Archiwa wizualne dziedzictwa kulturowego: 1 Archeologia, etnografia, historia sztuki
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Warszawa
Instytut Sztuki PAN
2014
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Visual archives of cultural heritage : archaeology, ethnography, art history |
| Beschreibung: | 249 S. Ill. |
| ISBN: | 9788363877453 |
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Datensatz im Suchindex
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| adam_text | Archiwa wizualne
dziedzictwa kulturowego
Archeologia
-
Etnografia
-
Historia Sztuki
Pod redakcją
1
Ewy ManikowskieH Izabeli Kopani
i
Warszawa
2014
Spis
tresei
Ewa Manikowska
Archiwa wizualne dziedzictwa kulturowego. Problemy i metody
badawcze
............................... 7
Archeologia. Źródło
—
dokument
—
historia
Krzysztof Demidziuk
Historyczna dokumentacja rysunkowa jako źródło archeologiczne.
Na przykładzie materiałów dotyczących Dolnego Śląska
(1818—1945) 53
Andrzej Prinke
Od hiperrealistycznych pasteli do skanów
3D:
Dwieście
Ut
dokumentacji archeohgicznej w Wielkopolsce
.............71
Marzena Woźny
Znaczenie dokumentacji wizualnej dla zachowania dziedzictwa
archeologicznego w Galicji Zachodniej na przełomie
XIX
i
XX
wieku.
. 87
Etnografia. Budowanie archiwum wizualnego
Joanna Bartuszek
Ikonografia etnograficzna na przykładzie materiałów związanych
z Huculszczyzną w zbiorach Archiwum Naukowego Państwowego
Muzeum Etnograficznego w Warszawie
................101
Spis
tresei
Izabela
Kopania
Początki dokumentacji wizualnej w etnografii: amatorzy, instrukcje,
próby kodyfikacji
.......................... 127
Historia sztuki.
Spojrzenia przez pryzmat archiwów wizualnych
Magdalena Kunińska
KoUkcja reprodukcji jako „laboratorium badań nad sztuka.
,¿iparat
naukowy do badania historii sztuki
Uniwersytetu Jagiellońskiego
..................... 151
Wojciech Walanus
Pieczęcie, inwentarze, inskrypcje. Uwagi o poznawaniu archiwum
fotograficznego na przykładzie Fototeki Instytutu Historii Sztuki
Uniwersytetu Jagiellońskiego
..................... 175
Piotr Jacek Jamski
Odcisk, odlew, fotografia. Dokumentacja wizualna dzwonów
wywiezionych do Rosji
(1914-1923)................ 195
Kamila Kłudkiewicz
Zbiór fotografii wielkopolskich pałaców, dworów i zamków
Leonarda Durczykiewicza z początku
XX
wieku
—
publikacja
i kontekst jej powstania
....................... 215
Wykaz skrótów
. . ........................ 229
Wybrana bibliografia
....................... 231
Spis ilustracji
........................... 235
Abstract
.............................. 243
Abstract
Visual Arcnives
of Cultural Heritage.
Archaeology Ethnography Art History
Ewa Manikowska
Visual arcnives
01
cultural heritage. Research issues
ana methodology
This is the first book to take up the issue of visual archives of cultural heritage, by discussing
several case studies of archives produced on the territories of todays Poland. The introductory
article argues that three trends in contemporary anthropological and humanistic research
-
the Material culture studies, the Visual studies, as well as the critical reflection on histo¬
riography
-
should be taken into consideration while researching such archives. Firstly, they
should be positioned within the history of knowledge and of the disciplines that focus on
material culture: archaeology, ethnography and art history. Secondly, they should be placed
in the context of the material world of objects (including landscapes or people) represented
within the archive. While the legal term used in the article
-
cultural heritage
-
das not
appear in the nomenclature of this type of collections, yet it acts as a common denominator
for a range of various kinds of visual archives, such as the collection of tracings of coins,
a monuments conservator photo library or a collection of drawings, stencils and photographs
from an ethnographic expedition. Furthermore, survey initiatives sprang from conviction
of the necessity to protect the material aspects of culture by means of written description
and visual documentation. In the specific context of the partitioned lands of the former
Polish-Lithuanian Commonwealth such documents symbolically confirmed the status of
monuments, landscapes or costumes as historical, artistic, national or religious determinants
of the specific ethnic or national group s cultural identity. Thirdly, the archives discussed in
this book are visual in nature: they
oŕTer
a rich array of imaging and documenting methods
and techniques, moreover being arranged into systems and schemes they bring a visual order
to the surrounding world. In particular, they constitute an excellent case study on the role
played by the visual in historiography. The article outlines the chronology of the phenom¬
enon of the visual archives of cultural heritage on the former lands of Polish-Lithuanian
Commonwealth. Hence, the 18th century encyclopaedic collections of prints and drawings
of the enlightened magnates and of the foreign artists and scholars are considered here as the
first developed visual archives, while two monumental Nazi photographic survey collections
244 _____________________________________
Abstract
_____________________________________
(formed within the
Reichsuniversität Posen
and the
Institut für
Deutsche
Ostarbeit) -
as
the last impressive examples of the phenomenon. The article stresses the national, ethnic
or imperial nature of the survey initiatives undertaken on the former territories of the Pol¬
ish-Lithuanian Commonwealth in the 19th and the early 20th centuries. Hence, visual archives
of cultural heritage should aiso be considered
—
similarly to museums, history painting or
vernacular literature
—
as contributing significantly to building imperial, national and ethnic
identities. Moreover such archives should be also viewed as a transnational phenomenon and
the research questionnaire should raise the issue of their
universalism.
