VII Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva": tezisy dokladov : Sankt-Peterburg, 11-15 oktjabrja 2016 g. = VII International Conference "Actual problems of theory and history of art" : abstracts of communications : St. Petersburg, October 11-15, 2016
Gespeichert in:
| Körperschaft: | |
|---|---|
| Weitere Verfasser: | , , |
| Format: | Tagungsbericht Buch |
| Sprache: | Russian English |
| Veröffentlicht: |
Sankt Peterburg
Izdatelʹstvo Sankt-Peterburgskogo universiteta
2016
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | The collections presents the abstracts of communications of the 7th International Conference organized by St. Petersburg State University and Lomonosov Moscow State University together with the State Hermitage Museum in Saint Petersburg on October 11-15, 2016 |
| Beschreibung: | 392 Seiten |
| ISBN: | 9785288056918 |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV044667352 | ||
| 003 | DE-604 | ||
| 005 | 20180808 | ||
| 007 | t| | ||
| 008 | 171205s2016 xx |||| 10||| rus d | ||
| 020 | |a 9785288056918 |9 978-5-288-05691-8 | ||
| 035 | |a (OCoLC)1014038748 | ||
| 035 | |a (DE-599)BVBBV044667352 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a rus |a eng | |
| 049 | |a DE-255 | ||
| 084 | |a 2.2 |2 KUBA2 | ||
| 111 | 2 | |a Aktualʹnye problemy teorii i istorii iskusstva (Veranstaltung) |n 7. |d 2016 |c Sankt Petersburg |j Verfasser |0 (DE-588)1147781095 |4 aut | |
| 245 | 1 | 0 | |a VII Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" |b tezisy dokladov : Sankt-Peterburg, 11-15 oktjabrja 2016 g. = VII International Conference "Actual problems of theory and history of art" : abstracts of communications : St. Petersburg, October 11-15, 2016 |c Sankt-Peterburgskij gosudarstvennyj universitet, Moskovskij gosudarstvennyj universitet imeni M.V. Lomonosova, Gosudarstvennyj Ėrmitaž ; redakcionnaja kollegija: M.B. Piotrovskij, A.Ch. Daudov, I.I. Tučkov [und 22 weitere] |
| 246 | 1 | 3 | |a Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" |
| 246 | 1 | 3 | |a International Conference "Actual problems of theory and history of artabstracts of communications" |
| 246 | 1 | 3 | |a Aktualʹnye problemy teorii i istorii iskusstva |
| 246 | 1 | 3 | |a Actual problems of theory and history of art |
| 246 | 1 | 3 | |a Aktualʹnye problemy teorii i istorii iskusstva VII : tezisy |
| 246 | 1 | 1 | |a VII International Conference "Actual problems of theory and history of art" |
| 264 | 1 | |a Sankt Peterburg |b Izdatelʹstvo Sankt-Peterburgskogo universiteta |c 2016 | |
