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Review of: Helen Walasek with contributions by Richard Carlton, Amra Hadžimuhamedović, Valery Perry and Tina Wik “Bosnia and The Destruction of Cultural Heritage”, Ashgate, Surrey, 2015, 430 pages ISBN 978-1-4094-3704-8
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»Stari most« – literally »The Old Bridge« – is a fabulous and famous 16th century bridge in the city of Mostar in Bosnia and Herzegovina that crosses the river Neretva and connects two parts of the city. Upon the memories and legends it was built by the Ottoman architect Mimar Hayrudin. Certain technical issues still remain a mystery and the bridge can be classed among the greatest architectural works of its time. The bridge pretty soon became the symbol of the town that takes the name from it (mostari = the bridge guardians). There has always been additional, deeper symbolism in the bridge itself – spanning across the wild, crystal clear and troubled water it was also connecting two societies, two parts of the local community into one piece of a human soul. It has been for ages like that.
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The purpose of the study is to understand the process of decolonisation in independent Ukraine as a socio-cultural phenomenon in the context of strategic problems of modern state policy. The research methodology is based on the fundamental principles of historical and cultural analysis. The methodological core of the study is a comparative analysis of the process of decolonisation at different stages of its development. The scientific novelty consists in the conceptualisation of the process of decolonisation in Ukraine. The immanent essence of the phenomenon of decolonisation and the algorithm of its development are revealed, and the periodisation of this process is introduced into scientific circulation. Conclusions. The phenomenon of decolonisation in the chronotype is analysed. Firstly, it was found that the absence of an effective strategy for decolonisation policy at the first stage of the process significantly hindered the consolidation of Ukrainian society and the formation of Ukrainian identity. Secondly, as a result of the unclear tactics of decolonisation, certain difficulties (organisational and economic) arose in the practical implementation of decommunisation laws. Thirdly, because of the hostilities in Ukraine, public attention is focused on the strategy and tactics for the protection of national monuments, World Heritage sites, and their territories in the event of a threat of destruction or damage.
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In recent years, many countries around the world have been implementing their own protective practices for intangible cultural heritage under the impetus of the Intangible Cultural Heritage Convention. This study will conduct an in-depth investigation into the intangible cultural heritage of Kangwei paintings in Yuanping City, Shanxi Province, China, exploring the process of cultural identity formation and the role of commercialization in the context of intangible cultural heritage revitalization, an area that has not been deeply researched before.Using the systematic literature review method, a review was conducted on 102 relevant documents and journal articles sourced from China National Knowledge Infrastructure (CNKI). Conduct a literature review from the perspectives of overall research characteristics, highly cited literature, theoretical foundations, and research methods.The results of the literature analysis are systematically elaborated from the aspects of the connotation and extension of Kangwei paintings, the practical mechanisms for the revitalization of Kangwei paintings as intangible cultural heritage, and related suggestions. The study found that the practical mechanisms for the revitalization of Kangwei paintings as intangible cultural heritage include institutional support mechanisms, theoretical consolidation mechanisms, collaborative mechanisms, social education mechanisms, application innovation mechanisms, and efficiency evaluation mechanisms, with no related research proposed.Therefore, based on the framework for the revitalization of Yuanping Kangwei paintings, the prospects of cultural identity and commercialization concepts are proposed: solidifying the theoretical foundation for the revitalization of Kangwei paintings as intangible cultural heritage, scientifically defining the connotations and extensions of Kangwei paintings, refining the cultural identity mechanism for the revitalization of Kangwei paintings as intangible cultural heritage, and enriching the theoretical foundation for the study of the commercialization of Kangwei paintings.
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Through its educational function, the Ethnographic and the Historical Museum at the beginning of the 2 1 st century are called to support the process of constructing a new spirituality based on tolerance in the perception of the otherness in its historical, confessional, social and cultural forms. In this regard, the intercultural perspective in the educational activities of the ethnographic and historical museum is a shared view, based on mutual knowledge, dialogue and interaction between cultures while preserving the identity of each of them. The role of these museums as part of the “national narrative” is also very important, but in the context of Bulgaria’s European orientation.