Therefore, individual
archives should be first of all approached in the context of such international cultural and
scientific trends as: encyclopaedism, historic preservation movements or the institutionalization
of archaeology, art history and ethnography.
Krzysztoi Demidziuk
Historical documentary drawing as an archaeological source.
Tne
Lower Silesia case
(1818—1945)
Historical documentation (descriptive and
iconographie)
is
-
along with artefacts and the
academic literature
-
the basic source of knowledge for the reconstruction of cultural processes
occurring in prehistory and in early historical periods. The
iconographie
one comprises both
on-the-spot drawings and photographs (field documentation), as well as those elaborated or
produced in the museum or university labs (desktop documentation). Lower Silesia can be
assumed to represent those regions of today s Poland, for which most of such historic
icono¬
graphie
documentation (up to
1945)
has been preserved. This can be explained not only by
the fact, that the region was densely settled and inhabited on a permanent basis throughout
the prehistoric, medieval and early modern periods, but mainly by the old academic tradition
dating back to the 14th century. In
Breslau,
the capital of the region, one of the first Euro¬
pean prehistoric museums was founded in
1818,
local archaeology was taught at a university
level since
1882
and archaeological conservation offices were established already in the mid-
19th century. It should be also mentioned that at the beginning of the 20th century the
activity of numerous regional and scientific societies contributed to the emancipation of the
discipline of prehistoric archaeology. Moreover, the
Breslau
conservation office was exemplary
in die reality of Interwar Germany
(1931-1939).
Despite various historical disturbances
-
wars, national border changes, numerous restructurings and relocations of most academic
and museum institutions
—
around
90%
of such documents have been preserved until the
present day. Kept at two
Breslau
institutions
-
the State Archives and at the Archaeological
Museum
—
they reflect the development of Silesian archaeology from the 17th century until
the end of World War II. Documentary drawings (field and desktop) are of particular value,
as they not only evoke the now vanished and unpublished archaeological sites and single
artefacts, but also allow to verify the previous state of knowledge of them. They also enable
visual reconstruction of irrecoverable individual artefacts and even of entire sites.
Andrzej
Prinke
From
tne
hyper-real pastels to
3D
scans: two hundred years
of archaeological documentation in Greater Poland
The article presents
—
from a chronological and typological perspective
—
a brief overview of
visual documentation methods and strategies used in archaeology of Greater Poland region
Abstract
-t/c
over the last two hundred years. Visual documentation is one of the key elements of the
research process, particularly where destructive methods are used, with excavation
-
the basic
research method used in archaeology
-
being regrettably one of them. The need for produc¬
ing visual documentation of fieldwork was recognized by those practicing archaeology in
Greater Poland long before the professionalization of the discipline, which took place in the
early 19th century. The history of archaeology is also marked by the evolving documentation
techniques: from hyper-real portraits of artefacts (pastels, watercolours, pen-and-ink draw¬
ings) common in the 19th century, when archaeology was the domain of amateurs, through
simplified technical drawings showing the features most relevant in scientific analysis, used
by the first professionals in the early 20th century, to contemporary documentation reflecting
the technological state-of-the-art (e.g. aerial photography, X-ray imaging, microscopic pho¬
tography, etc.). Recently, the archaeological visual documentation strongly profits from dig¬
ital technologies, as
3D
imaging and multi-aspect, relational databases storing text and graphic
information about archaeological sites and artefacts.
