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"Beypazarı’nda Kilim Dokumacılığı ve Bitkisel Boyacılık

Author(s): Sinem Hürem Şanlı,Esra Bıyıklı,Ümran Kaya / Language(s): Turkish / Issue: 4/2014

Weaving is one of our ancient handicrafts and fabric weaving was born due to necessities such as covering up, dressing, protection from cold. Afterwards, various techniques, motifs and compositions were developed which led to the richness of Turkish weaving today. One of the most common techniques of Turkish weaving is rug weaving. Rugs woven in Beypazarı Public Education Center and vegetables used in dyeing the wool yarns for rugs were analyzed in this research. In Beypazarı, hall rugs are woven in patterns entitled with names from the region such as Çitimel, Başaklı, Kurtağzı, Beypazarı, Avşar and Ejderha. The most used of these is the hall rug called “Çitimel”. In dyeing of the yarns used in rugs, acorn dust, yellow bush, pinar weed, walnut shell, madder and indigo are used.

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"Libuse" by B. Smetana in terms of culture the national glorification

Author(s): Anzhelika Anatoliyivna Tatarnikova / Language(s): Ukrainian / Issue: 1/2020

The purpose of the article is to highlight the positions of the current side of the Opera concept of "Libushe". It is relevant for the modern creative life of Smetana, where the signs of national glorification are concentrated, indicative, as a principle of expression, for the postmodern and post-postmodern cultural space. The methodology of the research is based on art criticism focusing on the culture of glorification. It comes from the cult instructions in the concept of P. Florensky, developments in the culture of dithyramb in O. Losev, ideas about the religious and cult principles of positive ritual in E. Durkheim. Art criticism in the development of cult installations of B. Asafiev's research considers the principles of consideration of the composition "Libushe" by B. Smetana and defines analytical, historical-descriptive, comparative-stylistic, interdisciplinary-comparative methods. The scientific novelty of the work is as follows: for the first time in the domestic cultural studies and artistic developments focused attention on the cultural phenomenon of worship as part ofthe expression of the national idea of the composition of the musical-a stage performance called Opera. Conclusions. Generalization of the spiritual-semantic and dramaturgical specifics of "Libushe" Would. B. Smetana allows us to put forward the concept of quasi-liturgical content of the named work. This poetics reveals creative and ideological parallels to the stage performance of "Ruslan and Lyudmila" by M. Glinka as the "Slavic Liturgy". According to B. Asaf'ev, both before Wagner's musical and theatrical heritage and its mythopoetic attitudes and before the Pasion of J. S. Bach-piest, he realized that Lutheranism was in contact with the Byzantine liturgical practice.

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"Mam marzenia" - z kuratorką i opiekunką Generatora Malta Joanną Pańczak rozmawia Waldemar Rapior

Author(s): Joanna Pańczak,Waldemar Rapior / Language(s): Polish / Issue: 4/2018

Interview with Joanna Pańczak, by Waldemar Rapior

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"Tajemnice Odrzechowej" - interdyscyplinarny projekt edukacyjny jako podstawa dla działań konserwatorskich ratujących zabytkowe wyposażenie dawnej cerkwi w Odrzechowej

Author(s): Łukasz Wojtowicz / Language(s): Polish / Issue: 6/2016

Projekt „Tajemnice Odrzechowej” to wspólne przedsięwzięcie studenckiego Koła Rzemiosła i Ochrony Niematerialnego Dziedzictwa Kultury działającego na Wydziale Konserwacji i Restauracji Dzieł Sztuki warszawskiej ASP oraz Stowarzyszenia na Rzecz Rozwoju Wsi Odrzechowa. Głównym celem było uratowanie zabytkowego wyposażenia dawnej cerkwi w Odrzechowej (obecnie kościoła rzymskokatolickiego), które odnalezione zostało na strychu świątyni. Poza ochroną odnalezionych zabytków zaplanowana została również szeroka akcja edukacyjna oparta o warsztaty artystyczne oraz wykłady dotyczące sztuki cerkiewnej oraz ochrony dziedzictwa. Zajęcia plastyczne prowadzone były przez studentów, natomiast wykłady – przez pracowników Muzeum Budownictwa Ludowego w Sanoku. Dzięki naszym działaniom udało się zinwentaryzować oraz zabezpieczyć cenne obiekty, m.in fragmenty trzech ołtarzy bocznych, z XVIII i XIX wieku, elementy architektury ikonostasu oraz kilka drobnych ruchomaliów (m.in. krzyże procesyjne z XVIII i XIX wieku). Przeprowadzone warsztaty i wykłady wzbudziły wśród mieszkańców potrzebę podjęcia kolejnych inicjatyw mających na celu ochronę oraz promocję lokalnego dziedzictwa.

