Artykuły w czasopismach na temat „Museum of Printing History”
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Clary, Katie Stringer, i Carolyn Dillian. "Printing the Past". Public Historian 43, nr 2 (1.05.2021): 41–62. http://dx.doi.org/10.1525/tph.2021.43.2.41.
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This article describes and evaluates a 3-D scanned and printed exhibit created by students and faculty in collaboration with a local museum to increase accessibility to archaeological and historical collections for audiences with visual disabilities, neurodivergence, and sensory processing differences. 3-D technologies allowed for the creation of a hands-on exhibit, accompanied by a variety of accessible solutions, such as audio, video, and braille, allowing audiences to explore reproductions of artifacts through touch. Surveys of museum attendees and students who participated in the project revealed that the tactile exhibit and design experience were extremely positive. As museums and public historians strive for universal design and access in programs, this technology provides another opportunity for engagement. The authors explain methods and applications for public historians, museums, and outreach.
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Lipson, Hod, Francis C. Moon, Jimmy Hai i Carlo Paventi. "3-D Printing the History of Mechanisms". Journal of Mechanical Design 127, nr 5 (17.10.2004): 1029–33. http://dx.doi.org/10.1115/1.1902999.
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Physical models of machines have played an important role in the history of engineering for teaching, analyzing, and exploring mechanical concepts. Many of these models have been replaced today by computational representations, but new rapid-prototyping (RP) technologies are now allowing reintroduction of physical models as an intuitive way to demonstrate mechanical concepts. This paper reports on the use of RP to document, preserve, reproduce, and share in three dimensions, historic machines, and mechanisms. We have reproduced several preassembled, fully functional historic mechanisms from the Cornell Collection of Reuleaux Kinematic Models, and made these available as part of a new online museum of mechanism: Not only can visitors read descriptions, view pictures and videos, and interact with simulations of machines, but they can now also download and 3D-print their own physical functional replicas. We expect that this new form of “physical” preservation will become prevalent in future archives.
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Kepin, Dmytro. "The editions on historical and natural sciences 1923 year as a source of formation of Ukrainian museum work". Вісник Книжкової палати, nr 2 (22.02.2024): 38–45. http://dx.doi.org/10.36273/2076-9555.2024.2(331).38-45.
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The article analyzes the books of 1923 on history and natural history of museum orientation, which are stored in the State Printing Archive of the Book Chamber of Ukraine. In total, 18 books have been identified, which are divided into the following types: scientific (2), popular science (4), popular (1), educational and educational-methodical (8), reference (3). According to the thematic orientation, there are 7 books on history, 5 — on natural science, 3 — on reference, 2 — on museum work, 1 — on book monumentology. The books of G. Levin-Dorsch and G. Kunov, M. Zieber, B. Vipper, M. Yavorsky, A. Winterhalter, M. Levin, B. Komarov, Iv. Trojanovski, O. Nikol'sky, P. Tutkovsky, V. Hnatyuk, F. Schmit are analyzed. The processed editions make it possible to introduce unknown and little-known publications on museum studies of 1923 into scientific circulation, to reveal the "white spots" in the activities of specialists in museum pedagogy.
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Datta, Ann. "Our beautiful world: art at the Natural History Museum, London". Art Libraries Journal 30, nr 1 (2005): 15–21. http://dx.doi.org/10.1017/s0307472200013808.
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Behind the scenes at the Natural History Museum is the world’s largest natural history library, with approximately one million printed books. But the crown jewels are the Library’s art collections, depicting rocks, minerals, fossils, plants and animals, and dating from the 17th to the 21st centuries. Its more than half a million individual items make this the largest collection of natural history art not only in the UK but in the world. Commercial exploitation of the collection has mostly been by publishers of books and journals, but others have seen opportunities for writing books about the illustrations, putting the art in exhibitions, printing the images on decorative items, and other marketing ventures. In 2003 the Library launched a website designed to promote the art collections further and make them accessible to a global audience.
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Youst, Lionel. "History by Headline: Browsing the Newspaper Repository of the Marshfield Sun Printing Museum". Oregon Historical Quarterly 119, nr 1 (2018): 120–23. http://dx.doi.org/10.1353/ohq.2018.0050.
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Willis, John. "Museum of Printing History Elizabeth P. Griffin Charles Criner Kelly Papinchhak Kilby Hoskins". Public Historian 25, nr 4 (październik 2003): 110–12. http://dx.doi.org/10.2307/3379274.
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Kowalski, Micaela. ":Early Colour Printing: German Renaissance Woodcuts at the British Museum". Sixteenth Century Journal 53, nr 3 (1.09.2022): 841–44. http://dx.doi.org/10.1086/scj5303133.
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Łubocki, Jakub Maciej. "Pismo jako obiekt muzealny (na przykładzie zbiorów Działu Sztuki Wydawniczej Muzeum Narodowego we Wrocławiu)". Z Badań nad Książką i Księgozbiorami Historycznymi 16, nr 2 (29.07.2022): 215–37. http://dx.doi.org/10.33077/uw.25448730.zbkh.2022.695.
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Writing systems and typefaces embodimented in any form (letter sketches, designs of typefaces, resources of sorts and matrices, prints and manuscripts, printing specimens, type foundries catalogues, typefaces specimens) are objects worth to become museum objects. Based on these, the museum will generate knowledge about script and lettering through: giving insight into conceptual work on designs of typefaces, acknowledging about history of development writing systems and typefaces, storaging of materials for the future correct digitization of the typeface, saving typefaces and writing systems from total annihilation. Hence: the catalogue of basic types of artefacts relevant to process of embodiment the script was present; the benefits that can result from the deliberate and conscious collecting of this type of artefacts as museum objects was outlined; the importance of the museum collection in research on script, typefaces and writing systems and its preservation as an element of heritage was indicated.
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Antanavičius, Darius. "Plantinus ubique plantinus: nauji faktai Mikalojaus Kristupo Radvilos Našlaitėlio „kelionės į Jeruzalę“ 1601 ir 1614 m. leidimų istorijai". Lietuvos istorijos metraštis 2023, nr 1 (1.07.2023): 35–84. http://dx.doi.org/10.33918/25386549-202301002.
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The article presents a unique copy of the 1601 edition of Hierosolymitana peregrinatio (‘The Journey to Jerusalem’) by Nicholas Christopher Radziwiłł the Orphan currently preserved at the library of the Lithuanian Institute of History in Vilnius. Specific corrections left in margine prove the proofreading nature of this copy. It is asserted that the second Latin edition of the ‘Journey’ printed in Antwerp by the Plantin printing house in 1614 was prepared and published on the basis of the aforementioned copy. Unpublished letters stored in the archival collections of the Plantin-Moretus Museum reveal a completely unknown history of the printing process of the second Latin edition of the ‘Journey’. All these letters are published in the appendix to the article in their original language (Latin) with comments and translation into Lithuanian.
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Reddy, David P., Angela V. Klaus, Renée Recker i William K. Barnett. "Web Site Development at a Museum Microscopy Laboratory". Microscopy Today 7, nr 3 (kwiecień 1999): 12–15. http://dx.doi.org/10.1017/s1551929500064051.
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The Interdepartmental Laboratories (IDL) is the core microscopy and scientific visualization research facility for the American Museum of Natural History (AMNH), Its purpose is to operate and maintain facilities that have broad application within the Museum and would be either too costly for the individual research departments to maintain or which would be underused in a typical department setting, The IDL currently maintains two state-of-the-art analytical/imaging microscopes, as well as resources for visualization, webaccessible databases, and networked image scanning, archiving, and printing. The IDL is overseen by Bill Barnett, the IDL Director, and staffed by Angela Klaus, the Laboratory Manager, and David Reddy, the Scientific Visualization and Informatics Manager.
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Hadland, Philip. "The history, state and reinterpretation of the palaeontological collection at Folkestone Museum". Geological Curator 11, nr 4 (grudzień 2020): 295–306. http://dx.doi.org/10.55468/gc1499.
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The Folkestone Museum was moved to a new home in the Folkestone Town Hall in 2017 as part of a UK Heritage Lottery Fund project. The collection includes around 1,000 geological specimens, many of which were acquired in the 19th Century. During the project, examination of the palaeontological collection in particular revealed new insights into its history. Information gathered from diverse sources, including online collections, blogs and published literature, have helped to reveal some of these previously unknown aspects. For example, the museum holds fossil material from important names in the history of palaeontology including Etheldred Benett and Gideon and Mary Mantell. They also provide tangible evidence of a rich culture of exchanging fossil material going back to the early 1800s. The work also shows the potential for using old labels, associated documents and online resources to improve understanding of the history of geological collections. This also demonstrates the importance of caring for old labels and associated documentation and the importance of specialist knowledge. The curatorial state and use of the collection are not to the highest potential and recommendations to address this are given. This paper also describes aspects of the new interpretation at the museum, including using 3D-printing to create handling exhibits.
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Kutsaieva, Tamara O. "Marginal Inscriptions as Objects of Museum Studies: the Case Study of the Library of the National Museum of Ukrainian History". SUMY HISTORICAL AND ARCHIVAL JOURNAL, nr 33 (2019): 14–23. http://dx.doi.org/10.21272/shaj.2019.i33.p.14.