Marzena Woźny
Visual documentation ana
tne
preservation oi archaeological
heritage in Western
Galicia
at the turn or the
20*
century
The turn of the 20th century saw a dynamic and continual development of the conservation
movement in
Galicia
and the emergence of numerous initiatives aiming at preservation of
archaeological heritage. These were initiated by the Circles of Inspectors in Western and
Eastern
Galicia
in the first place, as well as by the Cracow Academy of Learning and its
Archaeological Museum. Yet, despite these endeavours
—
due to financial reasons and to the
lack of qualified staff
—
it was not possible at that time to protect all endangered archaeo¬
logical sites effectively. Facing the often unavoidable destruction of sites, as well as changes
to the landscape caused by intensive farming or developments such as the construction of
railways, the protectors of monuments, museum specialists and researchers recognized the
value of photographic and drawing documentation as a means for recording and preserving
information on the vanishing heritage. The Archaeological Museum of the Academy of
Learning was building its body of photographs somewhat on the margin of its collecting
activity. The photographs documented the fieldwork, as well as the relics in private collections
(the latter being subject of the Museum s acquisition efforts with various results). A part of
them served the conservation purposes, some were used as teaching aids, others were made
to illustrate academic publications or taken as a sort of aide-de-memoire during research in
other archaeological collections. Due to the considerable war losses in the archaeological
heritage, these photographs are invaluable today. They are often the only images depicting
artefacts that are no longer existent. The Museum s photographic documentation is comple¬
mented by drawings, sketches and plans, often of significant artistic quality. By contrast, the
archival materials of the Circle of Inspectors in Western
Galicia
do not comprise much visual
documentation of archaeological heritage. Nonetheless, it should be stressed that its members
paid particular attention to the necessity of producing and collecting of such documentation.
_
i*-
Abstract
Joanna Bartuszek
Visual documentation of Hutsulskckyna in the collection
of
tne
State Museum of Ethnography in Warsaw as a case study
in ethnographic iconography
The visual ethnographic documentation
-
in the broad meaning of the term
-
was collected
simultaneously with exhibition objects from the very beginnings of the Warsaw Museum of
Ethnography. Before
1939,
the resources of the Museum of Industry and Agriculture
-
the
immediate predecessor of the today s institution
—
comprised prints, photographs, watercol-
ours and drawings. Regrettably, most of this archival material was destroyed during World
War II. In the process of post-war reconstruction of the Museum s collection numerous
surveys were organised, as well as many artefacts and
iconographie
materials were donated
to the Museum or transferred from other state cultural institutions and the World War II
depots of cultural objects. Such collection of visual materials, stored in the Museum s Scien¬
tific Archives reflects the nature of the original pre-war collection to some extent. In an
ethnographic museum,
iconographie
materials (woodcuts, prints, drawings, photographs)
merely supplemented the core collection. The
iconographie
materials in the Archive are
twofold. On the one hand, they include visual documents and on the other
-
items which
can be classified as artistic objects in the broad meaning of the term. What they have in
common is their association with ethnography in a broad sense. Accordingly, they form
a valuable material for the analysis of ethnographic iconography itself, the role it played and
the mechanisms that ruled the way it was produced. Moreover, their presence in an archive
of an ethnographic museum institution questions the nature of ethnographic documentation
collected and used as reliable scientific source. The article deals with iconography of Hutsul-
shchyna as an interesting example of how visual documentation of cultural heritage is produced
and collected. The total body of these materials comprises around
700
inventory items
dispersed over several archival units. They include 19th century prints, drawings, lithographs,
watercolours and chromolithographs, as well as postcards, atelier photography and photo¬
graphic plates from of the turn of the 20th century, as well as the photographic documenta¬
tion from the interwar period. The article briefly outlines the features of the most important
archival units and overviews the collections structure. Furthermore, diverse recording media
and methods are discussed.
Izabela Kopania
The beginnings of visual documentation in ethnography:
amateur etknograpkers, instruction manuals, attempts at codifying
etknograpkic
icono
grapky
This article deals with guidelines for ethnographic research published in Poland during the
formative years of ethnography
(1874-1918).