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"Trulli" na području grada Alberobello i problemi njihove zaštite

Author(s): Marija Gamulin / Language(s): Croatian / Issue: 3/1972

Der "Truli” ist ein Bau mit stufenförmigem Gewölbe, ausgeführt mit trockenem Gemäuer, meistens auf quadrati scher Basis, ähnlich unseren Bauten genannt "hunje" und "kažuni". Die grössten Gruppierungen der "Trulli" befinden sich in der Stadt Alberobello, in der ob zwei unter Schutz stehende Denkmal-Gebiete gibt (MONTI mit 1450 "Trulli" und gegen 4-500 Einwohnern und AIÄ FIOCOLA mit 400 "Trulli" und gegen 1500 Einwohnern; für nationale Denkmäler wurden auch einzelne Qbjekte ausserhalb dieser Gruppen erklärt (TROLLO SQVRAHO aus dem 17 Jahrhundert; CASA. D ’AMOHE aus dem 18.. Jahrhundert, das erste Hsub in Alberobello, das mit Mörtel erbaut wurde und das doch sichtbare Kennzeichen des Systems der Bauart der "Trulli" aufweist). Die historischen Angaben weisen darauf hin, dass der Bau der "Trulli" in Alberobello auf das Verbot des feudalen Herrn, die Wohnstätten der Kolonen mit Mörtel zu bauen, zurückzuführen ist. Im Aufsatz sind auch zahlreiche Probleme dargelegt, die verbunden mit der Begründung und der Behandlung der Präge des Schutzes entstanden sind; es wird auch auf die Bestrebungen hingewieeen, diese Probleme zu beseitigen, wie auch auf die Wege der Lösung, die sich bereits abzeichnen.

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"ЕX PANNONIA" - ČASOPIS SUBOTIČKIH PRIČA

Author(s): Zoran Vukelić / Language(s): Bosnian,Croatian,Serbian / Issue: 21/2018

The theme of the paper is a “product” of one of the activities ofthe Historical Archives of Subotica, the regional center of archival activities in thenorthern part of the Republic of Serbia - that is, writing, preparing and publishingof journal called “Ex Pannonia”. In the previous, twenty-one issue of the magazine,the pages of the Subotica edition published works of different scope and quality,with different topics, either from archival or other sources. The author startsfrom the postulates that the protection of archival material is the most importantactivity of the profession in historical archives, and therefore, the significance of theexistence of a journal like this one, despite all the faults and objections.