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The first attempt in the scientific practice of the National Museum Ukrainian History to conduct an individual and complex studying of marginal inscriptions has been done in this article. There is the case study of the Hand Press Books and antiquarian books from the library of the mentioned museum. The object of the study has been characterized and reasoning why the antiquarian books published in XIX century, but after 1830, have been chosen as the objects of this research, besides the classical objects of the study of marginal inscriptions (Hand Press Books and antiquarian books). Sources and historiography of the research as well as publications of the museum specialists have been systemized. The conclusion about the small attention of researchers to the library of the National Museum of Ukrainian History has been done too. The author of the article has substantiated one more conclusion about the absence of publications dedicated to the library as the source of information about the history of book printing in Ukraine or museum book collections = historical libraries beyond the museum. The generally accepted scientific criteria for the classification of marginal inscriptions have been generalized on the basis of historiography. Four additional criteria for studying marginal inscriptions have been proposed for the discussion. Challenges of the research have been analyzed in the main part of the article. There is the absence of attribution and fixation of the history of acceptance of the books in the museum library because of the specific status of all museum libraries in Ukraine; absence of a formal right to use such definitions of the Ukrainian legislation as the Rare and Valuable Books concerning the books published in XVIII – the early XIX centuries and some antiquarian books; problems of identifications of handwriting exactly as a marginal inscription, not a written bookplate (exlibris). Some samples to the mentioned challenges have been proposed. The author of the article has implemented the aim of the research and presented attribution of the marginal inscriptions in eleven Hand Press Books and three antiquarian books, including one handwritten antiquarian book – the object of this study. The content of the marginal inscriptions in Mykola Zakrevskyi‘s book “Depiction of Kyiv” (1868) – the most unique book from the point of view of the historical narrative as well as the invitation letter to Mykola Zakrevskyi (the object of the museum importance or so-called “Museum finding”) has been presented in this research. The maximum of available information about the content and classifications of the types of marginal inscriptions (handwritten, marginal glosses, and Marginal inscriptions of publishing houses) has been presented in the article too. Contribution in research and popularisation of the collection of the National Museum of Ukrainian History, studying of the history of a book as the object of the material and spiritual heritage, the personality of (less)known readers and reading cultures in different йpoques have been done based on the results of attribution, bibliographical description, and classification of the books, marginal inscriptions, and bookplates. Another essential result of the research is entering in the scientific circulation the Preliminary list of the Hand Press Books and antiquarian books with marginal inscriptions that have been chosen as the objects of this research. The stress on the urgent relevance of continuation of the complex studying of these books with the aim to give them the status of the Rare and Valuable Books through the entry in the State Register of the National Cultural Heritage has been done. The author has determined some perspectives of this research. They are a continuation of the complex studying of the marginal inscriptions, searching of new marginal inscriptions and fragments of historical libraries that nowadays are parts of the collection of the National Museum of Ukrainian History in other museums, archives, and libraries for contribution to the development of the museum communication and studying of Auxiliary Sciences of History. Keywords: bookplate, book research, in script, marginal inscription, National Museum of Ukrainian History.
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Shustova, Yu E. "Lviv Editions of 17th Century Cyrillic Books in Novgorod State Museum-Reserve Collection". Caurus 2, nr 2 (2023): 57–73. http://dx.doi.org/10.34680/caurus-2023-2(2)-57-73.
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The article examines Lviv Cyrillic books of the 17th century, which are stored in the library of the Novgorod State Museum-Reserve. In total, nine copies of six editions are presented there. They were printed in two printing houses. From the publications of the Lviv Dormition Brotherhood printing house, there are two copies of the Festal Menaions (1638), the Book of Hours (1642), the Octoechos of 1644 and 1686. The printing house of Mikhail Slyozka is represented by two copies of the Act and Epistles (1639) and two copies of the Pentecostarion, (1642). Some of the books come from the collection of the Iversky Monastery. They were brought there by the brethren from the Kuteinsky Epiphany Monastery along with printing equipment by order of Patriarch Nikon. The second part of the books was purchased from collector Denis Perestoronin in 2015. The article shows the history of book printing and studies the notes on the copies. Most of them are donation records. These include the record on the donation of the Festal Menaions (1638) by the Lviv Dormition Brotherhood to the Kuteinsky Monastery; the record from 1655 about the donation of the Octoechos (1644) on behalf of Constantine and his wife Evdokia to the Church of the Intercession of the Holy Virgin for the health and repose of family members; the record from 1668 about the donation of the Pentecostarion (1642) by the brethren of the village of Antonovka to the Church of the Nativity. Ownership records are of great scientific interest. Among them is the record from 1659 about the ownership of the Book of Hours (1642) by the Czech prince Lev Alexandrovich Shlyakhov, a foreigner who came to serve in Russia using fabricated documents and called himself like that. Hewas a servant of the Polish Count Kasper von Denhof. Also of great importance is the record made in 1914 by the hand of the impressionist artist Mikhail Nikolaevich Yakovlev.
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Krivtsova, Anna S. "“V.V. Bessel” Collection in the Russian National Museum of Music". Observatory of Culture 17, nr 2 (30.06.2020): 152–63. http://dx.doi.org/10.25281/2072-3156-2020-17-2-152-163.
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Vasily Vasilyevich Bessel (1843—1907) entered the history of Russian and world music culture as one of the largest music publishers. His company was occupying one of the leading positions in terms of production volume in the Russian music printing market in the late 19th — early 20th century. It was the company that first published many of works by Russian classical composers — A.G. Rubinstein, A.P. Borodin, P.I. Tchaikovsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov, and A.K. Lyadov. V.V. Bessel’s music publishing activities were connected with his works on the history of music printing in Russia and copyright. He left an extensive legacy in the form of numerous handwritten materials, now dispersed in various archives (mainly in Moscow and Saint Petersburg). The Russian National Museum of Music, Collection 42, holds one of the largest archives associated with V.V. Bessel. Major part of it makes up a separate collection called “V.V. Bessel”, which includes unofficial documents, responding mail, as well as literary manuscripts and photographic materials. Due to lack of comprehensive research of that documentary collection, this article provides a brief overview of its content, and the history of formation of V.V. Bessel’s collection. The main purpose of the research is to characterize both published and unknown sources. The article meets the relevant task of modern musicology: disclosure of Moscow and St. Petersburg archival collections. Many of the documents reviewed by the author are an important addition to the only monograph on V.V. Bessel, which belongs to the pen of N.F. Findzein. The article discusses, in more detail, the documents related to the literary weekly “Muzykal’nyi Listok [Musical Sheet]” (1872—1877), the first periodical published by “V. Bessel and Co.”, as well as the correspondence of December 1886 between V.V. Bessel and P.I. Tchaikovsky, which, at the latter’s initiative, ended all the composer’s personal and business contacts with his Petersburg publisher. This study expands the researchers’ understanding of the body of documents stored in the collection under consideration, the problems associated with them, and their prospects.
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Galić, Anđelka, i Antonia Došen. "Sebastian Münster Cosmographia as the renaissance mirror of the world". Geoadria 22, nr 1 (9.11.2017): 65. http://dx.doi.org/10.15291/geoadria.1336.
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Cosmographey oder beschreibug aller Länder [...]1, famous work by a German cartographer Sebastian Münster is kept among few cartographic works in the Collection of Printing and Bookbinding of the Museum of Arts and Crafts in Zagreb. After its restoration at the Central Laboratory for Conservation and Restoration of the Croatian State Archives in Zagreb, it was determined by using comparative analysis with other editions that the copy of Münster’s work from the Museum of Arts and Crafts, with the missing title page along with the entire contents of the last, Sixth Book, is in fact the German edition of Cosmographia published in Basel in 1567. The established dating is also verified by applying the method of identifying the volume through determining the sequence of maps printed on double pages which precede the main text and are described in detail and analysed in the enclosed table with the text. Münster’s work is a unique endeavour in the history of printing. The knowledge of the world is presented over a thousand text pages equipped with several hundred woodcut illustrations and dozens of maps covering geography, history, ethnography, anthropology, geology and natural sciences. In this paper, Münster’s work on Dalmatia, Istria and Slavonia are especially highlighted as the basis, as well as an incentive, for further research of content and significance of cartographic presentations of a part of Croatian lands during the Renaissance period.
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Lionel Youst. "History by Headline: Browsing the Newspaper Repository of the Marshfield Sun Printing Museum". Oregon Historical Quarterly 119, nr 1 (2018): 120. http://dx.doi.org/10.5403/oregonhistq.119.1.0120.
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Beiner, G. G. "Labels for Eternity: Testing Printed Labels for use in Wet Collections". Collection Forum 34, nr 1 (1.01.2020): 101–13. http://dx.doi.org/10.14351/0831-4985-34.1.101.
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Abstract Will printed labels survive prolonged immersion in collection fluids, and, if so, which printing system is preferable: inkjet, laser, or thermal transfer printing? In a world with a wide variety of printers, printing substrates, and printer technologies, the interactions between them very likely affect long-term label preservation in the chemical environment of the preservation fluid. In fluid-preserved collections, the main issues frequently encountered with labels include delamination, abrasion, fading, and disintegration during immersion in solutions such as ethanol and formaldehyde aqueous solution (widely known under the commercial name formalin). Very few publications have presented testing procedures assessing the behavior and stability of printed matter immersed in the types of solvents used in fluid-based collections. This article presents a series of experiments set up at the National Natural History Collections at the Hebrew University of Jerusalem to test a variety of museum labels. The tests compared labels actually used in different natural history collections and included labels from both thermal transfer and inkjet printers. All were subjected to accelerated aging and mechanical abrasion. In our series of tests, inkjet labels gave the best performance.
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Kwan, Uganda Sze Pui. "Transferring Sinosphere Knowledge to the Public: James Summers (1828-91) as Printer, Editor and Cataloguer". East Asian Publishing and Society 8, nr 1 (5.04.2018): 56–84. http://dx.doi.org/10.1163/22106286-12341317.