It is focused on questionnaires and instruction
manuals whose authors propagated visual recording techniques as tools for gathering data
while conducting fieldwork and attempted to answer the question of how to produce
iconog¬
raphie
data so that it would be of value to the ethnographer. Such instructions, addressed
to amateurs interested in folk culture (social activists, e.g. teachers, clergy and physicians)
residing in various parts of Poland, were perceived as an indispensable instrument which
must be used so that amateur ethnographers followed the same method and gathered data
according to a common scheme. They are therefore crucial to research on visual history of
_________________________________
Abstract
____________________________ 247
ethnography. Not only did their authors determine the way an ethnographic image was
produced but they also, by indicating what to draw or photograph, shaped the contents of
archives of ethnographic images. While the authors of the most popular and multifaceted
sets of instructions recommended drawing views and plans of cottages and whole villages as
well as taking photos of the most representative members of ethnic groups and regional
garments, they did not venture to give more exact guidelines. Such directions were formulated
among the editorial staff of popular ethnographic magazines as
Wisła
[Vistula] and
Lud
[Folk]. Both
Erazm Majewski,
writing for
Wisła ,
and
Franciszek
Krček,
writing for
Lud
(both in
1900)
recognized
1)
ethnic types,
2)
villages and cottage architecture,
3)
gar¬
ments,
4)
objects of religion (such as holy images, roadside shrines and crosses),
5)
everyday
labour, feasts and ceremonies of village folk, as worth photographing for ethnographic pur¬
poses. The authors of the guidelines underscored that a special label with information about
any object (its name in the local language, any inscriptions on it, description of details) or
person (full name, age, place of birth, place of residence, height, colour of eyes and hair,
etc.) photographed or drawn should be attached to every image. Photographers and draughts¬
men should also provide information as to who, when and where they took the photo or
made the drawing. Interestingly, the instructions say nothing about technical matters of
photogtaphy (such as camera, lighting, developing glass plate negatives). Neither are they
illustrated with images which could be recognized as model ethnographic drawings and
photographs. Research questionnaires and photographic instructions for amateur ethnogra¬
phers, folklorists and photographers should be recognized as contributing significantly to
a wider phenomenon, the creation of a visual archive of ethnography. In Poland during the
Partitions
(1772—1918)
such undertaking was both academic and patriotic in nature. The
questionnaires and instruction manuals and the way they were formulated reflect the condi¬
tion of ethnography at that stage in its development, at which point it was focused more on
gathering data and building archives then on interpreting the material. These materials
provoke many further questions about their actual use and popularity, whether they really
guided amateur ethnographers eyes and observations, and what the collected data looked
like (recognizing somebody or something as typical was in fact a decision taken by each
individual)
.
Preliminary research proves that these instructions not only were in use, but they
in fact determined the course taken by amateur studies of folk culture.
Magdalena Kunińska
A collection oi reproductions as a laboratory ior art
nisto
ry
studies.
Tne Jagfiellonian
University s
instrumentarium
History of art, dating back as an established academic discipline to the mid-19th century,
has used reproductions in a variety of techniques since the very beginning
—
both as a research
material and as teaching aid as well. The
Jagi
ellonian
University Chamber of Art History
[Gabinet Historii Sztuki],
which was created and structured by Marian
Sokołowski
-
the
first Polish professor of art history
-
at the Collegium
Novum
of the Jagiellonian University,
is an excellent case study for an attempt to reconstruct the visual historiography of the dis¬
cipline during its formative years in Poland. This article by analysing the late 19th century
collections of reproductions used in academic teaching on the example of the Cracow
instru¬
mentarium
(composed of plaster casts, engravings, photographs) terms them as laboratories
and underscores their role in establishing the academic position of art history. Having outlined
the coverage of reproductions collected in Cracow and a brief history of the Chamber, the
article deals with the question of how the discipline is determined by the reproduction
248_____________________________________
Abstract
_____________________________________
technique.
Furthermore, pointed up is the
taxonomic
nature of art studies based on essen-
tialist approach to a work of art which is present in transposition of
disegno
through the
graphic medium and contour.