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"КАРТИННІ ГАЛЕРЕЇ" ДАВНЬОЇ ГРЕЦІЇ ЯК ХУДОЖНІ ПРОТОМУЗЕЇ

Author(s): Olena Honcharova / Language(s): Ukrainian / Issue: 3/2014

The problem of the genesis of an art museum as one of the institutionalized forms of modern museums is little research in domestic culturological discourse. The proposed paper aims to somehow fill this gap theoretical analysis of the museum as a social and cultural phenomenon, using as a base of source ancient literary reflection, in particular the work of historians, geographers and art of ancient Greece and Rome.Unlike domestic to foreign museology art museums have become quite the object of intense discussion in interdisciplinary discourse: philosophy, history, art, and cultural. Thus, over the past decade and a half there was a series of works (from articles to doctoral theses), the authors have devoted their research – completely or partially – that is what museums.By example is the article O. Sapanzha "Modern art Museum: In the Service of Humanity or man?", in which he emphasizes that art museum is a separate and independent form of museum culture phenomenon, while stressing the art museum and gallery type memorial Museum of art [1, 8]. On the genesis Art Museum, the O. Sapanzha even the Renaissance period considers "before museum gathering" that existed in the form of Antiquaries. To them it does and collection of the Medici in Florence, and the collection of Wittelsbach in Munich.This view of the process of institutionalization of art museum is somewhat contrary to the position of Western museologists. Italian scientist Raffaello Monti argues that the conversion art collection of the Florentine Medici dukes on municipal property is that the date on which we can talk about the emergence of an art museum, and suggests it is the first gallery Uffizi art museum in Europe. Therefore, the emergence of museums in the modern sense is in the first half of the eighteenth century [2, 28].T. Yurenyeva in a doctoral thesis on the museum as a social and cultural institution, pays attention to the question of the genesis of art museums. She believes the process of becoming not only an art museum, and the museum in general quite lengthy. "The genesis of the museum as a social and cultural institute – notes the author – starts on the Renaissance, when there is formation of its structural elements that are related to collecting, studying, exhibiting things as bearers of social and cultural meanings and functionally oriented preserve and updating cultural values. "The final stage of this process, in its opinion, is in the XVIII-XIX centuries [3, 34-36].Studied in detail the process of becoming an art museum T. Kalugina. Scientist pushes the beginning of this process to antiquity, however, in our opinion, rightly warns against in order to begin the process of counting of such institutions as Museyon, which usually normally written in various dictionaries and encyclopedias. She rightly argues that art museums have a short history but a long history ... Usually researchers, without going into the subtleties of philological called Greek Museyon ... first museum however they differed significantly from modern museums. However, analysis of semantics words are "Museyon" (a place dedicated to the Muses, a temple of the Muses) indicates, according to the researcher that these entities prior to the actual museum, but by no means can be considered the first museum in our sense [4, 41]. Thus, according to T. Kalugina, a social institution, which in the Renaissance called "museum" or "Museyon" could hardly be considered the beginning of what is embedded in the concept of "museum" us [4, 42].Sharing this view, however, we note that researchers leave aside another spatial form of the existence of ancient cultures in which architecture has become a "safe haven" for collection if not, the placement of works of art, and was the bearer of the spiritual culture of objectification in paintings – art stoya (gallery) ancient Greece.None of the authors do not deny the fact that if not a collection, the focus in a particular area of art – sculpture and painting – began in the days of ancient Greece. Along with the sacred or randomly-memorial places – temples and sculptures of athletes at Agora – artwork decorated stand – covered galleries, sometimes several tiers where philosophers met or walking, talking, vacation dwellers. These galleries, one side of which was a wall, and on the other floors supported by columns, often decorated with painting and sculpture.Information on the subject that interests us beginning with a common in the literature of ancient Greece genre ekfrazis – description of monuments of art. The earliest of these descriptions can be attributed to V century BC, because they already found the "father of history" – Herodotus. In the third century BC tradition continued, particularly Duris Samos, from whose works – "about the artist" and "On sculptors" – survived only three fragments. Polemon Ilionskiy (the end of the III century – first half of II century BC.). Left a first catalog of the so-called Athenian Pinakothek (stoya), which were stored, along with other artifacts and works of art: