester at Bronze Age sites, as well as at classical sites such as Tyras, Nikonion, the site of the ancient Odessos, and Leuke and medieval sites such as Belgorod.
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Suanova, R. Е. "Antiquities Museum of Alanya Social and Cultural Institute." Vestnik of North-Ossetian State University, no. 3 (2018): 62–65. http://dx.doi.org/10.29025/1994-7720-2018-3-62-65.

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Dzarasueva, Zemfira V. "Kanfar From the Museum of Antiquities of Alanya." Vestnik of North-Ossetian State University, no. 4 (December 25, 2019): 32–35. http://dx.doi.org/10.29025/1994-7720-2019-4-32-35.

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Svanberg, Fredrik. "Research Restarted at the Museum of National Antiquities." Current Swedish Archaeology 17, no. 1 (June 10, 2021): 223–24. http://dx.doi.org/10.37718/csa.2009.19.

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Sowada, Karin. "A Late Eighteenth Dynasty Statue in the Nicholson Museum, Sydney." Journal of Egyptian Archaeology 80, no. 1 (December 1994): 137–43. http://dx.doi.org/10.1177/030751339408000111.

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Dissertations / Theses on the topic "Nicholson Museum of Antiquities"

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Marsh, Glenda Susan, and n/a. "Artifacts conservation : bronzes, bones, bowls and boxes : a report on an internship in archaeological conservation, The Nicholson Museum of Antiquities, The University of Sydney." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20060907.095717.

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During 1984 I carried out an Internship in Materials Conservation under the supervision of Mrs. Patricia Johnson, the Conservator of the Nicholson Museum of Antiquities, the University of Sydney. My area of specialization was in the conservation of artifacts. The majority of artifacts examined and treated during the Internship were from archaeological excavations in the Middle East, at the site of Pella, in Jordan. The site of Pella has produced artifacts from a wide chronological range ; Neolithic, Bronze Age, Iron Age, Hellenistic (Greek), Roman, and Arabic historical periods. A selection of these artifacts has been granted to the University of Sydney by the Jordanian government, and constitute the present Pella Collection. Most of the materials are inorganic, i.e. ceramics, metals, glass, and stone, although bone and ivory artifacts, as well as skeletal material, form a part of the collection. Upon an initial examination of the collection, conservation problems were identified and a program of conservation work for the collection was formulated. Priority treatment was given to the metals in the collection, particularly to the small bronzes which were found to be suffering from "bronze disease" (active corrosion), to ceramics needed for study and display, and to glass with unstable surfaces. Improvements in storage conditions for the Pella Collection, particularly in the packing of small finds and the storage of metals, were also given a high priority. Taken altogether, the Pella Collection has proved to be a wellbalanced collection, covering almost every period of Kiddle Eastern Archaeology, and containing artifacts representative of most types of materials and of ancient technology. Planned as a research and teaching collection for the students of the Department of Archaeology, the University of Sydney, it also proved to be an excellent teaching collection for a student of materials conservation. The following, therefore, is a report on my Internship in Archaeological Conservation, and includes a description of the institution which sponsored the Internship, a description of both the program of work and the program of instruction for the Internship, detailed descriptions of all conservation work and other activities which were undertaken as part of the: Internship, and a final evaluation of the Internship.
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Starita, Hedy Elise. "Impasto and Bucchero Pottery in the Nicholson Museum, University of Sydney." University of Sydney, 2008. http://hdl.handle.net/2123/5861.

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Master of Philosophy
The following paper will present a study of 76 impasto and bucchero ceramic artefacts that form part of the collection of the Nicholson Museum at the University of Sydney. These artefacts have not been previously studied in any detail and while some have been published, publication was limited to a brief description. The paper is divided into three sections: impasto, Caeretan stamped ware and bucchero. A preliminary discussion of the ceramic type is followed by a catalogue. The catalogue provides a detailed description, any provenance and publication details, parallels and provides a date and possible geographical context of each vessel.
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Skates, Elizabeth Anne. "Museum and antiquities market interactions : manifestations of the museum paradox." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/251720.

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Nikolaou, Polina. "The diaspora of Cypriot antiquities and the British Museum, 1860-1900." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14988.