| 300 | |a 392 Seiten | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a The collections presents the abstracts of communications of the 7th International Conference organized by St. Petersburg State University and Lomonosov Moscow State University together with the State Hermitage Museum in Saint Petersburg on October 11-15, 2016 | ||
| 546 | |a Abstracts teilweise russisch, teilweise englisch | ||
| 546 | |b Teilweise kyrillisch | ||
| 655 | 7 | |0 (DE-588)1071861417 |a Konferenzschrift |y 2016 |z Sankt Petersburg |2 gnd-content | |
| 700 | 1 | |a Piotrovskij, Michail Borisovič |d 1944- |0 (DE-588)103194924 |4 edt | |
| 700 | 1 | |a Daudov, Abdulla Chamidovič |d 1952- |0 (DE-588)171561856 |4 edt | |
| 700 | 1 | |a Tučkov, Ivan Ivanovič |d 1956-2018 |0 (DE-588)114060788X |4 edt | |
| 710 | 2 | |a Sankt-Peterburgskij gosudarstvennyj universitet |0 (DE-588)5114370-7 |4 orm | |
| 710 | 2 | |a Moskovskij gosudarstvennyj universitet im. M.V. Lomonosova |0 (DE-588)1010710-1 |4 orm | |
| 710 | 2 | |a Gosudarstvennyj Ėrmitaž |0 (DE-588)2124053-X |4 orm | |
| 776 | 0 | 8 | |i Erscheint auch als |n Online-Ausgabe |o 10.18688/at16 |
| 787 | 0 | 8 | |i In Beziehung stehendes Werk |c Aktualʹnye problemy teorii i istorii iskusstva, 7 |t Sbornik naučnych statej |d 2017 |w (DE-604)BV045125971 |
| 856 | 4 | 2 | |m KUBIKAT Anreicherung |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030064755&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-030064755 | |
Datensatz im Suchindex
| _version_ | 1818171799241752576 |
|---|---|
| adam_text |
CONTENTS
MCKYCCTBO
M
XYFLOXECTBEHHILH
KYNBTYPA NPEBHEI'0 MMPA. APXEONOR~.LEC~II
IIAMIITHMK
M
IIPOM3BEFLEHME W306PA3~ENB~ORO
MCKYCCTBA
-
O6XQEE
M
OCO~~HHO~,
PA3NMSMII
M
B3AMMOCBH3B
ART AND ARTISTIC CULTURE
OF THE ANCIENT WORLD. ARCHEOLOGICAL PIECE AND A WORK OF ART:
SIMILARITIES
AND DIFFERENCES
.
BOCTO~HOX~MCTM~HCKO~
MCKYCCTBO
EASTERN CHRISTIAN ART
.
~PEBHEPYCCK0E
MCKYCCTBO
RUSSIAN MEDIAEVAL ART
.
3AN~~OE~PONEIIC~OE
CPEGHESEKOBOE
MCKYCCTBO
WESTERN EUROPEAN MEDIAEVAL ART
.
MCKYCCTBO
PEECCA~CA
ART OF RENAISSANCE
.
3AIIAFLHOE
MCKYCCTBO
HO~ORO
BPEMEHI4
WESTERN ART OF THE MODERN AGE
.
M~PO~OE
MCKYCCTBO
XX-M
BEKOB: MO~~~PHM~M
H
COBPEMEHHOCTB
INTERNATIONAL
ART
OF THE 20&-21A
CENTURIES:
MODERNITY AND CONTEMPORANEITY
.
P~CCKO~
MCKYCCTBO
XVIII BEKA
RUSSIAN ART OF THE 18&
CENTURY
.
.
.
.
.
PYCCKO~
MCKYCCTBO
XD(
BEKA
RUSSIAN
ART
OF THE 19H
CENTURY
.
P~CCKO~
HCKYCCTBO
XX-M
BEKA
RUSSIAN
ART
OF THE 20&-21A
CENTURIES
.
MCKYCCTBO
BOCTOK~
ORIENTAL ART
.
MY3EII: KONNE~QM,
IIPOCTPAHCTBO,
IIAMITTHHK
MUSEUM: COLLECTION,
SPACE, MONUMENT OF
ART
.
~~~KO~~TMBHO-II~MK~~~~HO~
MCKYCCTBO
APPLIED ART
.
TEOP~CR
MCKYCCTBA
ART THEORY
.
KYRRB~
M
X~OXECTBEHHAA
KYNBTYPA
CULT AND ARTISTIC CULTURE
.
Y~~CTHMKM
KOH@~P~H~HH.
A~~~BMTHM~~
YKA3ATEAB
.
.
.
.
.
374
INDEX OF PARTICIPANTS
.
385
MCKYCCTBO
M
XYFLOXECTBEHHAII KYNBTYPA APEBHEI'O
MMPA.