paintings, sculptures, objects of applied art.Among this information anywhere else "scattered" information about places that could be considered a prototype for art museums. That interior walls of homes are often painted or even covered with monumental painting, architectural theorist Vitruvius pointed out (I century BC). However, he mentioned only private homes [5, 138-139]. Pliny the Elder (23 – '79) in his "Naturalis History" ('77 BC. E.) Most attention to the realities of Rome, which is quite logical, because he wrote this encyclopedia for the Roman Emperor Titus. However, historian and suggests a number of important information about the Greek artists and their works. He writes about Athens Pinakothek, which was published works of Greek artists.About the Greeks Pliny writes that "they decorate their picture gallery old picture", "decorate their palestra and keromats images of athletes" and "portraits of Epicurus they are in bedrooms everywhere carry with them" [6, 79]. The text of Pliny follows that Pinakothek were common [6, 108]. As for the Greeks ("old") Pliny notes that "the art of the cities served and the artist was the common property of the world" [6, 102].Another valuable resource is informative ten-work "Description of Greece" Greek geographer and historian Pausanias. Pausanias (second century AD.), who is considered traditionally geographer, in his "Narrative ..." acted as a historian and art critic. At least half of the text of the book is devoted to a careful description of the works of ancient Greek art sculptures and paintings. Pausanias carefully enumerates and describes the monuments of art, which he saw clearly. Because his work is not only geographical in nature, but as for us, much more historical and historical in art. In the latter sense, it can be as genre of ekfrazis [7, I, XV, XXIII].Describing Points of Epidaurus, Pausanias notes Tholos, where the picture painted Pavsiy on which was depicted the goddess of intoxication and Matt god of love Eros. Given the geometry of Tolos (round building) can be in the affirmative to believe that it was a wall painting, easel and not [7, II, XXVIII]. Also Pausanias mentions stoya in Trezene (Korynfika) [7, II, XXXI] gallery Sparta [7, III, XIII, XVI], a place to talk – Leskha in Delphi [7, X XXVI].The fact that the galleries, which were works of art, were quite common and at the end of the second century AD shows ekfrazis Philostratus the Elder "paintings." Action "picture" is in one of the galleries of the suburbs of Naples, which at that time, like Greece in general was part of the Roman Empire. Ekfrazis constructed in the form of lectures for young people, as a retrospective record conversations instructive-educational nature at the request of the son of his friend, who's stopped by [9, 32]. The text can be understood that the gallery was filled with paintings, whose number, according to the text ekfrazis, reached 65 units. They were written on mythological subjects drawn from Greek literature (Homer, Hesiod, Aesop, Aeschylus, Euripides, Pindar), and the events of Greek history (gallery seems to have been public, works that adorn the gallery represented easel painting, according to architectural features, this gallery was stoya, though unusual, "four or five beams", gallery was not the old building, and the main thing: the picture was "collected and put"). This clearly says the author, and this means that we have at least two of the main functions of museums: collecting and exhibiting. (Note that most historians believe Philostratus described the gallery so that there is realistic, as well as the paintings referred to in ekfrazis [10, 23-26]).Thus, the museum features the de facto performed not those institutions that ancient Greeks called museyons. It is worth recalling that in Alexandria Museyon artwork is also not met. A way to meet one another – social and cultural phenomenon and its linguistic labels – is still very long. It should be noted that the term "Pinakothek" is also preserved and is now used to denote the subclass art museums, which contains only the collection of paintings.However, only conditionally possible to talk about the implementation galleries with custody. Survival from adverse weather conditions ensured of the building, as well as some techniques technology if they resorted artist himself, as testified Vitruvius. Any purposeful work on the conservation of the artwork has been conducted, but on some attempts such a restoration of ancient some authors have reported as generally unsuccessful, which often ended in damage or even destruction of the original.Only in ancient Rome will appear capture collecting (Greek) art, and so will be grounds to speak about the systematic collection as one of the museum invariant functions. This will happen as a transition to private ownership of the collection of works of art, which was not the Greeks, because all space art of ancient Greece was public.Given that the art museum can not be considered, ignoring the history of art, there is reason to believe "art" stoya and tolos ancient Greece in nature art proto museums, because they served as preservation and broadcast through art social and humanitarian experience of ancient society.