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This thesis examines the invention of Cyprus’ ancient history through the diaspora of Cypriot antiquities in the latter half of nineteenth century and the role of the modern museum in it (1860-1900). It maps the movement of the objects from their excavation sites, to their circulation in metropolitan museums and, finally to their display in museum galleries. In doing so this thesis explores the emergence of archaeology as a field-based discipline in the broader colonial, imperial and geopolitical context. The research of this project was conducted mainly at the Cyprus State Archives, the Greek and Roman Departmental Archives (British Museum), Dartmouth College Archives (NH). The first part of the thesis provides the theoretical framework in which this research is situated. Chapter 1 introduces the project, its research questions, its research questions and outcomes. Chapter 2 discusses the literature providing the main concepts that formed the arguments of this thesis. Chapter 3 contextualizes the diaspora of Cypriot antiquities within the broader history of archaeology and Chapter 4 overviews the methodology followed and the archival sources that were used for this project. The second part consists of my empirical work and maps the diaspora of the antiquities. It is thematically divided in three chapters. Chapter 5, Law, looks at the colonial and legal context of the excavation and exportation of the objects. Chapter 6, Excavation, discusses the every-day conduct of Cypriot archaeology in the field. Chapter 7, Circulation, examines the practices of collecting Cypriot antiquities, their exportation and circulation in metropolitan museums, and their display in museums (particularly in the British Museum). Chapter 8 brings the thesis into a conclusion and highlights the main findings and arguments of this project. The thesis explores the production, circulation and display of scientific knowledge regarding the ancient past of Cyprus by following the antiquities in their various forms (texts, impressions, photographs, objects). By following the objects’ social lives it addresses the issues of the circulation of scientific knowledge, of the criteria for asserting its authenticity and credibility and of the local/global nature of archaeological science. It will demonstrate that the methodological tenor of writing the objects’ biographies links the different scales of science’s making and illuminates its hidden stories, such as the practicalities of collecting in the field.
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Plagens, Emily S. Hafertepe Kenneth. "Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.

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Purdue, Carla J., and n/a. "What is a fern-root beater? The correlation of museum artefacts and ethno-historical descriptions." University of Otago. Department of Anthropology, 2002. http://adt.otago.ac.nz./public/adt-NZDU20070508.135954.

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The rhizome of the bracken fern was an important part of the subsistence base of the pre-contact Maori of Aotearoa. It provided an essential source of starch - especially to the southern Maori, who relied mainly upon wild resources for the vegetable component of their diet. The preparation of the rhizome (or fern-root) for consumption necessitated the beating of the cooked root upon a smooth stone anvil. The implement that was used to beat the fern-root is an important Maori tool which, until now, has had little detailed attention paid to it. Therefore, the aim of this research was to characterize the form of the fern-beater using morphological attributes. Through the combination of a comprehensive literature review of enthographic-historical accounts and more contemporary documentary research, along with a nationwide survey of implements labelled as "fern-root beaters" in museum collections, this thesis identifies a number of critical and common attributes that are inherent in a beating implement. It was found that wooden and stone beaters/pounders were dissimilar in size and proportions, with the majority of wooden implements displayed larger circumference dimensions, were shorter and considerably heavier, thus casting some doubt on their practicality as a beating implement. Four distinct morphological forms were identified for both the wooden and stone items surveyed, and it was found that metric variables were more significant in suggesting function than non-metric. Regional distribution analysis of the survey implements highlighted a northern North Island predominance, particularly in the Northland, Auckland, Taranaki and Waikato regions. A tenuous comparison with Simpson�s distribution of prehistoric dental attrition known as "fern-root plane" showed a loose regional correlation, however; the actual cause of this tooth wear is still a hotly contested issue.
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Whittaker, Daniel Joseph. "Re-imaging antiquities in Lincoln Park| Digitized public museological interactions in a post-colonial world." Thesis, Illinois Institute of Technology, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10007515.

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The study of an architecture of autonomy consists of theoretical investigations into the realm of building types where a sole use or purpose is manifest in a structure that could, site provided, be constructed. However, provisions that conventional architecture traditionally provide are not present in these explorations. Technological advancements such as indoor plumbing, electric lights, and vertical conveyance systems in the form of elevators and escalators are excluded. Platonic geometric form-making are instead thoroughly investigated, imagined, and manipulated for the purposes of creating new spatial experiences. The desired resultant is an architecture of singularity, an architecture of fantastical projection.