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Abstract James Summers occupied the professorship of Chinese for two decades at King’s College London. He was also a trailblazer in promoting the study of Japanese culture in Victorian Britain, but he has been an underrated and understudied figure in British history. Summers was an ardent supporter of modern printing. He believed printed media was the most effective medium to transform British perceptions of Asia, which in turn would help support Britain’s foreign political, commercial and missionary enterprise. He also orchestrated the printing of catalogues and journals in his capacity as library assistant to the British Museum and the India Office Library. He even set up his own press to print a newspaper in order to disseminate knowledge of East Asia to a broader readership. Based on primary materials that have rarely been used before, this paper positions Summers in the study of book history, material culture and print mediums in order to reassess his pioneering efforts in Sinological studies.
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Allen, Stephen. "Byron Redivivus". Byron Journal 50, nr 1 (1.06.2022): 59–64. http://dx.doi.org/10.3828/bj.2022.8.
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Despite no known recent provenance, an engraved copper printing plate of a Byron portrait has been established to be of considerable significance. Proofs from the plate are held by the National Portrait Gallery and the British Museum. New impressions were made for our purposes. The plate was commissioned by Lieutenant Colonel Leicester Stanhope, who accompanied Byron’s body back to England, and was engraved after a miniature painting, which itself has notable associations with Byron.
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Lewis, Paul. "Archaeology in the home: neoclassical ceramics for new audiences in mid-nineteenth-century Britain". Bulletin of the Institute of Classical Studies 63, nr 1 (1.06.2020): 72–88. http://dx.doi.org/10.1093/bics/qbaa008.
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Abstract For audiences not familiar with antiquity, the shattering of the Portland Vase at the British Museum in 1845 raised awareness of a classical past which was claimed by many European nations as their cultural heritage. This article explores how the British ceramics industry quickly exploited a ready market, prompted by such interest. A new genre of wares was produced industrially, mainly in Stoke-on-Trent until the 1870s, although manufacture continued sporadically until 1900. Modern techniques, including moulding and transfer-printing, allowed the creation of versions of black- and red-figure ancient Greek ceramics, sometimes in vivid polychrome. Hitherto largely overlooked by museums and standard histories of ceramics, the material evidence of this fashion endures. Although the resulting artefacts were often marketed without reference to their origins in antiquity, an argument is presented here for their having more than merely decorative significance.
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Bussotti, Michela. "The Images of the Merits of Shi and Hu Families: Between Popular Prints and Genealogies. Narratives of Loyalty to the Song Empire and the Edifying Practices of Huizhou Lineages in the Ming–Qing Dynasties". Cahiers d'Extrême-Asie 30, nr 1 (2021): 309–81. http://dx.doi.org/10.3406/asie.2021.1577.
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The Images of the Merits (Baogong tu 報功圖) of the Shi 石 and Hu 胡 families, from southern Anhui and northeastern Jiangsu, are held in Anhui Provincial Museum (in Hefei) and Shanghai Museum respectively. Exceptional in size and printing techniques, these prints are equally special because of their content, which includes the history of the two families, with a focus on the period of the founding of the Song dynasty (960–1276), where family, local, and “national” narratives combine in a composite, yet unique and continuous visual representation. This study describes the documents, narrates the events depicted, and questions the dating, nature, and use of the Baogong tu prints. The aim of this article is to analyze what the prints tell us, not only about the events depicted, but also about the rural world in which they were created, a world where the prominence of the lineages was particularly pronounced in the late imperial period.
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Widén, Per. "Creating a Patrotic History: Historical Source-Editing as National Monument". Romantik: Journal for the Study of Romanticisms 5, nr 1 (1.12.2016): 9. http://dx.doi.org/10.7146/rom.v5i1.26425.
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‘Kungliga samfundet för utgivande av handskrifter rörande Skandinaviens historia’ [Royal society for the publication of manuscripts on Scandinavian history], a society dedicated to the editing and printing of historical source documents, was founded in Stockholm in 1815. Earlier research has focused upon the editorial praxis of the society’s publication, Handlingar rörande Skandinaviens historia. Here I focus more upon the monumental and museological aspects of the society’s work. Viewed as types of national monument, source editions from the romantic era can tell us something about how history was produced and popularised during this period. The source documents printed in Handlingar served as educational tools intended to help the reader better understand history, specifically in this case the history of Sweden. But such editions also functioned – like a museum or a monument – as triggers for emotions, memory, and historicity, and like those other institutions, romantic-period source editions played a significant role in the construction and negotiation of national memory and heritage.
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Babadzhanov, Dilmurod K. "Data on prominent representatives of the Muslim elite of the Khorezm khanate of the 19th century, stored in the photo collection of the Khiva State Museum-Reserve “Ichan-Kala”". Historical Ethnology 8, nr 3 (4.12.2023): 394–406. http://dx.doi.org/10.22378/he.2023-8-3.394-406.
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The work reveals the history of the personalities captured in the photograph which is stored in the collections of the Khiva State Museum-Reserve “Ichan-Kala”. At its center is Muhammad Rahim Khan II, the ruler of the Khiva Khanate. Based on historical sources, the author of the article highlights the life and activities of Mukhammad Rakhim Khan II and the palace officials who ruled the Khanate at the end of the 19th century. It is shown that Mukhammad Rakhim Khan II aspired to be the patron of Sharia. He was an enlightened ruler – he supported musical and poetic arts, had polemical conversations with intellectuals, and was fond of writing poems. In 1874, under the patronage of Mukhammad Rakhim Khan II, the first printing house in Central Asia for printing lithographic books was organized in Khorezm. One of the first books published in it were “Khamsa” by Alisher Navoi and “Divan” by the poet Munis.
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Pushkarev, A. A., O. V. Zaytceva, M. V. Vavulin i A. Y. Skorobogatova. "3D RECORDING OF A 19-CENTURY OB RIVER SHIP". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (15.06.2016): 377–81. http://dx.doi.org/10.5194/isprs-archives-xli-b5-377-2016.
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A 3D recording of a 19-century wooden ship discovered on the bank of the river Ob (Western Siberia) was performed in autumn 2015. The archaeologized ship was partly under water, partly lying ashore, buried under fluvial deposits. The 3D recording was performed in October, when the water level was at its lowest after clearing the area around the ship. A 3D recording at the place of discovery was required as part of the ship museumification and reconstruction project. The works performed were primarily aimed at preserving as much information about the object as possible. <br><br> Given the location and peculiar features of the object, a combination of close-range photogrammetry and aerial photography was considered to be the best possible solution for creating a high-quality 3D model. <br><br> The dismantled ship was delivered to Nizhnevartovsk Museum of Local History in October 2015. The ship is going to be reassembled using the created 3D model to be exhibited in the museum. The resulting models are also going to be used to make a virtual 3D reconstruction of the ship in the future. We shot a stereoscopic video for Nizhnevartovsk Museum of Local History to let visitors see the place of discovery and explore the ship in greater details. Besides, 3D printing allowed for creating a miniature of the ship, which is also going to be included in the exposition devoted to this unique discovery.
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WILLIAMS, R. B., i BERNADETTE G. CALLERY. "The states and printing history (1861–1864) of John Henry Gurney's A descriptive catalogue of the raptorial birds in the Norfolk and Norwich Museum". Archives of Natural History 35, nr 2 (październik 2008): 339–59. http://dx.doi.org/10.3366/e0260954108000429.
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The first and only part published of A descriptive catalogue of the raptorial birds in the Norfolk and Norwich Museum by John Henry Gurney (senior) is usually dated 1864. But a copy with a variant title-page dated 1861 exists, raising the question of whether there are two editions or issues. Typographical errors indicate that all copies, whatever dated, constitute a single impression from one type setting. All copies dated 1864 have a cancelled title-leaf. The copy dated 1861 is apparently unique, an accidental survival that escaped the cancellation; its title-page never appeared in commercially available copies. Printing of the whole book, on three batches of paper, was demonstrated by internal evidence to have been protracted over three years from 1861 to 1864. Therefore, there is only one edition, published in 1864, with the title-page in two states. This study demonstrates how differences between batches of printing-paper can facilitate recognition of cancelled conjugate pairs of leaves that would otherwise be undetectable unless a copy without the cancellation were found. Examination of the cloth types, spine titles, endpapers and various printed insertions, indicates that probably two different casings of the whole edition were carried out simultaneously, rather than consecutively, contrary to the usual practice of Victorian publishers. The surviving original manuscript suggests that the protracted printing resulted from indecision about some taxonomic and nomenclatural points; but complications in Gurney's private life probably also contributed. No further parts of the catalogue were published, probably because of Gurney's disastrous business problems between 1866 and 1869. The potential relevance of the book to avian nomenclature is appraised.
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Popelnytska, Olena. "Books from library of Khv. Vovk with autographs, expliers and gifting inscriptions in the collection of books of the National Museum of the History of Ukraine". Вісник Книжкової палати, nr 9 (24.09.2020): 32–38. http://dx.doi.org/10.36273/2076-9555.2020.9(290).32-38.