APXEO~O~MECKM~~
KIAMRTHMK
M
IIPOM3BEAEHME
M30EPA3MTENBHOTO
MCKYCCTBA
-
OEUEE
M
OCOEEHHOE, PA3NM9MII
M
B3AMMOCBII3B
ART AND ARTISTIC CULTURE OF THE
ANCIENT WORLD. ARCHEOLOGICAL PIECE
AND A WORK OF ART: SIMILARITIES AND DIFFERENCES
IBIARYTA
M.
B.
~~OMCTO~MZ~~CKO~
M
TPAAMQMOHHOE
MCKYCCTBO:
HA RPAHMYE MCKYCCTB03HAHHR,
APXEOAORMM
M
3THOAORMM
.
ILIA PALAGUTA. PREHISTORIC AND TRADITIONAL ART: AT THE FRONTIER OF ART
HISTORY, ARCHAEOLOGY
AND ETHNOLOGY
27
~~M~W~HKO
C.
A.
~~KO~~TMBHM~
KOMN03HQMH
B
MCKYCCTBE MAABLX
@OPM
ITAAEOAHTA:
AKTYANBHBIE BONPOCBI M3YQEHMII
M
0NPEAEEHMFI
SVETLANA DEMESHCHENKO. DECORATIVE
COMPOSITIONS
OF PALAEOLITHIC PORTABLE ART: ACTUAL RESEARCH PROBLEMS
.
28
AS6ENE~
N.
N.
~~~IPIKCKH~
TATYMPOBKH
KAK
XYAOXECTBEHHOE
CBHRETEABCTBO
RPEBHMX
BOGH
H
6PA~OCOSE~A~~FI
PAVE1 AZBELEV. PAZYRYK TATTOOS
AS AN ARTISTIC TESTIMONY OF ANCIENT WARS AND MARRIAGES
.
29
NP0EBA H. H~RPO6~BRE
CTEABI
C
H~@MIYPHIMM
MOTMBAMM
B
BEPXEA
MAKEAOHMM
(NPO6NE~A
JJATMPOBAHMH
M
TOAKOB~HHH)
NADE PROEVA. FUNERAL STELAE WITH NON-FIGURAL
MOTIFS FROM UPPER MACEDONIA
.
(PROBLEMS
OF DATING AND INTERPRETATION)
-30
HYMOB
R.
XBNRIETCFL
AM
~PT~@~KT
@~KTOM
~~~BO~ITHO~O
MCKYCCTB~?
GOCE NAUMOV. IS AN ARTIFACT A FACT FOR ART IN PREHISTORY?
.
.-.--.---3L
KY~HH-~OC~B
B.
M.
P~KPC
B
NO3TMKE
M~~~KO~CKO~O
MCKYCCTBA
VALERII
KUZIN-LOSEV. THE FORESHORTENING IN
THE POETICS
OF THE
MAIKOP ART
.
-.-.--------~~---32
BW~ORPAAO~
IO.
A. 30NO~OII
CIUUIEMN U3 KYPRAHA A~-EIYPY~
(1875)
YURI VINOGRADOV. GOLD "HELMET" FROM THE AK-BURUN TUMULUS
(1 875)
.
33
~~P~HY~POBCKH~~
BNAN~~~P
AH~TO~~~BM~.
KOCTRH~H
RETANB
CIIMHKM
KPECNA IV
B.
R0
H. 3.
H3
PACKONOK ROPR~NN~~
VLADIMIR GORONCHAROVSKIY. BONE DETAIL
OF
A
CHAIR BACKREST EXCAVATED IN GORGIPPIA
(4"
CENTURY B.C.)
.
.34
MEMEAE~A
M- B-
~~~KO~~TMBHW
XMBOIIMCB
CKNENA NEME~PB1
B
KEPM KAK O6'BE~~
AOKYM~HT~A~HO~~
@HKC~~H#-
CW6A
A~SAPENEII,
PVRCY~~OS
M
@O~ORPA@MII
MARIA MEDVEDEVA DECORATIVE
PAINTING
OF THE DEMETRA
CRYPT AT KERCH AS AN OBJECT OF DOCUMENTARY
FIXATION.
