Literatura científica selecionada sobre o tema "Sculpture bulgare"

Amongst exhibited fragments of carved stone decorations in the monastery of St Archangel Michael in Prevlaka, Boka Kotorska, situated on the ground floor of the monastery's accommodation quarters, there is a segment of stone liturgical furnishings which is, among other things, distinguished by its monumental dimensions, the high level of its craftsmanship, and the important artistic value of its carved decorations. This small stone column was found by chance as a surface-level find on the neighbouring island of St Gavrilo. This stone column is made from a monolithic piece of high- quality, light-grey marble. It is 96 cm in height, 20 cm wide at the front, 18.5 cm wide at the side, and 13cm wide at the rear. These dimensions indicate that the fragment has the form of an elongated hexahedron, with sides of unequal width. Only the front of this stone fragment is marked with relief decorations, comprising a regularly shaped two-part curled sprouting vine. Moving with its undulating rhythm, its arc defines a space in which is located the central motif of the decoration. This comprises the motif of a bud in the form of stylised crinoline flower, composed of two lateral leaves with a pronounced bulge in the middle. These tightly bent lateral leaves with sharp ends, together with the root of the formed shoot, leave an empty space filled with an offshoot in the form of a regularly formed volute. The left lateral side of the stone column is marked by a long but relatively shallow channel, created around its axis, with a width of 7.5 cm. Its rear side is divided by its own height into two vertical fields, of almost the same width - 6 and 7 cm respectively - one slightly elevated compared to the other. The right lateral side of the column is slanted and only lightly sculptured. On the upper surface of the pillar, a relatively shallow circular hole with a small span is visible, intended as a connection point for other segments that would have been placed on it. The material, size, characteristic shape, together with its special personal details, such as the channel around the whole height of its left lateral side, as well as the shallow hole on its upper surface, without doubt show that it was one of the original stone columns of a particular stone altar screen. Analysis of the motif's source, decorative forms, and the quality of its carving confirm that this segment of the altar screen represents one more parts of the same sculptors' workshop which produced one preserved part of the stone altar screen of St Triphon in Kotor, which received the same decorative and sculptural treatment, also undoubtedly originating from no before than the 11th century. The possibility of completely resolving the dilemma of which sacred complex the column originally belonged to will only be resolved when archaeological excavation and investigation of the site of the monastery of St Archangel Michael in Prevlaka, in whose treasury it stands, together with the neighbouring island of St Gavrilo, on which the pillar was found, takes place. The possibility of precisely dating this stone altar screen will only occur with the expected full understanding of the whole altar screen of the Cathedral church of St Triphon in Kotor. However, this segment of the stone altar screen also represents a reason to better comprehend the morphological characteristics and variety of stylistic expression present and specifically applied in the decorative elements of early-medieval sculpture on the southern-eastern Adriatic coast.

Se describe una nueva especie del género de Cyanobacterias, Anabaena Bory ex Born. et Flah. (Nostocales) de las montañas Ródope de Bulgaria. Anabaena rhodopensis sp. nova. tiene acinetas con paredes celulares esculpidas. Se dan los datos biométricos para el tamaño de las células vegetativas, heterocistos y acinetos.A new species of cyanobacterial genus Anabaena Bory ex Born. et Flah. (Nostocales) from Rhodope Mountains in Bulgaria is described. Anabaena rhodopensis sp. nova. has akinetes with sculptured cell walls. Biometrical data for size of vegetative cells, heterocytes and akinetes are given.

The topic of prehistoric anthropomorphic sculpture, its presentation and interpretation are widely covered in the works of Marija Gimbutas. In her honor is the submitted paper, which presents a representative and very interesting vessel. It is a vessel in the shape of a human body, rare in the Eneolithic era.The vessel was found accidentally on the surface of a settlement mound. It is partially preserved, but the available fragments allow to restore its shape and ornamentation. The massive legs and long feet allow the vessel to be placed upright. It is one of the most impressive specimens among this type of finds which represents a female mythological image, probably the Mother Goddess. Specific shape and ornamentation of the vessel suggest representative functions, probably used in various rites associated with prayers for fertility.

Aphaenogasterillyricasp. nov., a member of the A.subterranea species group, is described from Dinaric Alps of Slovenia and Croatia, from Golešnica Mt. in north Macedonia, Osogovo-Belasica Massif of southwestern Bulgaria, and from Kerkini Mts. of Greek Macedonia. It is characterised by large body size, moderately sculptured head, elevated mesonotum, and long propodeal spines. Its habitat preferences are discussed. A key to the Aphaenogastergraeca complex is provided.

