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Prilog izučavanju halidijskog ogranka nakšibendijskog tarikata u Sarajevu
The author uses relevant sources and, until now, unknown, original documents, to present to our scientific and cultural audience, for the first time, new information on the ceration and development of the Khalidi branch of the Naqshbandi tariqa of Sarajevo and its tight links with the Ǧabal Abī Qubays Zaviyah of Mecca. The paper focuses on seven letters by two shaykhs of the aforementioned zaviyah – Shaykh Sulaymān ibn Ḥasan Zuhdī and his son ‘Alī Riḍā, sent to Hajji Mustafa-aga Sudžuka of Sarajevo. Shaykh Sulaymān Zuhdī managed the zaviyah in the period of 1271/1854-55 - 1308/1890-91, and his son ‘Alī Riḍā from 1315/1897-98 until it was closed, in the second half of the 20th century. These two pronounced hundreds of shaykhs, through which the Khalidi branch of the Naqshibandi tariqa spread across the Islamic world; from Indonesia in the East to Morocco in the West; from Bosnia in the north to Sudan and Zanzibar in the South. By analyzing the aforementioned letters and identifying the persons mentioned in it, the author discovers the Bosniac heritage of Shaykh Sulaymān Zuhdī and the family, from which he, most likely originates.
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Badly neglected under Communism, the representation of contemporary art in museums over East-Central Europe has markedly improved since the fall of the Iron Curtain. With the number of independent new states multiplied in this region during the past quarter-century, there is today a variety of national canonising institutions of contemporary art. However, the professional level of these collections and their presentation, either as part of large monolithic national art galleries or in separate museums of contemporary art, show vast differences. This paper looks in a comparative approach at the diverging motifs, ranging from international politics to local urban development, and the various solutions that the nearly two dozen countries between the Baltic region and the Balkans have adopted for placing contemporary art in old or new museums.
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The essay contains reflections on the ways of using erudite linguistics, a young discipline created by me, in the study of the Grand Duchy of Lithuania and the Polish Northeastern Borderlands. Correlation of linguistic and extralinguistic conclusions (culture, history, art, gemology) permits us to look in a new way at many facts of the Polish Northeastern Borderlands that linguists had not been interested in before, such as old Polish Northeastern Borderlands museum artifacts, jewelry of Grand Duchy of Lithuania, icon of Our Lady of the Gate of Dawn, cult of the dead in the Polish Northeastern Borderlands, architecture of the old Vilnius, manor house in Czombrów – the prototype of Soplicowo (the village in Pan Tadeusz epic poem), descriptions of Henryk Poddębski’s daguerreotype images, Vilnius identity of Henryk Szylkin or symbolic-figurative nicknames of Vilnius.
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The penetration of ICT in the management and study of material culture and the emergence of digital cultural repositories and linked cultural data in particular are expected to enable new paths in humanities research and new approaches to cultural heritage. Success is contingent upon securing information trustworthiness, long-term preservation, and the ability to re-use, re-combine and re-interpret digital content. In this perspective, we review the use in the cultural heritage domain of digital curation and curation-aware repository systems; achieving semantic interoperability through ontologies; explicitly addressing contextual issues of cultural heritage and humanities information; and the services of digital research infrastructures.
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The paper presents how the VR technology helps tourists in selecting their destinations. The current state-of-the-art service is the result of systematic development activities which has become available in the tourist information office (Tourinform) in the town of Miskolc. The visitors can discover the local sights either on the Web site of the tourist organisation, or in the GUIDE@HAND Miskolc smart phone application, or from now on, in a virtual space due to the Virtual Reality (VR) technology with the help of 3D VR glasses and spherical panorama pictures.
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This paper discusses how 3D digitization of cultural properties and modern interactive methods can help museums disseminate, educate and share the rich history, culture and civilization of museums’ collection more effectively than traditional methods which used visual boards.