Through a series of two theoretical ritual-based investigations, three-dimensional form manipulation and construction of proportioned scale models, the essence of elements that compose a spatial experience contributed to a collection of metaphorical tools by which the designer may use to build a third imagined reality: the re-imagination of the archetypal museum. A building whose purpose is not solely to house ancient objects in a near hermetically-sealed environment, free of temperature, humidity and ultra-violet light aberrations, but is a re-imagined. A structure meant to engage the presence of two seemingly divergent communities: the local patron/visitor and the extreme distant denizen.

This paper also examines key contemporary global artists’ work and their contributions to the fragmentation / demolition of architectural assemblages for the purposes of re-evaluating the familiar vernacular urban landscape while critically positioning the rôle of both the artifact and gallery in shaping contemporary audience’s museum experiences.

The power of the internet and live-camera broadcasting of images utilizing both digital image recording and full-scale screen-projections enable the exploration of “transporter-type” virtual-reality experiences: the ability to inhabit an art work’s presumed original in situ location, while remaining in Chicago as a visitor within a vernacular multi-tenant masonry structure: vacated, evicted, and deconstructed for the purposes of displaying art amidst a new urbane ruin. The complexities of this layered experience is meant to simultaneously displace and interrupt a typical set of so-called a priori gallery expectations while providing the expectant simulacrum that video cameras and screens provide, whetting a contemporary patron’s appetite.

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Polyzoudi, Archondia. "The display of archaeology in museums of Northern Greece : the socio-politics and poetics of museum narratives." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610491.

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West, Nicholas J. "Hellenistic and Roman bronze statuettes in the Ashmolean Museum." Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:9040b5bf-05db-4524-8ec5-f0e00a77fa86.

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This thesis is an aetiological investigation of the Hellenistic and Roman figural bronze statuettes in the round that form part of the Ashmolean Museum's antiquities collection. The collection serves as a lens through which to study aspects of ancient and modern receptions of Classical sculptural forms. This approach is based on the premise that the collection's composition has been historically determined not only by how the modern parties responsible for its creation and growth responded to the sculptural forms and images recovered from antiquity, but also by how sculptural forms developed in Greece during the Classical and early Hellenistic periods were received by makers and users of bronze statuettes in antiquity. The thesis has three primary objectives: firstly, to produce a useful and informative catalogue of the Ashmolean Museum's collection of Hellenistic and Roman figural anthropomorphic bronze statuettes in the round; secondly, to determine not only how that collection came to have the characteristics that it does, but also how the reception of ancient sculpture has historically affected the formation of collections of bronze statuettes and their compositions; thirdly, to use archaeological evidence of bronze statuettes to reconstruct possible contexts and to determine in greater detail the reception of canonical sculptural figure types in the form of small bronzes during the Hellenistic and Roman periods. Part I of the thesis deals with the modern contexts for the statuettes, investigating the collection history, pulling out its salient characteristics and then comparing these to other major collections to make informed observations about how and why specific types of statuettes have survived from antiquity and the roles that modern reception of antiquity has played in shaping collections. This leads to Part II, which attempts to reconstruct possible ancient contexts for the Ashmolean bronzes by looking at the archaeological evidence for their production, movement use and display. Part III uses some of the figures of dwarfs, Herakles and Hermes in the collection to develop case studies that examine aspects of the visual relationships that existed between small bronzes and classical sculpture from the Classical and early Hellenistic periods.
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Pettersson, Richard. "Fädernesland och framtidsland : Sigurd Curman och kulturminnesvårdens etablering." Doctoral thesis, Umeå universitet, Historiska studier, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-60631.