Belogradchik rocks figures (Belogradchik rocks) are located in Northwest Bulgaria covering an area of 50 sq. km. They belong to Belogradchik tectonic unit (anticlinorium). They are built from Lower Triassic coarse, red, terrigenous rocks – conglomerates and sandstones. Three morphologic types of rock figures are distinguished often forming different combinations. They are a product of erosional processes occurring after the main tectonic movements during the Eocene and up to the present day. The roles of some of the earlier geological controls in the formation of the rock sculptures - tectonic, sedimentological and palaeographic are also discussed.

В статье проанализированы женские скульптурные изображения из кургана Улан Харам Шороон бумбагар в Баяннуур сомоне Булганского аймака Монголии. В погребении обнаружены в том числе и женские фигуры из терракоты. В настоящее время все материалы находятся на хранении в музее г. Хархорин. Характеристика керамической микропластики дана согласно апробированной автором схеме описания вотивных скульптур, с учетом гендерных различий. Цель публикации — введение в научный оборот сведений об особенностях женских средневековых изображений тюркского времени, выполненных их современниками. Дана характеристика 13 керамических фигур, выполненных в полный рост. В описании дана характеристика материала изготовления; приводятся инвентарные номера и размеры согласно документации музея; отмечается степень сохранности фигур; дано описание костюма, причесок, деталей макияжа; характеризуются антропологические особенности скульптурных изображений; дана расовая и, по возможности, этническая идентификация прототипов изображений. В статье отмечена схожесть находок (керамическая микропластика) из исследуемого погребения с изученными ранее материалами из кургана Шороон бумбагар в Замар сомоне Центрального аймака Монголии (хранящихся в Музее изобразительных искусств им. Г. Занабазара, г. Улан-Батор, Монголия). Кроме того, по всей видимости идентичные скульптурные изображения обнаружены при раскопках на северо-западе Китая погребения, датируемого периодом правления династии Тан, у деревни Яньцунь района Сисянь провинции Шэньси. Усыпальница принадлежит Сюэ Шао, первому мужу принцессы Тайпин, дочери императора Гаоцзуна. Исследование скульптурных материалов из баяннурского кургана позволило зафиксировать внешний облик знатных женщин эпохи средневековья из центральноазиатских степей. Компаративный анализ подтвердил уточненную датировку кургана последней четвертью VII в. н. э., что соответствует тюркскому времени в период господства империи Тан. Анализ статуэток позволил сделать вывод о возможном присутствии как южносибирского (тюркского), так и восточноазиатского (китайского) компонентов среди прототипов женских изображений. Новые данные позволили расширить знания о населении центральноазиатских степей в эпоху гегемонии империи Тан. The article analyzes female sculptural images from the Ulaan Haram Sharoon Bumbagar barrow in the Bayannuur Somon of the Bulgan aimag in Mongolia. Among other things, female figures made of terracotta were found in the burial. All materials are currently stored in the Kharkhorin museum. The characteristics of ceramic microplastics are given according to the author's approved scheme for describing votive sculptures, taking into account gender differences. The purpose of the publication is to introduce the scientific circulation of information about the features of female medieval images of the Turkic time, made by their contemporaries. The characteristics of 13 ceramic figures made in full growth are given. The characteristics of ceramic microplastics are given according to the author's approved scheme for describing votive sculptures, taking into account gender differences. The purpose of the publication is to introduce the scientific circulation of information about the features of female medieval images of the Turkic time, made by their contemporaries. The characteristics of 13 ceramic figures made in full growth are given. The description provides the characteristics of the manufacturing material; inventory numbers and sizes are given according to the museum's documentation; the degree of safety of the figures is noted; a description of the costume, hairstyles, makeup details is given; the anthropological features of sculptural images are characterized; the racial and, if possible, ethnic identification of the prototypes of the images is given. The article notes the similarity of finds (ceramic microplastics) from the investigated burial with previously studied materials from the Shoroon bumbagar mound in Zamar somon of the Central aimag of Mongolia (stored in the G. Zanabazar Museum of Fine Arts, Ulan Bator, Mongolia). In addition, apparently identical sculptural images were found during excavations in northwestern China of a burial dating from the Tang Dynasty, near the village of Yancun, Xixian District, Shaanxi Province. The tomb belongs to Xue Shao, the first husband of Princess Taiping, daughter of Emperor Gaozong. The study of the sculptural materials from the Bayannur burial mound made it possible to record the appearance of noblewomen of the Middle Ages from the Central Asian steppes. The comparative analysis confirmed the updated date of the mound to the last quarter of the 7th century AD, which corresponds to the Turkic time during the reign of the Tang Empire. The analysis of the statuettes made it possible to draw a conclusion about the possible presence of both South Siberian (Turkic) and East Asian (Chinese) components among the prototypes of female images. New data made it possible to expand knowledge about the population of the Central Asian steppes during the era of hegemony of the Tang Empire.