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The article is a summary of a multi-year research into certification of bells of 16th - early 20th centuries collected as a result of liturgical instruments study of 287 bell towers, churches and museums. Analysis of archives from Belarus contributed to the research resurrecting knowledge about lost bell heritage. This is also the first attempt to discuss the establishment of digital Belarusian Historic Bells Archive and introduction of campan handling basic trainings into educational programs of religious educational establishments.
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The priceless knowledge from the scientific periodicals, published by Bulgarian museums, has fallen into oblivion over the years. In the era of electronic information, the opportunity arises this once lost knowledge to be made Open Access - free of all restrictions on access. Upon digitilization and correct annotation of the museum paper editions followed by providing them on the Internet for free access, there will be offered scope for a more comprehensive study of the Bulgarian cultural heritage, an integral part of which are the works of its researchers. Registering content in platforms such as Europeana / Bulgariana and setting common standards to facilitate finding the information will be the next challenge for the followers of the idea of cultural heritage digital repositories.
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The article analyzes selected problems of Ukrainian museums during the Russian-Ukrainian war in 2014-2023. Cultural heritage of Ukraine was brutally destroyed and seized by Russia, which posed a number of pressing problems for Ukrainian society. Unfortunately, the lack of preparation for a full-scale invasion and the lack of protection of museum collections led to the irreversible loss of many objects of cultural heritage, especially museum buildings, as well works of arts. It became a challenge for Ukrainian museums, which prompted active actions and cooperation with the international museum environment during the war and remains relevant in the future. In particular, the relationship between art and the military events in Ukraine of the outlined period, as well as art’s reflection on social and political challenges, is particularly important. In 2013-2014 Maidan became the center of turbulent historical events, which gave rise to a series of manifestations and artistic projects. However, the war of 2014-2023 gave art new meanings, informative and political significance, thanks to which the world learns the truth. Through photography, poster, graffiti, music and other forms of art, that create new symbols and meanings, a specific „message” is conveyed. Art becomes a weapon: informational, aesthetic and propaganda.
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Gdy w połowie lipca 2006 roku podejmowałem, jako świeżo upieczony absolwent lubelskiego kulturoznawstwa, zatrudnienie w Muzeum Okręgowym w Suwałkach. Ówczesny wicedyrektor – Adama Żulpa – zadał mi pytanie, czy znam osobę prof. Mariana Pokropka. Bez wahania odpowiedziałem, że znane mi są opracowania prof. M. Pokropka, a zwłaszcza te dotyczące budownictwa ludowego. Ich znajomość bowiem była niezbędna podczas zajęć akademickich. Wymieniłem również opracowania poświęcone ziemi sejneńskiej i pojezierza suwalsko-augustowskiego... W tamtym czasie nie znałem Profesora osobiście, co – jak ustaliliśmy z dyrekcją Muzeum, przygotowując plan pracy Działu Etnografii – należało jak najszybciej zmienić. Pierwszą ku temu sposobnością była wizyta w Otrębusach u państwa Stanisławy i Mariana Pokropków jesienią 2006 roku.
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KARMA, founded in Trabzon (Türkiye) in 2011, brings together audio-visual archival materials from the Black Sea hinterland. The goal of this article is to promote the epistemological and institutional background and actions of KARMA with its short history, objectives, and current applications for digital preservation. In this context, we will present how KARMA adapts Latour’s actor-network theory, Deleuze and Guattari’s rhizome, and Akat's focus strategy model. We will also stress the importance of both micro and macro perspectives in order to understand the music cultures of the region through historical collections and new connections.
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The creation and expansion of commercial music printing from around 1500 has normally led to modern editors assigning textual primacy to published copies of music from the period in preference to any equivalent manuscript copies. However, some groups of manuscript sources, such as the Paston collection, from late 16th and early 17th century England, can shed a dif erent light on contemporary music print culture and its relationship to manuscript copying. Edward Paston’s huge private music library, now dispersed in collections in the UK and US, contains many multiple versions of works he already access to in print form, and the choices he or his copyists made with regard to three particular six-voice Latin motets, Byrd’s Memento homo, Ferrabosco’s In monte Oliveti, and Vaet’s Salve Regina, are examined here, and placed within with their collecting context and likely use.
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