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This study of the establishment of heritage preservation in Sweden during the first half of the 20th century focuses upon Sigurd Curman (1879-1966), art historian, restoration architect and Director of Antiquities. Its purpose is to show how an older, more research-oriented form of heritage work grew to become a more socially-conscious vari­ant of cultural preservation. The period of establishment embraces organizational inquiries, government legisla­tion and institutionalization, and as Director of Antiquities between 1923 and 1946, Curman was a main actor. He had already become a key figure in debates on the official organization of preservation activities in Sweden well before this, whose early career dealt chiefly with the restoration of churches. Curman advocated the accentuation of aspects of cultural history. An opinion had been formed among cultural historians and museum curators against what they perceived as the obsolete manner of pursuing heritage efforts conducted by the Royal Swedish Acad­emy of Letters, History and Antiquities and its secretary, the Director of Antiquities, who was also head of Swe­den's main official museum, the Museum of History. Criticism was aimed at all aspects of official heritage preservation efforts, including legislation, restoration policy, the care of ancient ruins and treatment of finds, as well as the lack of understanding on the behalf of the central authority for local and regional interests. The latter referred to the emotive aspects of heritage preservation, which in contemporary verbiage was summarized by the term "piety". The central authority was accussed of not understanding "popular" heritage preservation outside the context of the museum and of displaying a lack of piety toward "the cultural memory of the Fatherland". These feelings were based primarily on two prerequisites: an established perception of a homogeneous national culture with ancient roots in the past, and an apprehension that it was in the interests of society that the government become responsible for the administration of this material cultural heritage. This ambition can be summarized by the term "preservation of cultural heritage" and its foremost exponent was Sigurd Curman. The dissertation fol­lows Curman from his childhood in a wealthy Stockholm family, to his early career in restoration and as lecturer in architectural history at the College of Art. In 1912, Curman was appointed to the first chair in these fields estab­lished at the College, which he held until 1918 when he became advisor in the cultural history of architecture at the new Royal Swedish Board of Public Building. When appointed Director of Antiquities he began concretizing the official organization of heritage preservation. During the 1910s he participated in a comprehensive, dual inquiry into the organization and legislation of the government's heritage preservation policy. When its final report was presented in 1922 it was tabled, but still acted as the basis for Curman's continued efforts. He created a modem bureaucracy out of the council of the Department of Antiquities and contributed to moving the central authority from the ground floor of the National Museum to its own premises in midtown Stockholm. Curman would also work to improve legislation to protect cultural monuments and developed museum activities by creat­ing a countrywide organization of county antiquarians and regional museums. When Sweden's new antiquities law was passed by parliament in 1942, Curman had not only led the inquiry leading up to it, but had formulated the draft of the legislation himself. By the time of his retirement in 1946 he was a legend in antiquarian circles, the very personification of Swedish cultural heritage preservation. The present dissertation shows how Curman achieved this status, though it also details the efforts of numerous other actors participating in the process and sees Curman as a bureaucrat who realized demands for a renewal of heritage preservation in the country.
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Books on the topic "Nicholson Museum of Antiquities"

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Webb, Jennifer M. Cypriote antiquities in the Nicholson Museum at the University of Sydney. Jonsered [Sweden]: Paul Åströms Förlag, 2001.

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Sowada, K., and Boyo Ockinga. Egyptian art in the Nicholson Museum, Sydney. Edited by Nicholson Museum. Sydney, NSW: Meditarch Publishing, 2006.

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Andrew, Duncan. Nicholson London museums & galleries guide. London: Nicholson, 1995.

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Müzesi, Antalya. Antalya Museum. 2nd ed. Ankara: Turkish Republic, Ministry of Culture, General Directorate of Monuments and Museums, 1992.

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Dar Al-Anies for Printing, Publishing & Distribution (Misurata, Libya). Sabratha Museum. Misurata, Libya: Dar Al-Anies for Printing, Publishing & Distribution, 2012.

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Akşit, İlhan. Ephesus and museum. Istanbul: Askit Culture and Tourism Publications, 1988.

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Songsiri, Wilailak. Chansean Museum. Bangkok: Princess Maha Chakri Sirindhorn Anthroplogy Centre, 1998.

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Bokcheon Museum. Busan: Bokcheon Museum, 2014.

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Adīb, Samīr. The Egyptian Museum. Cairo: [s.n.], 1997.

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Piotr, Bienkowski, and Southworth Edmund, eds. Egyptian antiquities in the Liverpool Museum. Warminster, Wiltshire: Aris & Phillips, 1986.

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Book chapters on the topic "Nicholson Museum of Antiquities"

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Daniel, Robert W. "P. Leid. J 384 (= PGM XII) Photographs and Transcription." In Two Greek Magical Papyri in the National Museum of Antiquities in Leiden, 1–29. Wiesbaden: VS Verlag für Sozialwissenschaften, 1991. http://dx.doi.org/10.1007/978-3-663-05377-4_1.