DESTINY OF WATERCOLOURS,
DRAWINGS AND PHOTOGRAPHS
.
.---------35
ACTARNOBA H. C. AH~TOAH~~CKW
KEPAMHKA
H3
PACKONOK
&HTHK~~~X
NATALIA ASTASHOVA ANATOLIAN POTTERY
FROM PANTICAPAEUM
.
.
.
36
@AFI3YANHHA
D.
0.
A~TPONOMOP@~BE
NSO6PAME~AN
PAMERO
XENES~ORO
BEKA BONRO-KMBH:
A~AN~3
H
WHTEPNPETAUMH
DIANA FAYZULLINA. ANTHROPOMORPHIC
IMAGES
FROM THE EARLY IRON AGE IN THE
VOLGA-KAMA REGION:
ANALYSIS AND INTERPRETATION
.
37
~~O~HUHC
M-
C
~~ORO
CKNOHA
~@MHCKO~O
AKPONOAH
-
B
A~@~NONB
(2011-2015).
HO~BIE
OTKPMTHR
~C~~~HHOCTM
APXMTEKTYPHOR0 MCCNE~OBAHHN
MICHAIL LEFANTZIS.
FROM THE
SOUTH SLOPE OF
THE ATHENIAN ACROPOLIS
TO AMPHIPOLIS 201
1-2015:
EVOLUTION AND ASPECTS OF ARCHITECTURAL
RESEARCH TOWARDS
NEW DISCOVERIES
.
.---38
KX~LU~~~H
T-
N.
C~M~H&K~
NORPE6ANBEBOR
@ACAAOS
B
1V BEKE NO
H.
3.
B
MRO-SANAANOII MANOFI
A3M
TAMAS
PETER KISBALI. THE MEANING OF TOMB FAADES
IN
4TH
CENTURY B.C. SOUTH-
WESTERN ASIA MINOR
.
-.--.-.-.39
QE~~ACO~A
A.
C.
COKP~BHWHRUI
ENB@%FIC~ORO
CBIITMAMII&L:
APXNTEKT~PHBIFI
06PA3
M
CKY~~~TYPH~~
NEKOP
B
P~~H~~~HO-~O~MTHV~CKOM
KOHTEKCTE
ANASTASIA CHERKASOVA.
THE TREASURIES OF DELPHIC SANCTUARY:
ARCHITECTURAL
IMAGE
AND
SCULPTURAL
DECORATION
IN
RELIGIOUS AND POLITICAL CONTEXT
.
40
FLAVIA ZISA. ART WITHOUT CONTEXT: THE "MORGANTINA GODDESS",
A CLASSICAL CULT STATUE
FROM SICILY
BETWEEN OLD AND NEW MYTHOLOGY
.
42
CIOPTEC A. B
IIOMCKAX
KOHTEKCTA RPE.IECKMX I(0PMRMHAAOB)):
CTATYIL CATMPA, HAAMBAIOQERO BHHO,
B
~@MHCKOM
XYAOXECTBEHHOM
FFEFI3LLXE~
ALLISON SURTEES. CONTEXTUALIZING
GREEK 'ORIGINALS': THE
POURING
SATYR IN ATHENS
.
44
H~AMMOB~
H. A. ((TA~QOIQ~QA
M3
NEPR~)):
K
BOIIPOCY 06 MCIIOAB3OBAHMM RMXPOMMM
B
~AAMHMCTH~~CKO~~
M
PMMCKO~~
CKYABIITYPE
NADEZDA NALIMOVA. "THE DANCER OF PERGE": TO THE QUESTION OF DICHROMY IN
THE HELLENISTIC
AND ROMAN SCULPTURE
.
45
B~CHIIIIH
B.
0.
AM~~OHK~
KAK
II~~COHM@MK~~MEI
APM~HMH
B
AHTMZIHOM HCKYCCTBE
VIKTORYA VASILYAN. AN AMAZON AS PERSONIFICATION OF ARMENIA IN ART OF
CLASSICAL ANTIQUITY
.