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The library of the National Museum of the History of Ukraine (NMHU) contains printed editions originating from the book collection of Khvedir (Teodor) Vovk (Volkov). The affiliation of these editions to the said book collection is evidenced by the presence of proprietary autographs, gift inscriptions, bookplates and stamps of Khvedir Vovk's library. Analyzing the range of books allows you to find out the range of scientific contacts and interests of the library owner. Оwn library Khvedir Vovk began collecting in Paris, where he lived and worked in 1887—1905. In 1905 he moved his book collection to St. Petersburg. Аccording to the testament, the Khvedir Vovk's library in 1920 entered to the Ukrainian Academy of Sciences. In 1921 on the basis of this book collection at the Museum of Anthropology and Ethnology named after Khvedir Vovk was founded the Library. It is probable, that the first books from the Khvedir Vovk's library in 1934 entered to the book collection of the Central Historical Museum of Ukraine (predecessor of NMHU), after the disbandment of the Cabinet (former Museum) of Anthropology and Ethnology named after Khvedir Vovk. The modern book collection of the NMHU contains French-language and Russian-language books, representing the products of the printing houses of Amsterdam, Paris, Lyon and St. Petersburg of 1725—1821. These are quite rare publications on the history of Ukraine, in particular the Cossacks, and the ethnography of the peoples of the world. They marked with bookplates and proprietary autographs of Khvedir Vovk or prints of the stamp of the Library of the Museum of Anthropology and Ethnology named after Khvedir Vovk. The range of these antique books determines certain aspects of scientific interests of Khvedir Vovk. Books with gift inscriptions to Khvedir Vovk determine the range of scientific and private contacts of Khvedir Vovk with colleagues and friends, in particular representatives of the St. Petersburg's Ukrainian diaspora.
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Seggerman, Alex Dika. "Scholarly Rigour in Gelatin Silver: K. A. C. Creswell’s Photographs of Islamic Architecture". International Journal of Islamic Architecture 13, nr 1 (1.01.2024): 41–73. http://dx.doi.org/10.1386/ijia_00129_1.
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This article critically considers the aesthetics, process, and distribution of K. A. C. Creswell’s photographic collections of Islamic architecture. Creswell (1879–1974), a British university professor in Cairo from 1931 until his death, is considered one of the founders of the field of Islamic architectural history. As a young scholar in the 1910s, he took thousands of photographs of Islamic architectural sites, mainly in Egypt, which he then duplicated and deposited into major institutions of art historical study: Harvard University, the Victoria and Albert Museum, the Villa I Tatti, the Ashmolean Museum, and the American University in Cairo. While he strove to objectively document historical sites through photography, Creswell also inadvertently captured aspects of everyday life in the city of Cairo. These slips of modernity in his photographs highlight how he ‘personally re-created’ distinctive study images that are not solely documents of architecture. His choice of camera, lens, angle, shutter speed, lens filter, cropping, and printing generated an identifiable photographic style that marked these images within the field of art historical study. These five photographic collections, spread across three continents, thus exhibit how photography facilitated the incorporation of the field of Islamic art into the wider field of art history.
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Bitelli, G., V. A. Girelli, M. Medica i M. A. Tini. "From 3D surveying to replica, a resource for the valorisation of museum artifacts. The case of the bas-relief of Giovanni da Legnano in Bologna." Journal of Physics: Conference Series 2204, nr 1 (1.04.2022): 012093. http://dx.doi.org/10.1088/1742-6596/2204/1/012093.
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Abstract This paper describes the experience carried out by the Geomatics group of the DICAM Dept. (Department of Civil, Chemical, Environmental and Materials Engineering) of the University of Bologna, in collaboration with the Civic Medieval Museum, about the digitization and reproduction by 3D printing of the bas-relief of Giovanni da Legnano. This artwork is one of the symbols of the University of Bologna, the oldest of the western world, and consequently of all European academic tradition. In the text, the 3D surveying and physical reproduction operations of this object are described. The faithful copy of the object was presented in Brussels in 2017, on the occasion of the inauguration of the House of the European History.
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Pushkarev, A. A., O. V. Zaytceva, M. V. Vavulin i A. Y. Skorobogatova. "3D RECORDING OF A 19-CENTURY OB RIVER SHIP". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (15.06.2016): 377–81. http://dx.doi.org/10.5194/isprsarchives-xli-b5-377-2016.
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A 3D recording of a 19-century wooden ship discovered on the bank of the river Ob (Western Siberia) was performed in autumn 2015. The archaeologized ship was partly under water, partly lying ashore, buried under fluvial deposits. The 3D recording was performed in October, when the water level was at its lowest after clearing the area around the ship. A 3D recording at the place of discovery was required as part of the ship museumification and reconstruction project. The works performed were primarily aimed at preserving as much information about the object as possible. <br><br> Given the location and peculiar features of the object, a combination of close-range photogrammetry and aerial photography was considered to be the best possible solution for creating a high-quality 3D model. <br><br> The dismantled ship was delivered to Nizhnevartovsk Museum of Local History in October 2015. The ship is going to be reassembled using the created 3D model to be exhibited in the museum. The resulting models are also going to be used to make a virtual 3D reconstruction of the ship in the future. We shot a stereoscopic video for Nizhnevartovsk Museum of Local History to let visitors see the place of discovery and explore the ship in greater details. Besides, 3D printing allowed for creating a miniature of the ship, which is also going to be included in the exposition devoted to this unique discovery.
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Dvortsova, Natalya P. "Konstantin Vysotsky and the Media Revolution in a Siberian Regional Town of the Second Half of the 19th Century". Tekst. Kniga. Knigoizdanie, nr 27 (2021): 86–102. http://dx.doi.org/10.17223/23062061/27/5.
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The article describes the activities of Konstantin Vysotsky (1836–1886), who was first to open a photographic studio (1866), a lithographic studio (1867), a printing house (1869), and a newspaper (1879) in Tyumen. The first consideration of Vysotsky in the context of the history of the media and their transformations/revolutions contributes to the novelty of the research. It allows for a description of his experience of media transformations in a Siberian regional town of the second half of the 19th century in a systematic way, as opposed to the local and fragmentary descriptions which existed in science until now. The research methodology is integrative in nature: the study of book printing as a cultural practice in connection with economic, social and cultural transformations within the boundaries of cultural history (F. Barbier) is combined with contextual and intertextual approaches, bibliological and structural-typological analysis. The research material contains Vysotsky’s book, photographic, lithographic, and newspaper heritage stored in the Russian National Library, Tobolsk Historical and Architectural Museum-Reserve, I.Ya. Slovtsov Museum Complex (Tyumen), and the Digital Collection of the University of Tyumen entitled K.N. Vysotsky and the Media Culture of Tyumen. Vysotsky is presented both as an object and a subject of the economic, technological, social, and cultural transformations of the city. He was actively and creatively changing it. Based on the analysis of Vysotsky’s journalistic and publishing activities, his role in the history of the Tyumen shipping company and railway is revealed. The connection between Vysotsky and the landscape transformations of the city is shown. The idea that Vysotsky’s figure can be interpreted in the context of the phenomenon of new people in Russia in the 1860s–1870s is introduced. It is shown that the Tyumen generation of new people (N.M. Chukmaldin, K.N. Vysotsky, I.A. Kalganov, etc.) with their daily practices (reading, self-education, movement towards “light and will”, a new order in servant-master relations) was being formed largely under the influence of Nikolay Chernyshevsky’s novel What Is to Be Done? Tales of New People (1863), Nikolai Yadrintsev’s ideas of Siberian renovation, Ivan Turgenev’s interpretation of the image of Don Quixote (Hamlet and Don Quixote, 1860). Intertextual connections of the system of motifs revealing the image of new people in Nikolai Chukmaldin’s memoirs Notes on My Life (1902) and Chernyshevsky’s novel are presented. It is established that the first book published by Vysotsky, Charter of the Estate Manager Club in Tyumen, actually became a message about a new life of the city which Vysotsky and Chukmaldin addressed to the people of Tyumen. Another finding is the logic of Vysotsky’s professional development from photography to book printing. The author discusses the structure of the Vysotsky printing house repertoire dominated by documentary and non-fiction genres (road books, statutes, reports, calendars, catalogs, etc.). The complementarity of the book and visual (photographic and lithographic associated with the graphosphere) portraits of Tyumen created by Vysotsky contributed to a new hyper-reality which appeared in the city.
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ALYAMKIN, ANDREY, i ALEXANDER BARANOV. "ON THE SYSTEM OF WATERMARKS USED AT VARIOUS FACTORIES OF GOZNAK FOR THE MANUFACTURE OF THE FIRST PAPER BANKNOTES IN THE RSFSR IN 1919-1922". History and Modern Perspectives 4, nr 4 (28.12.2022): 38–45. http://dx.doi.org/10.33693/2658-4654-2022-4-4-38-45.
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This article was written by two specialists in the field of bonistics and is devoted to a little-studied page of the national history and the history of the production of banknotes. Both authors were directly involved in the work on the catalog «State legal tender without restrictions» (Moscow 2019). This work was one of the foundations that determined the classification of the entire Extraordinary Period (1914-1923). The purpose of the article was to show a unified system of a wide variety of watermarks used by various Goznak factories in this period. When using it, it became possible to separate individual banknotes by printing factories. Results: The very first period of production and existence of banknotes of the young Soviet Republic is analyzed. All the factories that appeared and work in those difficult conditions are indicated, with a description of the various types of money paper with which they worked. This article will be useful to historians studying money circulation, the history of the production of banknotes, collectors, experts, museum workers, and anyone interested in the production of paper money.
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Huang, Jun-Fu, Shang-Ching Yeh i Chi-Shu Tseng. "The Preservation and Digitalisation of Matrices of Regular Traditional Chinese Script and Related Fonts". International Journal of Humanities and Arts Computing 7, supplement (marzec 2013): 144–55. http://dx.doi.org/10.3366/ijhac.2013.0066.