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The purpose of the study is to identify the specifics of the ethnic-national content of the cultural and artistic heritage of Odesa, taking into account its polyethnic-polynational status of the city and the cultural dominance of the Ukrainian- Slavic factor due to its military-expansive genesis. The methodological basis is the artistic indicators of the intonation concept in the traditions of the school of B. Asafyev in Ukraine, presented in the works of the authors of this study, as well as in the works of D. Androsova, O. Muravska, O. Roshchenko, I. Shevchuk, among others. Special attention is paid to the biographical and descriptive method, evidenced in the research of V. Shulhina and O. Yakovlev. The scientific novelty of the study is based on the selection of regional features of Ukrainian culture, with an emphasis in this case on the multi-national and poly-ethnic content of the South of Ukraine, which allows us to emphasise the conclusions about a certain plurality of representations of outstanding masters involved in the Ukrainian cultural aura – and this applies to the characteristics of such outstanding personalities as K. Szymanovskyi, V. Malyshevskyi, S. Richter, H. Neuhaus. Conclusions. The specificity of Odesa and the Ukrainian South in general is marked by intersections of national-ethnic and religious beliefs, covering numerous family-family relations, despite the fact that the ethnic core was a SlavicUkrainian fusion of Russian-Ukrainian and Polish-Ukrainian combinations, and the participation of Germans and other national inclusions was significant. Stormy social vicissitudes corrected the life path of many natives from the cultural environment of Odesa and the Ukrainian South in general, who later found themselves in other national and cultural dimensions, without losing the cultural "charge" received in the "small homeland" of the regional southern Ukrainian destination. And vice versa, being born and released into the art world outside of Ukraine, they organically later "fit" into the cultural space of Odesa and the South of Ukraine in general. Therefore, we introduce clarifications in the characteristics of national belonging (in the mental and cultural sense) in relation to the following authors: V. Malyshevskyi – Ukrainian, Russian, and Polish composer, K. Szymanovskyi – Polish, Ukrainian composer, V. Rebikov – Ukrainian, Russian composer and theorist, S. Richter, G. Neuhaus – Ukrainian, Russian pianists, in analogy to the duality of Ukrainian – Russian artists in relation to M. Vrubel, V. Kandinskyi, M. Roslavets.
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The purpose of this work is to present the process of the destruction of cultural property of the Muslim community during the warfare conducted on the territory of Bosnia and Herzegovina (BiH) in 1992– 1995. The work is based on historical and press sources in Serbian, Bosnian and Croatian. Field research conducted in 2000 and 2022 to obtain information on the number of demolished and restored mosques in BiH also makes an important contribution. In addition, in-depth interviews were conducted with Slovak soldiers who served in NATO IFOR operations, as well as with representatives of international institutions. Research results indicate that during the war in BiH (1992–1995) the Muslim community suffered the greatest losses of cultural property. 614 mosques were destroyed. Serbian armed troops carried out most of the damage, while Croatian armed troops did less. After the war, no individual was held responsible for the destruction of cultural property. The case of BiH shows that international law still does not protect religious sites.
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The present study of Истина религии вообще: в двух частях, из которых в первой доказывается истина Религии вообще противу невтърия вольнодумцов и натуралистов; а во второй утверждается истина Християнской религии, слтъдуя Священному Писанию, противу невтърия натуралистов examines St. Sophronius' of Vratsa - а prominent early Bulgarian National Revival writer and cleric (1739 - 1813) - marginal commentaries and signature in the book and in his manuscripts, reveals details of the book conservation, describes the history of the book and the circumstances surrounding its puЬlication and entry into the special collections ofthe Sofia University Library.The article presents the conservation ofthe book bу G. F. Stender as а complex process, realized through collaboration of specialists from different fields of art and science. The book conservation had been carried out thanks to the support of the University Library Director, Associate Professor Anna Angelova, and with the assistance of specialists from the University Library of Sofia University, the Faculty of Classical and Modem Philology, the Department of Restoration of the National Academy of Arts, and the library of St. George the Zograf Monastery at Mount Athos, Greece.
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Museums are important institutions that preserve and present the country's cultural heritage. However, an important part of their mission is also creating a space for expression and creative expression of artists. This contribution focuses on an overview of the interest in processing museum themes in the final theses of our students at Slovak universities.