46
TPO@~~O~A
A.
A. C~~CTBOB~A
AM
NOPTPET
B
AHTMRHOM ~MPE?
K NPO6NEE
XAHPA
ANNA TROFIMOVA. DID PORTRAITURE EXIST AS A GENRE IN CLASSICAL ANTIQUITY?
ABOUT ONE
OF THE PROBLEMS
IN ART THEORY
.
47
~UIAJTIIHH
6.
A.
06
OAHOM
UOPTPETE
IOHOUIM
M3
CO~P~HHR
~OCY~~~CTB~HHO~O
~PMMT~X~:
K
NPO6NEE
OCMBICAEHHH PHMCKOI'O CKYABIITYPHORO IIOPTPETA PAHHEMMIIEPATOPCKORO
BPEMEHM
BORIS ZASHLIAPIN. PORTRAIT OF A YOUTH FROM THE HERMITAGE
COLLECTION: TO THE PROBLEM OF UNDERSTANDING
ROMAN SCULPTURAL PORTRAITURE FROM THE EARLY IMPERIAL PERIOD
.
48
CYMH
A.
R.
~AOKB~H~HI~
KPACHORO
M
WPHORO: AHTM9HIUI BA30ITHCB KAK POZJ
HKOHH~~CKO~~
PMTOPMKH
.
ALEXANDER SECHIN.
ELOQUENCE OF RED AND BLACK: ANCIENT
VASE PAINTING AS A SORT
OF ICONIC RHETORIC
49
@~OAOB
3.
A.
CKH@CKM~~
MOTMB
B
~TTM~~CKO~~
BA30IIHCH
B
AP~AMRE~KMFI
M
~~HH~KA~CCM'~~CKM~
NEPMOFLBI
EDUARD FROLOV. SCYTHIAN
MOTIF IN ATTIC VASE-PAINTING IN THE
ARCHAIC AND EARLY CLASSICAL PERIODS
.
50
KYNWRUOSA
O.
B.; KAPNRO~
C.
T.
TEATPAABHBLFI
XOP
B
~TTM~~CKO~~
BA30IIMCH
(VI-V
BB.
A0
H.
3.)
OKSANA
KULISHOVA; SERGEY
KARPYUK
.
DRAMATIC
CHORUS
IN ATTIC VASE-PAINTING
(6&-5"'
CENTURIES
B.C.)
.
5
1
BACB~O
R.
C. MACEP
TMIIIMHB1: HOBOE
#MS))
B
MCTOPHM BA30IIHCM KEPW2HCKORO
CTMIIII
.
DMITRII VASKO. THE SILENCE
PAINTER: A NEW "NAME" IN THE HISTORY
OF THE KERCH STYLE
VASE-PAINTING
52
X~X~~A-RE@EP
B.
E;.
HE3AEUEHHOE
CBMAETENBCTBO O TPAREAM CO@OMA
IC DEAPAK)
.
VERA ZHIZHINA-HEFTER. A NEW EVIDENCE
FOR SOPHOCLES' TRAGEDY
OF "PHAEDRA"
53
~JI,~~COH
G.;
~OTM~H
M. K.
NOFIPALKAH&U#
AHTMSHOMY
MCKYCCTBY
YI
HHTP~C~MMOTIY~CKH~~
IIEPEBOFL:
HA IIPHMEPE KOANEKQHM CAENKOB X~JJ,OX~CTB~HHO~O
MY3EH TAPYCC~ORO
YHMBEPCMTETA
JAANIKA ANDERSON; MARIA-KRISTIINA
LOTMAN. INTRASEMIOTIC
TRANSLATION IN THE EMULATIONS
OF ANCIENT
ART
ON THE EXAMPLE
OF THE CAST COLLECTIONS
OF THE UNIVERSITY
OF TARTU
ART MUSEUM
.
54
~~HT~AWB
A.
P[.