On the base of typical hypothetical reconstructions according to the stages of the development of the attire upon archaeological material the comparative history of attires of two states is restored. At the end of the 11th – in the beginning of the 12th century and later, the features of heavy metal attire were preserved, in Volga Bulgaria – of Finno-Ugric and nomadic, in Old Rus’ – mainly of Slavic one. At the end of the 11th – the first half of the 12th century noisy attires of different designs were formed. In the first half – the middle of the 12th century filigree, niello, openwork weaving were combined in Bulgarian jewelry. Adornments were complemented with bead pendants of new shapes. In Rus’, enamel attire of the sacred-ascetic style created innovations, the niello one was distinguished with a variety of ornamentation (wide bracelets), the filigree retained Slavic traditions. At the end of the 12th – the first third of the 13th century the best jewelry was created. In Bulgaria the temporal rings were complemented by a miniature filigree sculpture, necklaces and chains with pendants presented. Original filigree bracelets with oval endings were famous. In Rus’, enamel and black attires were made in exaggerated and lush styles; luxurious frames of jewelry with filigree technique were used. Filigree attire changed constructively, moving away from folk traditions. In Bulgarian attire the traditions of local and eastern jewelry combined; in Russian attire – of local and Byzantine jewelry.

In 2022, we are approaching 125 years since the birth of Dmitry Alekseevich Arapov, a prominent domestic surgeon, scientist, experimenter, organizer of the military medical services. Dmitry A. Arapov, one of the most prominent representatives of the S.S. Yudin scientific school, worked at the N.V. Sklifosovsky Research Institute for Emergency Medicine from 1929 till 1984. He quickly proved himself not only as an excellent doctor and a skilled surgeon, but also as a researcher, and soon became one of the closest students and associates of S.S. Yudin. Dmitry A. Arapov drafted as a field surgeon during the Soviet-Finnish war of 1939-1940, from the first to the last day he went through the Great Patriotic War, being the Head of the surgical service of the Northern Fleet in Polyarny. In this position, he significantly improved the system for providing emergency surgical care on ships and in naval hospitals, based on the experience gained over the years of work at the N.V. Sklifosovsky Research Institute for Emergency Medicine. From July 1950 Dmitry A. Arapov was Chief Surgeon of the USSR Navy, from May 1953 he was Deputy Chief surgeon of the Main Military Sanitary Directorate of the USSR Ministry of Defense, and from May 1955 again Chief Surgeon of the USSR Navy, until his retirement in October, 1968. At the same time, Dmitry A. Arapov did not leave his work at the N.V. Sklifosovsky Research Institute for Emergency Medicine until the last days of his life. Dmitry A. Arapov is the author of more than 200 research papers, including 14 monographs. Scientific interests of Dmitry A. Arapov went far beyond emergency surgery, to which he naturally paid most attention. His works are devoted to various issues of military and emergency surgery of the abdominal and thoracic organs, topical issues of burn injuries, surgical site infections, reconstructive surgery, neurosurgery, treatment of endocrine disorders, and anesthesiology and resuscitation. Also Dmitry A. Arapov successfully dealt with the problems of autotransfusion, blood reinfusion from the chest and abdomen, transfusion of fibrinolytic blood. The main directions of scientific research, laid down by Dmitry A. Arapov, are currently being continued at the Scientific Department of Emergency Surgery, Endoscopy and Intensive Care of the N.V. Sklifosovsky Research Institute for Emergency Medicine. Memory of Dmitry A. Arapov has been preserved to this day. To the 100th anniversary of the birth of D.A. Arapov, a scientific conference was held at our Institute. The naval hospital in the town of Polyarny, Murmansk region, was named after Dmitry A. Arapov, and in honor of D.A. Arapov, a memorial plaque was installed on its building. In the 70s of the twentieth century, People’s Artist of the USSR L.E. Kerbel created a sculpture of Dmitry A. Arapov, which was stored in the local history museum of the town of Polyarny. His bust portrait (by artist T.S. Smagina) is exhibited at the Scientific Department of Emergency Surgery, Endoscopy and Intensive Care of the N.V. Sklifosovsky Research Institute for Emergency Medicine. In addition, the N.V. Sklifosovsky Research Institute for Emergency Medicine owns an earlier portrait of Dmitry A. Arapov by artist F.S. Bulgak. We introduce these portraits into scientific circulation for the first time. We are confident that they will be able to tell contemporaries a lot about this scientist, surgeon and man who made a great contribution to surgery and military medicine, and rightfully entered the history of Russian medicine.

Boyan Rainov is born in 1921 in a family of which almost every member is dedicated to art. He himself is not well known in Bulgaria because of the fact that from 1946 he lived and worked in Paris, France. His work took place in the fields of drawing, illustration, relief and easel sculpture, but at the time of his stay in the French capital he managed to produce a number of outdoor monumental sculptural compositions. They are typical examples of one formal tradition in modern sculpture that refers its characteristics to organic and nonorganic natural objects. That tradition, often called biomorphic, is familiar to us from the work of Constantin Brancusi, Jean Arp and Henry Moore.