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Traditional Chinese characters are currently used in Taiwan (Republic of China), Hong Kong and Macau. They maintain the original form of the Chinese characters, which have great aesthetic value. When printing, removable types are used, which are cased according to ‘script matrices.’ Script matrices are sculptured based on handwritten Chinese characters, and present the beauty of Chinese characters. The ‘Fengxing’ and ‘Rixing’ matrices are the only two remaining regular Chinese script matrices in all of Taiwan; they are a testament to the history Taiwan's printing industry. To preserve the ‘Fengxing’ matrices, with a total number of 3,780, we first recast the lead types from those matrices held at the National Science and Technology Museum (NSTM) by the Type-Casting Machine at the Rixing Type Foundries. The fonts of the lead types were printed by the Typographic Printing Press. The lead type, matrix and font from a regular traditional Chinese script were collated and then digitised by digital camera, another process used for their preservation. The lead types, matrices and digitalised copies were then stored and preserved in the NSTM. After the ‘Fengxing’ and ‘Rixing’ fonts will have been compared and analyzed, they will be combined, and a regular font for all commonly used Chinese characters (as designated by the Ministry of Education) will thereby be created. In this way, we will functionally preserve regular traditional Chinese type script and will give this representative script a new life in the digital age.
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Chen, Jessie Wei-Hsuan. "A Woodblock’s Career". Nuncius 35, nr 1 (23.04.2020): 20–63. http://dx.doi.org/10.1163/18253911-03501002.
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Abstract The Antwerp publishing house Officina Plantiniana was the birthplace of many important early modern botanical treatises. Throughout the sixteenth and seventeenth centuries, the masters of the press commissioned approximately 4,000 botanical woodblocks to print illustrations for the publications of the three Renaissance botanists – Rembert Dodoens, Carolus Clusius, and Matthias Lobelius. The woodcuts became one of the bases of early modern botanical visual culture, generating and transmitting the understanding of plants throughout the Low Countries and the rest of Europe. The physical blocks, which are preserved at the Museum Plantin-Moretus in Antwerp, thus offer a material perspective into the development of early modern botany. By examining the 108 woodblocks made for Dodoens’ small herbal, the Florum (1568), and the printing history of a selected few, this article shows the ways in which the use of these woodblocks impacted visual botanical knowledge transfer in the early modern period.
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Cognigni, Flavio, Valentina Alemanno, Luciano Fattore, Eleonora Stornelli, Francesco Genchi i Marco Rossi. "Preservation and Reproduction of an Ancient Human Humerus through X-ray Microscopy and 3D Printing". Journal of Physics: Conference Series 2579, nr 1 (1.08.2023): 012011. http://dx.doi.org/10.1088/1742-6596/2579/1/012011.
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Abstract The combination of X-ray Microscopy (XRM) and three-dimensional virtual reconstruction has enabled the digitization and restoration of broken artifacts. By scanning, acquiring, and virtually stitching together the 3D reconstructions of individual broken pieces, damaged relics can be visualized as if they were intact objects. These virtually reconstructed samples can then be reproduced as physical copies through 3D printing, allowing for the sharing of rare findings in museum exhibits worldwide so that printed copies can be displayed for public exposure, while the original pieces remain preserved. This paper aims to demonstrate the application of these reconstruction principles to an artificially modified human humerus belonging to the II–I millennium BC. The humerus was bent into the shape of a serpent for ritual purposes related to the ancient “Snake Cult”, which was widespread in the Persian Gulf area during the Iron Age. Following the scanning and software elaboration processes, the pieces were printed in Polylactic Acid (PLA) as a single object and made available to the public, thus giving new life to a unique piece of history.
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Tkachuk, Olga. "Wydania Franciszka Skaryny w zbiorach rękopisów i starych druków Muzeum Narodowego we Lwowie im. A. Szeptyckiego: analiza proweniencyjna". Z Badań nad Książką i Księgozbiorami Historycznymi 14, nr 2 (6.07.2020): 235–54. http://dx.doi.org/10.33077/uw.25448730.zbkh.2020.219.
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The Manuscripts and Early Prmted Books Department of The Andrey Sheptytsky National Museum in Lviv owns the largest in Ukrainę collection of books printed by Francysk Skaryna (1470? - before 29 I 1552), publisher, translator, one of the precursors of the East Slavonic printings. Even though it is the largest Francysk Skaryna’s book collection in Ukrainę, it includes only 21 titles (23 copies in 9 volumes). The article aims to establish the provenance of each copy of Skaryna’s books from the museum collection. The objective of provenance re- search is to tracę the previous ownership history and location of these books. The publication is also focused on explaining and extending some informahon about Skaryna’s books mentioned in museum documents and previous publicahons.
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Kjærgaard, Thorkild. "Museernes Fremtid". Kuml 50, nr 50 (1.08.2001): 233–37. http://dx.doi.org/10.7146/kuml.v50i50.103164.
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The future of the museumsA lot of people worry on behalf of the museums. Museums are boring and dusty, and no one can be bothered to visit them, the young ones not at all, they want adventure, they want int eractive computer games. In a report published jointly by Elsebeth Gerner Nielsen, minister of cultural affairs, and Pia Gjellerup, then minister of commerce, in December 2000, the two ministers decreed that ”it is necessary for Danish economy that the cultural sector – museums, too – begin to think commercially.” If one asks what it takes, the answer is often: ”make the museum s come alive.” A visit to a museum should be an experience similar to a visit to Legoland or Disneyland. We presently see museum leaders anxious about being left behind by the development and feverishly trying to make their museums come alive. Visitors’ centres spring up like mushrooms in the Danish museum landscape, and the National Museum in Copenhagen recently hosted the Missing Link – alive! exhibition, which illustrated the development of humankind through four million years. Here, showcases contained moving robots, interactive elements where the visitors could measure their strength against the Neanderthal Man, compare hands with some of our supposed ancestors, touch copies of tools, answer questions about the development of man etc. – hardly any original material was presented. It is my belief that the idea shared by politicians and some museums – that re-enactment may attract visitors – is utterly unrealistic and that too much attention is paid to a couple of isolated successes.l am not against people having a good time. However, I do not think this an area for the museums to make themselves seriously felt. Other media deal with history coming alive. Historical plays by Shakespeare, Racine, Johann Friedrich Schiller and August Strindberg have been performed a thousand times. People have cried in torrents over the destiny of Anne Frank, they have shivered to witness the brutal murder on Julius Caesar, and they have breathlessly followed the conflict between Charles V and his son, Don Carlos, the governor of the Netherlands, which is described by Schiller in such a spellbinding fashion. Museums will never be able to create anything similar to this, no matter how much they dress the ticket seller or the museum keepers in medieval clothing, and no matter how many monkey tricks are made in the museum cafés in order to serve medieval food and sour ale.Re-enacting the past is not a museum task. Films, theatre, and literature will do that. Still, this does not mean that there is no room for museums. Because the museums have something no one else has. They have things from the past. Most things by far are lost in the course of time, and so it should be. At least that is how it is. Most furniture is worn out and goes to pieces, and the same fate befalls clothes, glasses, shoes, cars, toys, tractors, packing, calculating machines, ladles, anything. Things are perishable; they disappear due to the ravages of time. Items slip away between our hands, just as the time, and much faster than we think. In most homes only a few things are older than fifty years.So, the museums are treasuries that protect the few remaining items for eternity. Only a single pale yellow wrong-coloured Swedish three-shilling stamp from 1855 exists. It is the world’s most expensive stamp, traded in the 1990s for thirty million Dkr. It is depicted in books on stamps, you see it in newspapers, on the Internet, everywhere, but there is only a single original one. It was sold for a fortune, the rest of the millions of reproductions of it have no price – they are used for wrapping up fish, they are me rely copies. The whole truth, the whole authenticity, the radical certainty that in 1855, a Swedish printer by mistake used a three-shilling pr inting plate while printing yellow eightshilling stamps is held within the pushing presence of the original.The aura of authenticity raises the original items to a class by themselves and makes them incomparable to anything else. The real is the trump card of the museums. The more freewheeling flow of pictures, the more monitors and TV-screens that are put up wherever you turn, the more worthless copies, the more tokens are circulated, the larger is the hunger for real things. The museum is the very place where the flow of copies ends, the place where the neverending maelstrom of reproductions is stopped, in the museums there is peace, here the flicker and the noise and absent-minded clicking of the mouse ends, here the world begins. At a time where the monitor replaces reality, museums may satisfy the hunger for the real thing.The de-realisation of reality, the daily encounter with fleeting pictures of things has created a huge demand for meeting the things in themselves. Museums are a countermeasure against the monitors. The museums safeguard the spaciousness and the plasticity, the tangibly existing against the cold immateriality of cyberspace. The truth is concrete, not abstract. If the museums want it, they have a future.The museums are the owners of a marvellous raw material, which on the other hand gives no guarantee of success; it is merely the prerequisite for success – just as the best theat replay does no t guarantee a successful performance. The good exhibition makes it possible to rediscover direction and meaning in a world tortured by fear of the future. If the museums would trust themselves and open their eyes to the immense treasure of original objects that they have at their disposal and not let themselves be seduced by all the talk of the great narrative being lost and everything being hopeless, then they have a great time ahead of them. I for one am not worried.Thorkild KjærgaardNordborgTranslated by Annette Lerche Trolle
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Joala, Liisi. "Kodukootud kangaid väärindades. Robert Natuse auruwärwimise wabrik Viljandis aastatel 1883-1941 / Increasing the value of homespun fabrics. Robert Natus’s dye house in Viljandi between 1883 and 1941". Studia Vernacula 8 (13.11.2017): 94–108. http://dx.doi.org/10.12697/sv.2017.8.94-108.
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Many good sources for the history of textile printing can be found among the international scholarly literature. The authors who have compiled them have made use of woodblocks, richly printed fabrics and fabric samples, notes taken by dye craftsmen, and other sources. Unfortunately, such material is rarely to be found in Estonian museums. More complete research into the technologies used in Estonian dye houses in the 19th and 20th centuries is therefore an ongoing process of discovery. This article draws on the remaining woodblocks of Natus’s dye house in Viljandi as well as on the information written by the craftsmen who specialised in dyeing and printing processes. Texts and advertisements published in the press and in the dye house’s calendars proved to be especially valuable sources. The article gives an overview of the services provided at Natus’s dye house by explaining which fabrics were typical and which fabric and printing dyes were used. The study is placed within a broader historical context: an overview is also given of the development of a field of activity and of the competitors of the dye house.