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Daniel, Robert W. "P. LEID. J 395 (= PGM XIII) Photographs and Transcription." In Two Greek Magical Papyri in the National Museum of Antiquities in Leiden, 31–81. Wiesbaden: VS Verlag für Sozialwissenschaften, 1991. http://dx.doi.org/10.1007/978-3-663-05377-4_2.

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Brodie, Neil, Morag M. Kersel, and Kathryn Walker Tubb. "Museum Acquisitions." In Archaeology, Cultural Heritage, and the Antiquities Trade, 245–57. University Press of Florida, 2006. http://dx.doi.org/10.5744/florida/9780813029726.003.0014.

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Anderson, Maxwell L. "Realities of Storage, Dispersal, and Display." In Antiquities. Oxford University Press, 2017. http://dx.doi.org/10.1093/wentk/9780190614928.003.0014.

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What happens once antiquities are excavated? Once removed from an excavated trench or the ocean bottom, legally obtained antiquities are today typically dispatched to a storage facility, either at the excavation site or in a neighboring city museum. The speed with which they are transferred...
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Anderson, Maxwell L. "Retention, Restitution, and Repatriation." In Antiquities. Oxford University Press, 2017. http://dx.doi.org/10.1093/wentk/9780190614928.003.0017.

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What do these terms mean? Antiquities in the permanent collection of a particular museum or monument were likely transferred from or donated by a royal, noble, state, or private collection, or purchased. But so-called “permanent” collections are not impervious to change. Museums on occasion will...
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Anderson, Maxwell L. "Looking Ahead." In Antiquities. Oxford University Press, 2017. http://dx.doi.org/10.1093/wentk/9780190614928.003.0020.

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Are claims likely to increase in the coming years? Isolated cultural property claims advanced by a few source nations—most notably Italy, Turkey, India, and Cambodia—have been in the headlines over the last decade.1 An increase in successful claims, illustrated databases of museum acquisitions,...
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Shaw, Wendy M. K. "Antiquities Collections in the Imperial Museum." In Possessors and PossessedMuseums, Archaeology, and the Visualization of History in the Late Ottoman Empire, 149–71. University of California Press, 2003. http://dx.doi.org/10.1525/california/9780520233355.003.0007.

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"6. Antiquities Collections in the Imperial Museum." In Possessors and Possessed, 149–71. University of California Press, 2019. http://dx.doi.org/10.1525/9780520928565-010.

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Peleggi, Maurizio. "A Museum and an Art History for the Thai Nation." In Monastery, Monument, Museum. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824866068.003.0006.

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Chapter 5 carries on from the previous chapter by detailing the assemblage of the Bangkok National Museum’s collection along with the formulation in the 1920s of a stylistic classification of antiquities that has since become canonical. The chapter examines the underlying assumptions of the art historical classification elaborated by Prince Damrong Rachanubhap (“the father of Thai history”) and the French scholar George Coedes, fouding director of the Siamese Archaeological Service.
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Simaika, Samir, and Nevine Henein. "Searching for Antiquities, Saving Libraries." In Marcus Simaika. American University in Cairo Press, 2017. http://dx.doi.org/10.5743/cairo/9789774168239.003.0018.

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This chapter discusses Marcus Simaika's search for antiquities to add to the Coptic Museum as well as his efforts to save the libraries of the Coptic patriarchate, churches, and monasteries from deterioration. Simaika was relentless in his search for objects to add to the museum acquisitions and collections and lamented the difficulty in obtaining gifts of antiquities belonging to Coptic notables. In his persistent search for antiquities, Simaika described an incident involving Anba Bakhomios, bishop of the Deir al-Muharraq (“Burnt Monastery”) in Asyut. When he visited the monastery, he saw an old woven silk curtain with a dedicatory inscription dated 1756 and asked the bishop if he can have it. It took nine years for the bishop to hand over that curtain. Simaika was dedicated not only to acquiring artifacts for the museum, but also to the preservation of antiquities and manuscripts at the ancient churches and monasteries when possible.
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Conference papers on the topic "Nicholson Museum of Antiquities"

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Рябинин, Константин, Konstantin Ryabinin, Амир Ахтамзян, Amir Ahtamzyan, Мария Колесник, Mariya Kolesnik, Елена Сударикова, and Elena Sudarikova. "Tangible Interfaces for the Virtual Reconstructions of Museum Exhibits." In 29th International Conference on Computer Graphics, Image Processing and Computer Vision, Visualization Systems and the Virtual Environment GraphiCon'2019. Bryansk State Technical University, 2019. http://dx.doi.org/10.30987/graphicon-2019-1-87-92.