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(Nowe) trendy w muzealnictwie — spojrzenie subiektywne

(Nowe) trendy w muzealnictwie — spojrzenie subiektywne

Author(s): Marcin Zdanowski / Language(s): Polish / Issue: 1/2020

The article presents (in subjective terms) the directions of museology development, and shows issues related to the change of approach to museum audience. It is indicated that the viewer, recipient, or even participant, is more and more often placed in the center of the interest of a contemporary museum. The article pays attention to the change in mu-seum’s attitude in recent years. The once common transfer of knowledge, was changed to stimulating thinking and personal development. The set point for this attitude can be, the still little known, though dating back to 1957, Tilden’s principles of heritage interpretation. An attempt was also made to transfer Ray Oldenburg’s theory of Third places to museum context. In addition, arguments for an entrepreneurial and strategic approach to museum functioning and management were presented. Furthermore, a number of examples were shown, supporting the thesis that building a network of relationships and partnerships is one of the most interesting and effective tools in managing a contemporary museum.

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100 aastat Eesti sõjamuuseumi kogu

100 aastat Eesti sõjamuuseumi kogu

Author(s): Airi Herm,Aivo Põlluäär / Language(s): Estonian / Issue: 1/2018

Sőjamuuseumi kogud said alguse 19. jaanuaril 1919. aastal Eesti Vabastamise Sőja Muuseumi asutamisega. Alguses asus muuseum Tallinnas sőjaväe peastaabi majas Pagari tn 1. Muuseumi asutamise initsiaatoriks peetakse staabi ülemat polkovnik Jaan Sootsi, kelle esialgne idee oli luua sőjaajalooline arhiiv Eesti Vabadussőja sündmuste dokumenteerimiseks. 1 Laiema publiku kőnetamiseks otsustati luua aga muuseum, kus eksponeerida Vabadussőjast kogutud esemeid. Muuseumi algusaastatel tegelesid kogutud materjalide korrastamise ja süstematiseerimisega peastaabi ametnikud oma igapäevatöö kőrvalt, mistőttu muuseumikogu ei täiendatud süstemaatiliselt, st esemeid koguti juhuslikult. Korrastamisel käis abiks August Pulst Eesti Rahva Muuseumist.

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14th Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage

14th Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage

Author(s): Hanna Schreiber / Language(s): English / Issue: 2/2019

14th Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage; Bogotá, 9-14 December 2019

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25. Konferencja Generalna ICOM — KYOTO 2019, 1–7 września 2019

25. Konferencja Generalna ICOM — KYOTO 2019, 1–7 września 2019

Author(s): Małgorzata Oleszkiewicz / Language(s): Polish / Issue: 1/2019

Conference-Report: 25. Konferencja Generalna ICOM — KYOTO 2019, 1–7 września 2019. Reported by Małgorzata Oleszkiewicz.

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43rd Session of World Heritage Committee

43rd Session of World Heritage Committee

Author(s): Magdalena Marcinkowska / Language(s): English / Issue: 2/2019

43rd Session of World Heritage Committee; Baku, 30 June-10 July 2019

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A felvilágosodás kori Erdély könyvek, kéziratok tükrében (kiállításkatalógus)

A felvilágosodás kori Erdély könyvek, kéziratok tükrében (kiállításkatalógus)

Author(s): / Language(s): Hungarian / Issue: 3-4/2007

Catalogue of the exhibition entitled "Transylvania in the Enlightment in the Mirror of Books and Manuscripts", organized by the "Lucian Blaga" Central University Library of Cluj-Napoca.

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A LO CUBANO: UTOWAROWIENIE TAŃCA I REPREZENTACJE KUBAŃSKOŚCI W KONTEKŚCIE TURYSTYKI KULTUROWEJ

A LO CUBANO: UTOWAROWIENIE TAŃCA I REPREZENTACJE KUBAŃSKOŚCI W KONTEKŚCIE TURYSTYKI KULTUROWEJ

Author(s): Ruxandra Ana / Language(s): Polish / Issue: 1/2018

The article looks at the intangible cultural heritage and its importance as a resource that creates economic revenue in the context of rapid transformations currently taking place in Cuba, and integrated in a complex network of tourism imaginaries and representations. Given the increased demand for “experiential tourism” (Salazar 2011), dance practices become central not only to institutions in charge of safeguarding and promoting heritage, but also to emerging small businesses as alternative forms of revenue outside the state sector. Dance schools aimed at foreign tourists, and the increased popularity of Cuban dance genres outside Cuba, indicate how parts of the tourist imaginary are adopted and adapted in Cuban narratives about Cubanness, and how bodies become transactional in more than one way. Economic realities and social inequalities that stem from contact with foreigners result in creative approaches for financial gain, perpetuating expectations about Cuban fantasies. The phenomenon is often racially marked, as many of the darker skinned Cubans, with no access to legal jobs in the tourist industry, seem to be capable of exploiting the appearance of ‘authenticity’ in dance spaces commonly associated with blackness. The article is based on the findings of long term fieldwork conducted in Havana in 2015 and 2016 and from March to May 2018 among professional dancers, instructors and dance school owners.