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Review of: Lasgush Poradeci: Folk songs collected from people' mouth in Pogradec, Dardhë, Labëri, Myzeqe and other regions in the ‘30 and afterwards. Tirana 2023. In 4 volumes, 920 pages.
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In the era of globalization, the digitization of literary heritage is a priority task in cultural policy, as it allows for the affirmation and validation of cultural identity. The purpose of this paper is to explore the significance of digital culture in the study of Macedonian medieval literary manuscripts. Manuscripts available online through digital libraries, both inside and outside of Macedonia, are of particular importance to us. Our goal is to prove that a long-term digitization strategy is necessary to ensure quick access to the entire manuscript heritage.
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Considering that small denomination money was not of numismatic interest and is rarely mentioned in scientific articles, it is difficult to give an exhaustive picture of the circulation of Russian coins and determine their role. The numismatic collection of the National Museum of History of Moldova contains a large number of Russian coins, which, of course, should be put into scientific use, since they reflect the remarkable characteristics of money circulation in this area. Money of the first half of the 18th century are represented by coins of the times of Peter I, Catherine I, Anna Ioannovna and Elizaveta Petrovna, namely in the following denominations: 2 rubles, polupoltinnik (25 kopeks), grivennik (10 kopeks), 5 kopeks, 2 kopeks, 1 kopek, denga (½ kopek), polushka (¼ kopek). The study of these coins is undoubtedly necessary, since if a kopek or denga was often recorded among the finds and mentioned in documentary sources, such denominations as a polupoltinnik, a grivennik or a polushka were not noted. The updated information reveal new aspects in the history of monetary circulation in the first half of the 18th century, especially regarding the significant role of coins with low nominal value, as well as the variety of monetary units used; this is the importance and usefulness of publishing and introducing these data into scientific circulation.
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The article is dedicated to the doctor Dmitry Tumarkin (February 2, 1902, Chisinau - July 26, 1956, Georgievsk), one of the members of the famous and prominent Chisinau medical dynasty of the late 19th c. – first half of the 20th c., the Tumarkins. The objective of the research is to restore in public memory the name of Dmitry Lazarevich Tumarkin, an outstanding and bright personality, undeservedly forgotten in the history of medicine in Chisinau. The use of the biographical method allowed the author to personalize the merits of a talented doctor and comprehensively highlight his worthy medical practice, despite the tragic circumstances of life. The article is based on the personal archive of Dmitry Tumarkin, donated to the National Museum of History of Moldova by his nephew Artur Mikhailovich Termosesov, and on documents from the National Archives of the Republic of Moldova.
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The article presents the cultural heritage of the Tajiks on the basis of the collections of Ethnographic Museum and National Museum of Antiquities of the Tajikistan National Academy of Sciences. Based on the structural approach, the author discusses the museums’ collections and activities in the field of preservation of traditional culture values and their presentation.
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As a result of the study, it was found that the posters with the image of a woman kept in the collection of the NMHM belong to the period from 1917 to the 1980s. They are varied in content, format, design and theme. These items are evidence of the past and provide a brief overview of the processes and events that took place in Soviet society. These posters, having documentary and artistic value, were also an effective means of promoting Soviet ideology. The propaganda character of the posters is reflected in the predominance of red, the color of the Communist Party of the USSR. On the one hand, posters with feminine themes from this period reflect real things and images that took place in society, and on the other hand, non-existent phenomena that should have been brought to life. The Soviet government promoted, first of all, the image of a socially active woman (a woman on a tractor, at a lathe, in a mine, at the front and in the rear), and the traditional role of a woman as a mother and wife was relegated to the background. Most of the texts and slogans on the posters are in Russian. They were printed in a circulation of hundreds of thousands of copies in printing houses in Moscow and Leningrad before the collapse of the USSR.