During the first half of the 19th century, handicraft was one of the main areas of activity and chief modes of production in Estonia. By the latter part of the century, textile companies were being established in larger towns and massproduced fabrics emerged as a competitor to homespun fabrics. Craftsmen could refine and increase the value of handmade textiles at dye houses. The emergence of such establishments played a key role in the development of handicraft, since it provided the craftsmen with an opportunity to offer higher quality fabrics than mass-produced ones.
In the nineteenth century, dye houses operated in numerous Estonian boroughs, towns, and even villages. In fact, several dye craftsmen lived in Viljandi. The most prominent dye house located in Viljandi is likely to beNatus’s dye house, which was active between 1883 and 1941. Robert Natus from Brandenburg purchased the plant from the heirs of August Valenius. In addition to the processing and dyeing of fabrics, he also offered woodblock printing as an additional service, which helped him stand out from the competition. No fabrics originating from Natus’ dye house have survived, and only 31 woodblocks that are preserved at the Viljandi Museum. Since few printed fabrics in Estonia have survived, the remaining woodblocks in museums are almost the sole evidence of the technologies used in textile printing at that time. Synthetic fabric dyes were mentioned in the advertisements of Natus’s dye house. Both the dyes and machines were imported from Germany. Continuous technological development and upgrades to the machinery were needed to keep up with the competition. Thus, for the sake of survival, all sorts of services were provided and the clients received extremely flexible treatment. The quality of the products was held in high regard, since tough competition already existed in the fabric dyeing business in the nineteenth and twentieth centuries. The network of co-operation partners was relevant too. In his heyday, Natus had 46 reception points throughout Estonia. But over the course of time, small dye houses could not keep up with large factories; eventually, many became washhouses.
Keywords: dye house, woodblock printing, printed textiles, Indanthren synthetic vat dye
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Joala, Liisi. "Kodukootud kangaid väärindades. Robert Natuse auruwärwimise wabrik Viljandis aastatel 1883-1941 / Increasing the value of homespun fabrics. Robert Natus’s dye house in Viljandi between 1883 and 1941". Studia Vernacula 8 (13.11.2017): 94–108. http://dx.doi.org/10.12697/sv.2017.8.94-108.
Pełny tekst źródłaStreszczenie:
Many good sources for the history of textile printing can be found among the international scholarly literature. The authors who have compiled them have made use of woodblocks, richly printed fabrics and fabric samples, notes taken by dye craftsmen, and other sources. Unfortunately, such material is rarely to be found in Estonian museums. More complete research into the technologies used in Estonian dye houses in the 19th and 20th centuries is therefore an ongoing process of discovery. This article draws on the remaining woodblocks of Natus’s dye house in Viljandi as well as on the information written by the craftsmen who specialised in dyeing and printing processes. Texts and advertisements published in the press and in the dye house’s calendars proved to be especially valuable sources. The article gives an overview of the services provided at Natus’s dye house by explaining which fabrics were typical and which fabric and printing dyes were used. The study is placed within a broader historical context: an overview is also given of the development of a field of activity and of the competitors of the dye house.
During the first half of the 19th century, handicraft was one of the main areas of activity and chief modes of production in Estonia. By the latter part of the century, textile companies were being established in larger towns and massproduced fabrics emerged as a competitor to homespun fabrics. Craftsmen could refine and increase the value of handmade textiles at dye houses. The emergence of such establishments played a key role in the development of handicraft, since it provided the craftsmen with an opportunity to offer higher quality fabrics than mass-produced ones.
In the nineteenth century, dye houses operated in numerous Estonian boroughs, towns, and even villages. In fact, several dye craftsmen lived in Viljandi. The most prominent dye house located in Viljandi is likely to beNatus’s dye house, which was active between 1883 and 1941. Robert Natus from Brandenburg purchased the plant from the heirs of August Valenius. In addition to the processing and dyeing of fabrics, he also offered woodblock printing as an additional service, which helped him stand out from the competition. No fabrics originating from Natus’ dye house have survived, and only 31 woodblocks that are preserved at the Viljandi Museum. Since few printed fabrics in Estonia have survived, the remaining woodblocks in museums are almost the sole evidence of the technologies used in textile printing at that time. Synthetic fabric dyes were mentioned in the advertisements of Natus’s dye house. Both the dyes and machines were imported from Germany. Continuous technological development and upgrades to the machinery were needed to keep up with the competition. Thus, for the sake of survival, all sorts of services were provided and the clients received extremely flexible treatment. The quality of the products was held in high regard, since tough competition already existed in the fabric dyeing business in the nineteenth and twentieth centuries. The network of co-operation partners was relevant too. In his heyday, Natus had 46 reception points throughout Estonia. But over the course of time, small dye houses could not keep up with large factories; eventually, many became washhouses.
Keywords: dye house, woodblock printing, printed textiles, Indanthren synthetic vat dye
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Khromov, Oleg. "Books from Sofia library in the cyrillic book collection at the Russian state library". St. Tikhons' University Review 110 (28.02.2023): 29–39. http://dx.doi.org/10.15382/sturii2023110.29-39.
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The article tires to identify early printed editions from Novgorod churches and monasteries as part of the Russian State Library (RSL) collection. It shows the way they got to the RSL and provides a method for their attribution. In the XVIII century, the books were collected in the St. Sophia Cathedral library in Novgorod. In the middle of the XIX century, some of them were brought to the library of the St. Petersburg Theological Academy. In the 1870s, the idea of exchanging book duplicates between the St. Petersburg Theological Academy and the Moscow Public and Rumyantsev’s Museums arose. It was supported by His Eminence Metropolitan of St. Petersburg, Novgorod and Finland Isidore. In 1874, the Rumyantsev’s Museum received 126 books. Among them, there were books from the Kirillo-Belozersk Monastery, the Sofia Library and some items of an unknown origin (without owner's signs). The article shows the methodology and process of attribution the books from Novgorod monasteries and churches based on the study of owners’ signs (for example, dedicatory inscriptions, authographs and other notes) taking in account the history of the Sofia Library collection. There were some contributions from the nobility, for example, D. M. Bashmakov, a statesman of the 17th century; or Princess Natalia Kirillovna, a mother of Peter I, who made a donation to the Novgorod Convent of Great martyr Euphemia the Glorious. This fact allows us to look at the history of monastic libraries in a more detailed way exploring their parts. The attribution of the books of Novgorod origin at the RSL collection illustrates the research method for regional Cyrillic book collections, which for the most part remains unexplored.Keywords: the early Cyrillic printed books, the Sofia Library, Novgorod Books, editions of the Moscow Printing House, the history of libraries, St. Petersburg Theological Academy, monastic and church libraries, books of Ancient Russia, regional collections of old printed books.
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Elena, Vorontsova. "Institute of the History of Religion of the USSR Academy of Sciences in 1946-47: Unsuccessful Project (According to the Letters from Klibanov's Archive)". TECHNOLOGOS, nr 1 (2022): 63–73. http://dx.doi.org/10.15593/perm.kipf/2022.1.05.
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In the post-war period by the efforts of V.D. Bonch-Bruevich and a number of his colleagues it was made an attempt to create a new institute in the structure of the USSR Academy of Sciences - the Institute of the History of Religion on the basis of the museums of the history of religion in Moscow and Leningrad. This project was never implemented but some materials about this period allow us to take a fresh look at the early stage of the Russian religious studies formation. The pages of the history of the Leningrad Museum of the History of Religion have been studied in sufficient detail in publications of recent years while little is known about the events in Moscow. We turn to A.I. Klibanov’s letters to his wife N.V. Yeltsina written from Moscow to Leningrad s the main source of information about these events. The letters cover the period from April 30, 1946 to February 27, 1948. The first date is the start time of work on the project of the new Institute, the last date is the re-arrest of A.I. Klibanov. The letters were prepared for printing (typed on a typewriter) and provided with handwritten comments by A.I. Klibanov. The scientist did not implement the plan of publishing his letters and memoirs. Currently these materials are stored in the A.I. Klibanov Foundation in the Archive of the Russian Academy of Sciences. The preface to the publication debunks the myth of A.I. Klibanov as a "false scientist", a "wolfhound". The difficult fate of Alexander Ilyich - scientific work, interspersed with camp terms, forced separation from his wife (also a biologist) largely reflects the path of the Soviet science. The fragments of correspondence cited in the publication, in addition to the actual history of religious studies, are full of details of post-war Soviet everyday life (the card system, difficulties with registration, problems with documents for former prisoners and, finally, the repeated wave of arrests in 1948-49). The publication of letters and comments were prepared by E.V. Vorontsova.
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Budnyk, A., Yu Marchenko i M. Selivatchov. "Kharkiv Art School in the History of One Family’ Three Generations". Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, nr 02 (październik 2021): 107–22. http://dx.doi.org/10.33625/visnik2021.02.107.