Wojciech
Walarms
Stamps, inventories, inscriptions. Photo library of
tne
Institute
or Art History or
tne
Jagfiellonian University as a case study
тог
research on photographic archives
The Photo library at the Institute of Art History of the Jagiellonian University is Poland s
oldest photographic archive associated with an academic art history centre. The Library s rich
collection originating in the early 1880ies has served purely utilitarian purposes for decades
—
as a body of art reproductions to be used as teaching aids and for academic research. It is
therefore not surprising, that the history of the Photo library has not been an object of any
studies so far. Hence, the research needs to begin with the elementary source investigation.
The primary focus should be on the archival material: inventories, university administration
receipts and documents. On the other hand, photographs from the library collection, together
with any identification marks: stamps, accession numbers, all sorts of annotations, should
be considered as equally important source of knowledge. A combined analysis of both cat¬
egories of sources may allow tracing the mechanisms that ruled the way the library functioned
over time, particularly in the first half-century of its existence (until
1939).
Drawing on this
assumption, the article presents all of the
15
stamps appearing on the photographic prints
kept in the library and documenting the organizational evolution of the archive in the past.
The next section of the article focuses on the four oldest inventories of the collection, where
the process of its development can be tracked back in detail and precise provenance infor¬
mation can be found. The final section of the article presents an overview of the most
important types of inscriptions appearing on the photographs collected in this Photo library.
These include mainly accession numbers, basic description data (place, subject, etc.) and
comments on the depicted works of art. All these elements not only provide an insight into
the history, former structure and functions of the Photo library, but they also can
—
and
should
—
become an essential point of reference for studies on the relations between history
of art and photography.
Piotr Jacek
Jamski
Impress, cast, photography. The visual documentation or hells
removed to Russia
(1914-1923)
The aim of this article is to outline the diversity of techniques and methods used for the
visual documentation of bells, as well as to bring out how
iconographie
materials complement
verbal description. The activity of Polish voluntary societies in the field of heritage preserva¬
tion in Russia in the years of World War I and the Russian Revolution has been chosen as
the case study to illustrate the problem. Paradoxically, this difficult period when bells were
evacuated on a mass scale to central collection points scattered on vast areas of European
Russia, enabled researchers to access these instruments with a relative facility for the first
time in the history of studies on bell-founding. After several months of efforts taken by the
heritage societies with the aim of tracing and documenting the bells, Marian Morelowski,
an eminent art historian initiated a campaign of inventorying bells all over the Russian
_________________________________
Abstract
__________________________________ 249
Empire. It should be emphasized that these were the first attempts to be undertaken in
Russia to deal with the issue of registering bells. A special instruction manual for bell doc¬
umentation was written and appropriate register sheets issued. The instruction specified
documentation methods, including the visual ones. The tools suggested included: drawing,
impressing, imprinting on paper, plaster casting, making clay and
papier-mâché
moulds,
photographing the whole bells and their details. Several hundred people participated in this
project, working mainly under the leadership of a priest,
Józefat Żyskar.
Most of the people
involved were amateurs, professionally unrelated to the field of cultural heritage. The aware¬
ness of the war circumstances resulted in an attempt to match the documentation methods
to volunteers abilities to accomplish the task. Furthermore, the political and economic sit¬
uation required significant reduction of the registering plans. This article analyses the way
this documentation was used: as an evidence in the process of the post-World War I revin¬
dication of bells and a source material for academic research and museum exhibits. The
descriptive and visual documentation which has been partly preserved proves the surveyors
struggle with a great many difficulties and restraints in their efforts made to explore this
segment of cultural heritage.
Kamila
Kiudmewic:?
Leonard Durczjyhiewicz s collection
01
photographs
01
Greater
Polana
palaces, mansions ana castles
írom
the hegfinningf
от
the
20th century
—
the illustrated hook and the context or its origfin
In
1912,
Leonard Durczykiewicz
(1876—1934),
a photographer from Czempin published
a book Polish Mansions in Great Duchy of
Poznań
on his own expense. This album contained
over
200
photographs of mansions, palaces and castles of Greater Poland taken at the begin¬
ning of the century, together with the author s short descriptions. The originality of this
collection consisted in being a kind of a first photographic archive of residential architecture
in Greater Poland. It was not Durczykiewicz s ambition to create any descriptive or scientific
publication. His aim was to gather and preserve photographs of Polish mansions. There are
two aspects to this initiative of creating a catalogue of mansion architecture and publishing
it in an album form: the ideological and a documentary one. The project stemmed directly
from the tense political situation in the region
—
the so called fight for land period . The
need for a publication like this resulted from the growing awareness of the value of monu¬
ments of the past, strengthened at the turn of the 20th century by Polish and German
publications dedicated to the art of the region. Besides expert texts by art historians, albums
with photographs were printed, popularizing the art of the region among the public.