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A Registry for Movable Cultural Property of Significant Importance to Switzerland: Limit to the Cross-Border Movement and Right of Ownership

A Registry for Movable Cultural Property of Significant Importance to Switzerland: Limit to the Cross-Border Movement and Right of Ownership

Author(s): Carine Simoes / Language(s): English / Issue: 2/2019

Switzerland now has a federal registry of its movable cultural property of significant importance. This measure is based on the national legislation implementing the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property. Only Swiss cultural property or property with a close link to Switzerland is targeted. The registry includes, inter alia, archaeological objects, sculptures by Alberto Giacometti, paintings by Ferdinand Hodler, and also a correspondence by Albert Einstein from the period when he lived in Berne and discovered the theory of relativity. The inclusion of cultural property in the federal registry has two major effects: it restricts both cross-border movement and property rights. On one hand, the permanent export of a listed cultural property is prohibited. Although a temporary export may be authorized for research, conservation, or exhibition purposes. On the other hand, registered cultural property becomes res extra commercium: acquisitive prescription, even in good faith, does not apply. As a result, registered cultural property benefits from enhanced protection against permanent loss due to theft and illicit export.

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Adrian Jusupović, Kronika halicko-wołyńska (Kronika Romanowiczów) w latopisarskiej kolekcji historycznej [The Galician-Volhynian Chronicle (The Romanowicz Dynasty Chronicle) in the Historical Chronicle Collection], Avalon, Kraków–W-wa 2019, pp. 203.

Adrian Jusupović, Kronika halicko-wołyńska (Kronika Romanowiczów) w latopisarskiej kolekcji historycznej [The Galician-Volhynian Chronicle (The Romanowicz Dynasty Chronicle) in the Historical Chronicle Collection], Avalon, Kraków–W-wa 2019, pp. 203.

Author(s): Mirosław J. Leszka / Language(s): English / Issue: 9/2019

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Aktualne problemy i zagrożenia związane z obrotem dobrami kultury na rynku sztuki w Polsce z perspektywy prawnej ochrony zabytków

Aktualne problemy i zagrożenia związane z obrotem dobrami kultury na rynku sztuki w Polsce z perspektywy prawnej ochrony zabytków

Author(s): Wojciech Szafrański / Language(s): Polish / Issue: 1/2019

This article presents the art market in Poland with a focus on existing problems and potential threats to its transparency. The Polish art market is young and therefore vulnerable when it comes to globally occurring trends and shifts. However, there are some trends that are typical for the Polish realm, such as the existence of non-professionals who are connected to the cultural sector because of their profession (art historians, monuments conservators, museum collaborators, journalists) and act successfully as middlemen. Diminishing risks and mitigating threats is possible with an introduction of new legal regulations and future art market self-regulation. In this regard, applicable international and European legal instruments must be taken into account.

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ALEKSANDRA JACHER-TYSZKO (1925-2018)

ALEKSANDRA JACHER-TYSZKO (1925-2018)

Author(s): Filip Wróblewski / Language(s): Polish / Issue: 1/2018

Aleksandra Jacher-Tyszko (1925-2018)

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Amy Strecker, Landscape Protection in International Law

Amy Strecker, Landscape Protection in International Law

Author(s): Specified No Author / Language(s): English / Issue: 2/2019

The review of: Amy Strecker, Landscape Protection in International Law; Oxford University Press, Oxford 2018, pp. 240, ISBN 978-0-198-82624-8

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Analize ne-destructive efectuate asupra bunurilor culturale de patrimoniu. Studiu de caz: Cartea de Aur a Serbărilor Unirii
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Analize ne-destructive efectuate asupra bunurilor culturale de patrimoniu. Studiu de caz: Cartea de Aur a Serbărilor Unirii

Author(s): Ariana Codruța Leahu,Gheorghina Olariu / Language(s): Romanian / Issue: 1/2020

This paper presents a case study which highlights several constituent materials of the cultural item The Golden Book of the Celebration of the Unification, currently held by the National Museum of the Unification Alba Iulia. The item has been analysed using X-ray fluorescence spectroscopy, with a portable Bruker S1 Titan SP-type spectrometer. Investigations were carried out concerning the metallic elements on the book as well as a series of pigments and inks used in the production of painted miniatures, and respectively the book’s writing. A better understanding of the constituent materials of the cultural item represents a first step towards the selection of the most appropriate preventative conservation methodologies, which aim to preserve the item for the lengthiest time possible.

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