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The present article covers the materials about studies and teaching in Kharkiv educational institutions – the predecessors of the Kharkiv State Academy of Design and Arts (KSADA), participation in the educational process during the 1920s–1950s and the creative achievements of the architect Georgy Ikonnikov (1896–1981), his stepson, printing artist Roman Selivachev (1914–1995), as well as G. Ikonnikov’s granddaughter, Yelena Ganenko (born in 1945). The oldest of our characters studied in the 1910s at the Central School of Technical Drawing (now the Saint Petersburg Stieglitz State Academy of Art and Design) in the 1910s, then participated in the Civil War and in WWI. During the 1920s and 1930s he designed about thirty Kharkiv buildings in collaboration with A. Molokin, P. Krupko, V. Bogomolov. Among his works there are such landmark objects as “Lopan Stairs”, student dormitory “Giant”, National University of Construction and Architecture (former building of the State Insurance), Research Institute of Experimental Veterinary, A. Pushkin Drama Theater, M. Skrypnyk House of Culture, etc. G. Ikonnikov taught in the art schools, headed the architectural and construction department of Kharkiv research institute for industrial projects, which created a number of important enterprises for India, China, Syria and other countries. R. Selivatchov studied at Kharkiv Art Institute (1929–1932), designed the expositions of the Svyatogorsk Museum, and later the “Kyiv-Pechersk Lavra” Reserve, and worked in printing. In 1941 the student of the Kyiv Civil Engineering Institute was drafted into the army. After the war he graduated from Moscow Polygraph Institute. The first and subsequent editions of Ukrainian Soviet Encyclopedias, branch encyclopedic reference books, “History of Ukrainian Art” in six volumes, “Dictionary of Artists of Ukraine”, “Shevchenko Dictionary”, other projects of national importance were designed under his leadership. A lot of them were awarded by the diplomas of International, All-Union and republican book competitions. Among R. Selivatchov’s followers there are graduates of Art and Architectural universities in Leningrad, Kharkiv and Kyiv, members of the National Artists’ Union of Ukraine. However, the desire to be an artist is not always realized. Encouraged by her grandfather, O. Ganenko from childhood posed for his students and dreamed of becoming an artist. One of her portraits decorated the lobby of Kharkiv Art Institute for many years. Finally, she preferred mathematics, taught at Kharkiv University, but remembers unforgettable moments related to Kharkiv Art school.
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Крюкова, А. В. "Reflection of the Everyday Life of the Resorts of the Black Sea Coast of the Caucasus at the Turn of the 20th Century in the Collection of the Felitsyn Krasnodar State Historical and Archaeological Museum-Reserve". Nasledie Vekov, nr 4(32) (31.12.2022): 104–16. http://dx.doi.org/10.36343/sb.2022.32.4.009.
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В статье представлены результаты анализа фондов Краснодарского государственного историко-археологического музея-заповедника имени Е. Д. Фелицына на предмет отражения в них тематики повседневной жизни курортов Черноморского побережья Кавказа рубежа XIX–XX вв. Комплекс материалов составили выявленные в ходе работы источники: письменные (публицистические издания и периодическая печать), изобразительные (открытки, этикетки конфет) и вещественные (предметы городского быта, женские аксессуары, деньги). Особое внимание при этом уделено почтовым карточкам с фотографиями приморских городов и их курортной инфраструктуры, являющимся самыми многочисленными и информативными из рассмотренных источников. Произведена их подробная атрибуция: определены время создания, выпустившие их издательства, установлены изображенные места Черноморского побережья. Выделены основные тематические аспекты, которые можно раскрыть исследователям при анализе размещенных на открытках иллюстраций. The aim of the study is to identify sources on the history of the everyday life of the resorts of the Black Sea coast of the Caucasus at the turn of the 20th century in the funds of the Felitsyn Krasnodar State Historical and Archaeological Museum-Reserve (the main historical museum of Krasnodar Krai) and to determine the degree of their representativeness. The research materials were sources identified in the course of the work: written (journalistic publications and periodicals), pictorial (postcards, candy labels) and material (urban household items, women’s accessories, money). The sources were identified during the author’s direct acquaintance with the museum’s collections in the State Catalog of the Museum Fund of the Russian Federation. In the process of research, methods of source analysis and synthesis, as well as typological and comparative methods, were applied. The author pays special attention to postcards with photographs of the coastal towns of the Black Sea coast of the Caucasus and their resort infrastructure. They are the most numerous and informative of the considered sources. The author considers in detail the principles of dating postal cards issued in the period under study in the Russian Empire and makes their detailed attribution: the quantitative characteristics of the analyzed postcards were revealed (in general, more than 200 postcards in the museum fund were studied), the time of creation, the publishing houses that issued them, the depicted places of the Black Sea coast were identified. In some cases, the authorship of photographic images is determined. The author emphasizes that the postcards in question were produced mainly by local publishers, who often, due to the lack of technical capabilities, collaborated with capital or foreign printing houses by ordering postcard printing. The author notes that the postcards that were used and went through post offices are especially interesting: they can be attributed to written ego sources as they contain personal texts that reveal various aspects of the daily life of holidaymakers. The analysis of illustrations placed on postcards shows their main thematic aspects to researchers. The author concludes that, on the basis of postcards, it is possible to study the features of the improvement of the resort area of the Black Sea coast of the Caucasus by comparing these features with the characteristics of other Russian and foreign sea resorts.
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TAKAOĞLU, Turan. "TRABZON MÜZESİNDE BULUNAN OSMANLI DÖNEMİNE AİT BİR TAŞ BASKI". Karadeniz İncelemeleri Dergisi 17, nr 35 (23.09.2023): 55–78. http://dx.doi.org/10.18220/kid.1380288.
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This study presents a unique instance of a lithographic stone from the early 20th century that is currently housed at the Trabzon Museum. The limestone block in question exhibits a cream coloration and possesses two surfaces that are notably smooth and flat. One side of the block showcases hand-drawn depictions of commercial images, while the other side presents a map delineating the geographical aspects of the Çanakkale Strait. This particular work holds great significance in the context of Ottoman printing history, since it not only contributes to our understanding of this field but also sheds light on several fragmented depictions of lost Ottoman commerce. The labels illustrated on Side A of the lithographic stone exhibit three different types: unilingual, bilingual, or trilingual. These labels make use of many languages including French, Greek, Ottoman Turkish, Armenian, and English. Within the aforementioned categories, there exists a label that pertains to a producer of mineral water situated in Sürmene. Additionally, two labels are associated with pharmacies operating in Trabzon and Samsun respectively. Furthermore, one label corresponds to a manufacturing facility engaged in the production of Douzico, while another label is attributed to a vendor of quinine sulfate originating from London. It is likely that the printing establishments in Trabzon served not only the local community, but also the surrounding communities, potentially extending as far as Samsun and possibly beyond. The inclusion of the Çanakkale Strait map on Side B provides valuable evidence that contributes to our understanding of the geographical nomenclature pertaining to both the European and Asian regions of Çanakkale during the 1910s, immediately preceding the commencement of the Gallipoli Campaign. This particular map can be regarded as the most extensive and thorough representation of the Çanakkale Strait during the specified time period.
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Bedulina, I. P. "PRESERVATION, STUDY AND POPULARIZATION OF BOOK HERITAGE IN IRKUTSK ("ACADEMIA" PUBLISHING HOUSE COLLECTION)". Proceedings of SPSTL SB RAS, nr 1 (6.03.2020): 26–34. http://dx.doi.org/10.20913/2618-7515-2020-1-26-34.
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"Academia" Publishing House (1922–1937) books are an example of high publishing culture.For many years, the products of the publishing house have been the subject of close attention on the part of bibliophiles and collectors in many countries of the world. The reason for this interest is literary impeccability and excellent decoration. To reach unprecedented artistic heights became possible thanks to the work of the best Soviet professional artists. All the existing printing methods, the best printing houses, and graphic art techniques were used while creating these books. The history of the publishing house, covered in rare publications, alongside with triumphal events, victories at international book competitions, is full of dramatic and even tragic pages. It can be called the publishing house of repressed editors, authors, and books.Almost all the managers of Academia, many employees were subjected to repressions, were sentenced to capital punishment. Their names were extorted from the output of the entire book circulation; introductory articles were cut out, publications were discontinued, sometimes, entire print runs of books were destroyed. In modern libraries, copies of such "repressed" books have been miraculously preserved. That is why it is difficult to overestimate their historical and cultural value – genuine documentary witnesses of historical events of almost a century remoteness.The history of the Academia Publishing House is intertwined with Irkutsk, since the stuff included people whose fate related to the city on the Angara: the last head of the “Academia”, Yakov Davidovich Yanson, after the October revolution held leadership positions in the government in Irkutsk; the founder of the Soviet school of folklore and anthrax studies, Irkutsk professor Mark Konstantinovich Azadovsky also collaborated with the publishing house “Academia”.The article is the first to observe the questions of valuable collections formation and preservation in the Irkutsk Regional Universal Scientific Library named after I. I. Molchanov-Sibirsky (IRSUSL), the former library of the Irkutsk Pedagogical Institute and the library of the Irkutsk Regional Art Museum named after V. P. Sukatchev (IRAM). Collecting bit-by-bit book masterpieces, librarians study, popularize them at exhibitions, presentations, lectures, showing the authentic Russian book art culture.
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Grigorjeva, Veronika. "Cantatory manuscripts of Antonievo-Siysky monastery as a source for the history of Russian church singing of the 17th century (notation, text editions, styles of singing)". St. Tikhons' University Review. Series V. Christian Art 53 (29.03.2024): 51–76. http://dx.doi.org/10.15382/sturv202453.51-76.