Bayerische
Staatsbibliothek :
M r
¿гмїп
;
|
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| author2 | Manikowska, Ewa Kopania, Izabela |
| author2_role | edt edt |
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| author_GND | (DE-588)132219832 (DE-588)139817255 |
| author_facet | Manikowska, Ewa Kopania, Izabela |
| building | Verbundindex |
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| format | Book |
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| genre_facet | Aufsatzsammlung |
| geographic | Polen (DE-588)4046496-9 gnd |
| geographic_facet | Polen |
| id | DE-604.BV042052757 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:11:29Z |
| institution | BVB |
| isbn | 9788363877453 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027493817 |
| oclc_num | 894810693 |
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| owner | DE-12 DE-255 DE-Y3 DE-11 |
| owner_facet | DE-12 DE-255 DE-Y3 DE-11 |
| physical | 249 S. Ill. |
| publishDate | 2014 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | Instytut Sztuki PAN |
| record_format | marc |
| spelling | Archiwa wizualne dziedzictwa kulturowego 1 Archeologia, etnografia, historia sztuki pod red. Ewy Manikowskiej i Izabeli Kopani Archaeology, ethnography, art history Warszawa Instytut Sztuki PAN 2014 249 S. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: Visual archives of cultural heritage : archaeology, ethnography, art history Dokumentation (DE-588)4012656-0 gnd rswk-swf Kulturgut (DE-588)4139819-1 gnd rswk-swf Fotoarchiv (DE-588)4174471-8 gnd rswk-swf Polen (DE-588)4046496-9 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Polen (DE-588)4046496-9 g Kulturgut (DE-588)4139819-1 s Dokumentation (DE-588)4012656-0 s DE-604 Fotoarchiv (DE-588)4174471-8 s Manikowska, Ewa Sonstige (DE-588)132219832 oth Manikowska, Ewa (DE-588)132219832 edt Kopania, Izabela Sonstige (DE-588)139817255 oth Kopania, Izabela (DE-588)139817255 edt (DE-604)BV042052751 1 KUBIKAT Anreicherung application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027493817&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027493817&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Archiwa wizualne dziedzictwa kulturowego Dokumentation (DE-588)4012656-0 gnd Kulturgut (DE-588)4139819-1 gnd Fotoarchiv (DE-588)4174471-8 gnd |
| subject_GND | (DE-588)4012656-0 (DE-588)4139819-1 (DE-588)4174471-8 (DE-588)4046496-9 (DE-588)4143413-4 |
| title | Archiwa wizualne dziedzictwa kulturowego |
| title_alt | Archaeology, ethnography, art history |
| title_auth | Archiwa wizualne dziedzictwa kulturowego |
| title_exact_search | Archiwa wizualne dziedzictwa kulturowego |
| title_full | Archiwa wizualne dziedzictwa kulturowego 1 Archeologia, etnografia, historia sztuki pod red. Ewy Manikowskiej i Izabeli Kopani |
| title_fullStr | Archiwa wizualne dziedzictwa kulturowego 1 Archeologia, etnografia, historia sztuki pod red. Ewy Manikowskiej i Izabeli Kopani |
| title_full_unstemmed | Archiwa wizualne dziedzictwa kulturowego 1 Archeologia, etnografia, historia sztuki pod red. Ewy Manikowskiej i Izabeli Kopani |
| title_short | Archiwa wizualne dziedzictwa kulturowego |
| title_sort | archiwa wizualne dziedzictwa kulturowego archeologia etnografia historia sztuki |
| topic | Dokumentation (DE-588)4012656-0 gnd Kulturgut (DE-588)4139819-1 gnd Fotoarchiv (DE-588)4174471-8 gnd |
| topic_facet | Dokumentation Kulturgut Fotoarchiv Polen Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027493817&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027493817&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV042052751 |
| work_keys_str_mv | AT manikowskaewa archiwawizualnedziedzictwakulturowego1 AT kopaniaizabela archiwawizualnedziedzictwakulturowego1 AT manikowskaewa archaeologyethnographyarthistory AT kopaniaizabela archaeologyethnographyarthistory |