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Turning to the issue of monetary issues of Catherine II (1762-1796) and Paul I (1796-1801), we continue the study of Russian coins from the collections of the NMHM. In the NMHM collection, coins from the time of Catherine II are found both as part of the hoards (Gârbova hoard), and in as single finds: gold ones – lobanchik (1), ruble (1); silver ones – ruble (10), polupoltinnik, 15 kopecks (4), grivennik (4); bronze ones – 1 para / 3 dengas (10), 2 para / 3 kopecks (28); and copper ones – 5 kopecks (98), 2 kopecks (12), 1 kopeck, denga, polushka. Also in the NMHM collections there are coins of Paul I, both as part of the hoards (Grozești hoard), and as single finds: silver coins – ruble (4) and copper ones – 2 kopecks (15), 1 kopeck (10), 1 denga (5). These finds confirm that Russian coins were widely used in the Prut-Dniester area even before the Establishment for the Management of the Bessarabian Oblast of February 29, 1828, when Bessarabia was included in the political and economic system of the Russian Empire and Russian money officially became a means of circulation throughout the territory Bessarabia. This fact allows us to make sure once again that the distribution of Russian money was determined not only by economic and financial relations established after the annexation of Bessarabia to the Russian Empire in 1812. Their use in the 18th century was due to the absence of a national monetary system, as well as the Russian-Austrian-Turkish wars, the consequences of which had a clear impact on the economic sphere and on changing the paradigm of monetary circulation in the Principality of Moldavia. These coins must be put into scientific use, as they complete the picture of money circulation in this area.
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The exhibition entitled “My ancient silverware, so artfully crafted...”, organized by the National Museum of History of Moldova and held from June 29, 2021 to May 12, 2022, was designed to develop one of the museum’s most impressive and valuable collections, containing jewelry and precious church utensils. The selection criteria for more than 350 exhibits were exceptional state of preservation, functional diversity and originality of production. The typological variety of objects presented at the exhibition covered both secular and church silver items: fruit vases, bowls, glasses, bonbonnieres, candelabra, cutlery, tea and coffee preparation and serving sets, salt cellars, spice sets, handbags, snuff boxes and cigarette cases, icon rizas, chalices, pectoral crosses, censers, candlesticks and other ordinary items, which, however, illustrate the way of life and style of the era. The selected objects, which performed numerous utilitarian and aesthetic functions in the everyday life of society in the 18th-20th centuries, show a typological diversity, a mixture of manufacturing techniques and decorative compositions, and also testify to the predilection of the local nobility and the church for beauty, elegance and refinement, and today, becoming rarer, they also acquire documentary, memorial, museum value.
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In the 18th century, the absence of a national currency and a national monetary system undoubtedly contributed to the spread in the Principality of Moldavia of various types of coins, including Russian ones. In the first half of the 19th century, acute instability of monetary circulation remained in the Prut-Dniester interfluve, which was the result of not only severe restrictions imposed with the establishment of the Phanariot regime in the Principality of Moldavia, but also the annexation of Bessarabia to the Russian Empire, which entailed the implementing the directives of the new regime. Thus, at the beginning of the 19th century, there were widely used the coins distributed throughout the territory of the Principality of Moldavia, that is at that stage the Russian money did not play a significant role in money circulation. Later, after the annexation, their distribution increased significantly, especially with the inclusion of Bessarabia in the economic system of the Russian Empire and the official introduction of the Russian currency as a means of monetary circulation. The collections of the National Museum of History of Moldova contain a large number of Russian coins from the reigns of Alexander I (1801-1825) and Nicholas I (1825-1855). These coins were discovered both as part of the hoard (the Ratuș hoard (35 pieces, 1801-1848)), and as a result of numerous single finds. All these findings testify not only to a significant variety of types of coins used on the territory of Bessarabia, but also to the constant entry of Russian money into the circulation in the first half of the 19th century.
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The purpose of our research is to publish and introduce into scientific use a collection of great importance for the history of education in interwar Bessarabia. We are talking about a collection of documents and objects that belonged to Gheorghe Rașcu (1888-1962), a teacher of geography, author of textbooks, publicist, researcher and cultural figure. The collection was formed in 1991-1995 thanks to the donations of his youngest son Paul Emil Rașcu. It includes about 236 different exhibits, mostly documents and photographs. In the course of the study, the pieces have been classified by domains. Based on the acts of accepting objects into museum collections, a chronological list of all objects was compiled with an indication of belonging to a certain museum fund group, which will allow researchers involved in the history of education in the interwar period to get acquainted with all the materials available in the museum related to this figure.
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