ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00383.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

摘要:

History makes up the very stuff of museums, just as they in turn tell its unfolding story. The historical and cultural influence of Kiev spans more than 1,500 years, and incomparable material evidence of this past has come down to us. The city boasts of no less than forty museums, covering a wide variety of disciplines: fine arts, architecture, history, popular architecture, the goldsmith's art, natural history, literature, politics, etc.Kiev's museums occupy some 200,000 square metres, 90 per cent of which are devoted to exhibition space. Their collections contain over a million objects and receive as many as four and a half million visitors a year.I. G. Yavtushenko describes for us below the state museums of Kiev. In addition, there are as many other museums run by various social organizations on a voluntary basis, illustrating the history of major industrial undertakings, city neighbourhoods or educational and other institutions.1

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00384.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

摘要:

There are certain architectural monuments whose existence is vital for our image of a country or a city. The former Lavra in Kiev is one such ensemble. Nestling in the picturesque slopes that overlook the Dnieper, these fine monastery buildings are part and parcel of the inimitable charm of Kiev, the eternal loveliness of this ever youthful city.The Ukrainian people have forged a distinct national culture and varied artistic traditions, foremost among them architecture—the art that Gogol characterized as a kind of ‘chronicle of life’—and the plastic arts.In 1926, the Government of the Ukrainian Soviet Socialist Republic declared the precinct of the former Kievo‐Pecherskaya Lavra, or Monastery of the Caves (‘Lavra’ was the title conferred on large monasteries subordinate only to the highest religious authorities; ‘pechera’ means cave in Ukrainian) to be a state preserve of history and culture. The many buildings and labyrinthine caves now make up a unique complex comprising four museums, eight permanent exhibitions and forty unparalleled architectural monuments. The area covers 11,000 square metres, half of which is given over to display of some 56,000 objects. More than two million visitors—from every Soviet republic and over seventy foreign countries—visit it every year. More than 36,000 guided tours are organi

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00385.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

摘要:

Uniting many Slavic tribes, Kievan Russia reached its apogee between the tenth and the twelfth centuries, a period of great creativity in architecture, craftwork and literature.This flowering of national culture was in large part due to the adoption of Christianity under Prince Vladimir in 988–89, which formed the ideological basis for the change to a new social system, and brought the country into closer contact with East and West alike, but above all with Byzantium. The latter was then a leading cultural influence, the guardian of the artistic heritage of ancient Greece and Rome.Few if any medieval countries were open to such a wealth of cultural influences as Old Russia, whose artistic genius transformed the borrowed elements, making them an authentic part of its indigenous culture. The explanation for this undeniable fact lies in the country's own deep‐rooted and vigorous traditions.Jewellery‐making was among ancient Kiev's finest arts. An incomparable collection of medieval ornaments is held by the Ukrainian Museum of Historical Treasures in Kiev. Built up through archaeological research, the collection has been studied by generations of scholars, such as Elena Starchenko. In the pages below this scholar‐museologist explores the inspiration, the technical intricacies and the social significance of this sophistica

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00386.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00387.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

摘要:

Physicists and museologists in the Ukraine, working together, like the authors of the following article, have been pioneers in an exciting new field: the diverse applications of holography in the museum.The authors provide valuable information on research work being carried out in the laboratories of the Ukraine and its application in an increasing number of museums. They describe the technique and its vast potential, particularly within and among museums throughout the world.

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00388.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00389.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

摘要:

The article below is a shortened version of a paper by Thomas Angotti, specialist in urban and regional planning. It intends to lay the groundwork for a systematic theoretical approach to open‐air museum planning as a form of historic preservation and in relation to the teaching of urban history. The author reviews the origins and development of open‐air museums in Europe, comparing them with their counterparts in the United States of Amer

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00390.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00391.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY

ISSN:1350-0775    

DOI:10.1111/j.1468-0033.1982.tb00392.x

出版商:Blackwell Publishing Ltd    

年代:1982

数据来源: WILEY