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In this paper we propose an approach to create cyber-physical museum exhibits based on the methods and means of scientific visualization, Internet of things, additive technologies and ontology engineering. Cyber-physical exhibit consists of tightly interconnected virtual and real parts. Scientific visualization is used as methodological and technological basis for presenting the virtual part, which can contain relevant digital content and 3D-reconstructions. Internet of things is a core technology to create tangible interfaces for the corresponding visualization software. Additive technologies allow creating virtual reconstructions and precise copies of museum exhibits. Ontology engineering provides adaptive mechanisms for seamless integration of new cyber-physical exhibits into the existing digital infrastructure of museums. The proposed approach is used in practice to create cyber-physical exhibits in State Darwin Museum (Moscow) and Museum of Permian Antiquities (Perm).
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Malov, Nikolay. "Materials for studies on the Sosnovaya-Maza hoard from the Khvalynsk Museum." In Antiquities of East Europe, South Asia and South Siberia in the context of connections and interactions within the Eurasian cultural space (new data and concepts). Institute for the History of Material Culture Russian Academy of Sciences, 2019. http://dx.doi.org/10.31600/978-5-907053-35-9-261-264.

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Rtveladze, Edward, and Violetta Tsilitsskaya. "A Palmyrene stele model from the collection of the State Museum of the History of Uzbekistan." In Antiquities of East Europe, South Asia and South Siberia in the context of connections and interactions within the Eurasian cultural space (new data and concepts). Institute for the History of Material Culture Russian Academy of Sciences, 2019. http://dx.doi.org/10.31600/978-5-907053-34-2-215-218.

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Belyaevskaya, Olga, Elena Malachevskaya, and Anastasia Yasenovskaya. "The investigation of ancient Erebuni mural painting fragments from the collection the Pushkin State Museum of Fine arts." In Antiquities of East Europe, South Asia and South Siberia in the context of connections and interactions within the Eurasian cultural space (new data and concepts). Institute for the History of Material Culture Russian Academy of Sciences, 2019. http://dx.doi.org/10.31600/978-5-907053-34-2-219-220.

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Strokov, A. "НЕКРОПОЛЬ ФАНАГОРИИ – ПЕРВЫЕ РЕЗУЛЬТАТЫ РАДИОУГЛЕРОДНОГО ДАТИРОВАНИЯ." In Радиоуглерод в археологии и палеоэкологии: прошлое, настоящее, будущее. Материалы международной конференции, посвященной 80-летию старшего научного сотрудника ИИМК РАН, кандидата химических наук Ганны Ивановны Зайцевой. Samara State University of Social Sciences and Education, 2020. http://dx.doi.org/10.31600/978-5-91867-213-6-93-94.

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Abstract:
In Russian archaeology radiocarbon dating is used in very rare cases when antiquities from historical periods are studied based on coin finds and historical sources which have their own historical chronology. However, this arrangement does not always work, as some graves do not contain items that can be dated to a narrow time span while a great number of graves often have no funerary offerings at all. The State Historical Museum in Moscow houses archaeological materials from the Phanagoria necropolis excavated in 1936. Phanagoria is is the largest city of the Classical period and the early medieval period (540 BC–10th century). The collection from the necropolis excavations has preserved organic carbon-containing finds from grave 21 (the wood served to make a coffin – juniper, and sea algae). These materials were selected for AMS-dating. The following results were obtained: wood: 342–420 calAD, sea algae – 132–241 calAD. Of particular interest is the impression of the coin of the Roman Emperor Valens (364–378) found in this grave. The AMS-date of the coffin wood fully confirms the traditional archaeological dating of the finds whereas the coin offers an opportunity to narrow down the timeline of the grave to several decades (375–420). The older age of sea algae is caused by a marine reservoir effect which must be taken into account during the verification of the radiocarbon age of the consumers the food intake of which probably included algae.
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