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The Synodal Cantatory Collection of the State Historical Museum contains a complex of cantatory MSs from Antonievo-Siysky Monastery. Most of them date from the 17th century. This was the time when the Russian tradition of church singing was being actively transformed. At Antonievo-Siysky Monastery, these changes took place quite intensively, and the Siysky complex of MSs is a valuable source for the history of Russian church singing of the transitional period. All types of musical notation, known in the ancient Russian manuscript tradition of the 15th — 17th centuries, are found in Antonievo-Siysky cantatory MSs, including “double-signs” (Rus. двознаменники), as well as several pre-reform MSs with a naon edition, in which cinnabar marks of the same period as the main text are affi xed. The complex allows us to trace how the preferences of Siya’s scribes and singers in using a certain type of notation changed during the 16th — 18th centuries. According to the edition of the verbal text, Siysky MSs are divided into three groups, i.e. pre-reform, transitional, and post-reform. The variety of editions of the verbal text makes it possible to study the methods of Nikon’s editors of the Printing House (Rus. Печатный двор) and their monastic followers. The repertoire of chants found in Siysky MSs shows that Siya’s professional singers had excellent knowledge of both the cantatory heritage of the late 15th — 16th centuries and the achievements of their contemporaries from major centres of singing of that time.
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Grigorjeva, Veronika. "Singing manuscripts of Antonievo-Siysky monastery at the Synodal singing collection: palaeography and remarks on the history of the monastery and the monastery library". St. Tikhons' University Review. Series V. Christian Art 52 (29.12.2023): 9–32. http://dx.doi.org/10.15382/sturv202352.9-32.
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The Synodal Singing Collection of the State Historical Museum contains a complex of singing manuscripts from the Antonievo-Siysky Monastery. Most of them date from the 17th century. It is the time when the domestic tradition of church singing was intensively transformed. In the Antonievo-Siysky Monastery, the process of changes proceeded quite actively, and the Siysky complex of manuscripts is a valuable source on the history of Russian church singing in the transitional period.All types of musical notation, known in the ancient Russian manuscript tradition of the 15th–17th centuries, are presented in the Antonievo-Siysky singing manuscripts, including double-signs (dvoznamenniky), as well as several pre-reform manuscripts with a naon edition, in which cinnabar marks modern to the main text are affixed. The complex allows us to trace how the preferences of the Siya scribes and singers in using this or that type of notation in practice changed during the 16th–18th centuries.According to the edition of the verbal text, the Siysky singing manuscripts are divided into three groups: pre-reform, transitional and post-reform. The variety of editions of the verbal text makes it possible to study the methods of work of Nikon's editors of the Printing House and their monastic followers.The repertoire of chants recorded in the Siysky manuscripts reflects the excellent knowledge of the Siya master-singers both the singing heritage of the end of the 15th–16th centuries and the creative achievements of their contemporaries from the major singing centers of that time.
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Dolgodrova, Tatiana A. "Inspired by Rubens: Antwerp Baroque Books Stored in the Russian State Library". Observatory of Culture 17, nr 6 (10.02.2021): 648–56. http://dx.doi.org/10.25281/2072-3156-2020-17-6-648-656.
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The article is devoted to the history of Antwerp printed books, which, in the first half of the 17th century, underwent a profound transformation caused by the influence of the Baroque style emerging in the Netherlands, with its characteristic contrast, dynamism and intensity of images, and combination of reality and illusion. The author demonstrates the Baroque book development by the example of the sources that she first introduces into scientific circulation: books stored in the Research Department of Rare Books (Book Museum) of the Russian State Library (RSL). The article gives examples of the formation of a new allegorical thinking of the Baroque, in which allegory became the norm of artistic vocabulary. The new allegorical imagery is noted in the title pages and illustrations of books that characterize the printing of that period. The Antwerp printer Balthazar Moretus (1574—1641) was an excellent master of this new Baroque book. By using leading artists to design his books, he took an important step in the development of book design. There are well known publications by B. Moretus featuring beautiful title pages designed by his friend Peter Paul Rubens (1577—1640). The typical appearance of text sheets is also the result of the use of elegant fonts, rich design and abundance of decorative elements. The article analyzes the influence of Rubens on the Baroque book formation in Antwerp.
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Malik, Umair Shafqat, Liselore Tissen i Arnold Vermeeren. "3D Reproductions of Cultural Heritage Artifacts: Evaluation of Significance and Experience". Studies in Digital Heritage 5, nr 1 (30.06.2021): 1–29. http://dx.doi.org/10.14434/sdh.v5i1.32323.
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3D digitization of cultural heritage has long been used to preserve information about cultural heritage (CH) objects such as architecture, art, and artifacts. 3D dissemination of CH objects through technologies such as augmented reality, virtual reality, and 3D printing have impacted the fields of art history and cultural heritage and have become more common. Yet, studies that go beyond the technical aspects of 3D technology and treat such topics as their significance for restoration, conservation, engagement, education, research, and ethics hardly exist. The aim of this paper is twofold: on the one hand, it aims to get a better understanding of the applicability of each technology for different purposes (education, research, conservation/restoration, and museum presentation), and, on the other hand, it focuses on the perception of these technologies. This research was carried out by combining a literature review with quantitative and qualitative analyses of the data acquired through (1) a questionnaire of eleven questions and (2) a workshop with a group of specialists and non-specialists who were asked to brainstorm about the different uses of the 3D technologies and their applicability to their areas of work and research. Based on the analysis of these quantitative and qualitative data, we provide some criteria for using 3D digitized and printed reproductions to enhance cultural experiences. The results demonstrate the importance of carefully designing 3D interactions in the personal and cultural contexts of end-users and cultural institutions in order to create authentic cultural experiences.
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Koleva, Donka. "Project "Digital Presentation and Preservation of the Cultural Heritage of the Old-print Fund and the Historical Theatre Salon of Community Center "Nadejda 1869", Veliko Tarnovo"". Cultural and Historical Heritage: Preservation, Representation, Digitalization 6, nr 1 (2020): 32–42. http://dx.doi.org/10.26615/issn.2367-8038.2020_1_003.
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The topic is dedicated to the joint project between „Nadejda 1869” community Center and Regional Library „P.R.Slaveykov”. The objectives of the project are preservation and popularization of the Bulgarian cultural heritage in the European context of cultural and creative industries, cultural exchange and cultural diversity through: (1) Presentation and popularization of the value of the cultural wealth of the Community centre; Popularization of the theme of the book Treasures of the Community Library and innovative online presentation of the old Printing fund, storing it in electronic form to facilitate access to it and its preservation for future generations; (2)Popularization of the historical cultural hall, connected with statehood and the first inscription „Unity makes Power” by digitization of archival documentation; (3) Stimulating sustainable partnerships, exchanging experience and knowledge, bringing together scientific and practical experience in the preservation of cultural heritage and volunteering. The community Center „Nadezhda 1869” is associated with historical events important for the Bulgarian statehood. Three great folk assemblies were sitting in his theater hall. It starts the library and museum work, the theater, the cinema and the Art Gallery in the city. The library has a fund of 48 787 units, and the old-print collection consists of 446 books, newspapers and magazines from the period 16th -19th century. The oldest is the book „The Work Miney”, printed in Venice in 1588 and containing religious texts in Greek. For digitization is selected the topic „Bulgarian education to Liberation”, consisting of teaching aids in linguistics, natural sciences, mathematics and history – a total of 78 titles. Digitization is carried out in the specialised Digital center „North +” of Regional Library “P.R.Slaveykov", created under the program BG08 „Cultural Heritage and contemporary arts”. The successful realization of the project activities will help to protect and promote knowledge, improve access through digital technologies to the specialized collections of the old Printing fund and popularization of the Historical Theatre Hall -National value, through their inclusion in the cultural treasury „North +”, the rubric „Old print Fund” and the website of the Community Center. Keywords: Preservation of Cultural Heritage, Old-print Fund, Historical Theatre Salon "Nadejda"
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Bazarov, Boris V., i Anna M. Plekhanova. "Бурят-Монгольский ученый комитет (1922–1929 гг.): этапы становления и организация первых научных исследований". Oriental studies 14, nr 4 (12.12.2021): 697–709. http://dx.doi.org/10.22162/2619-0990-2021-56-4-697-709.
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The article aims at shedding light on the history of the Buryat-Mongolian Scientific Committee: stages of its growth, contributions of its staff members in the organization of research and its implementation. Materials and methods. Both published and unpublished documents kept in the Center for Oriental Manuscripts and Xylographs of the Institute for Mongolian, Buddhist, and Tibetan Studies of the Siberian Branch of the Russian Academy of Sciences and in the State Archive of the Republic of Buryatia were used as the main sources for the reconstruction of the past events while the data analysis was based on the main scientific principles of historicism, systematicity, and objectivity; the paper’s comprehensive approach was implemented via the method of system analysis, problem-chronological and historical-comparative methods, and local history. Results. The Buryat-Mongolian Scientific Committee (Buruchkom), established in July 1922, was designed to promote the national-cultural construction in Buryat-Mongolia while focusing on research and educational tasks. It had to begin its operation under far from favorable conditions, such as poor funding, illiteracy of the population, a shortage of personnel, and practically non-existent printing and publishing, especially in the Buryat-Mongolian language. Nevertheless, Buruchkom organized the studies of Buryat history, archaeology, spiritual and material culture, language and religion, and started field work as well. A significant portion of its activities was initially directed towards translation of educational and socio-political literature into the Buryat language, related terminological and lexical studies, preparation and publication of teaching materials, such as textbooks and teaching manuals for Buryat-Mongolian schools. The academic environment was enhanced with establishing a library and museum, which were of much relevance for future scientific work. Buruchkom’s final success was due to its fruitful cooperation with the central scientific institutions of the country and the Mongolian Scientific Committee. Conclusion. Despite that its team of researchers was not numerous, Buruchkom managed to organize, as well as conduct research projects in the fields of history, archaeology, ethnography, and linguistics. Having accomplished an important objective of laying the foundations of science in the region, it has now become a leading academic center of the Republic, known for its research in the arts and humanities.