IIY6N~RSARR
KA3HB
B
APEBHEM PHM~:
APTE@AKTB~,
AHTEPATJ'PHIUI TPAFLMQMR
M
@OPMMPOB~HH~
MAEHTMQHOCTM
ALEKSEY PANTELEEV. PUBLIC EXECUTION IN ANCIENT
ROME: ARTIFACTS, LITERARY TRADITION, AND FORMATION
OF ROMAN IDENTITY
.
55
BOCTOYHOXPMCTMAHCKOE MCKYCCTBO
EASTERN CHRISTIAN ART
~~TUHKU~
X.
PHMCKO~
3AXOPOHEHME, ITPEBPAEHHOE
B
VEPKOBB
B
CAYIN HAM
B
KANAYHE
(CHPHII)
.
HALUK CETINKAYA.
ROMAN HOUSE
TYPE TOMB
TURNED INTO CHURCH AT SAID NAYA, QALAMOUN (SYRIA)
58
~~K~AOC
A.
OT
APXEOAORMYECKMX
HAXOAOK
K
MY~~~HIM
3KCIIOHATAM.
LIPO6NEUB1
MHOROYPOBHEBORO IIPOL&?CCA
HA KPACHOPEWLBBIX IIPMMEPAX
M3
MY3E~
BH~~HTM~CKO~'~
M
XPMCTHAHCKORO MCKYCCTBA
B
A~HH~X
ANTONIS
TSAKALOS.
TRANSFORMING
EXCAVATION FINDS INTO
MUSEUM EXHIBITS: THE
ASPECTS
OF A MULTILAYERED
PROCEDURE
.
THROUGH THE
ELOQUENT EXAMPLES
FROM THE BYZANTINE
AND CHRISTIAN MUSEUM, ATHENS
59
BUTTO
A.
~~OHCXO KA~HH~
HKOHOCTACA
B
~~HH~BH~~HTH~CKWX
XPAMI3.X
CBRTOR
~~MAH
FANNY
VITTO.7HE
ORIGIN
OF
THE
ICONOSTASIS
IN EARLY BYZANTINE
CHURCHES IN THE HOLY LAND
.
60
RENATE ROSENTHAL-HEGINBOTTOM. PILGRIM SOUVENIRS
FROM THE HOLY LAND: PRODUCTION, ICONOGRAPHY,
.
AND DISTRIBUTION 61
OLIIAPMHA 0. B. EUR6NEFIC~E
CIOXETBI
M
O6PA3B1
HA IIAMXTHYRKAX
KONTCKOI'O
MCKYCCTBA
OLGA OSHARINA.
BIBLICAL SUBJECTS AND IMAGES IN THE
WORKS OF COPTIC
ART
.
62
E~NONBQESA
E.
M.
CHHK~~TM~~CKM~
O6PASB1
B ~~XHT~KTYPHO~~
NAACTWKE IOXHORO KA~~A3A
B
NEPMOA
CPENESE~OSBRR:
6B1UBRR RONOSA
EKATERINA ENDOLTSEVA. SYNCRETIC
IMAGES IN THE ARCHITECTURAL RELIEFS OF SOUTHERN
CAUCASUS:
BULL'S HEAD
.
63
MHK~~ARH
N.
M.
PACQBETIIIME
XHBOTHBIE
B
MCKYCCTBE C~C~HH~CKO~O
MPA~A,
~PENHEBE~0~0FI
NAACTMKE
APM~HMM
M
APE~ETF
~CH
LILIT
MIKAYELYAN.
"FLOURISHED"
ANIMALS
IN
THE ART OF SASANIAN
IRAN, MEDIAEVAL SCULPTURE
.
OF ARMENIA AND ANCIENT RUS
64
T~H
R.
R.;
~PM~OPIH
A.
X.
PII~~~~HTUMR
BAACTM
B
CKYABIITYPHBM ~306PAXE~~RRX
QAPEFI
BARPATMNC~0FI
APM~HHM
(MCKYCCTBOB~~~CKH~~
H
HCTOPHV~CKM~~
AHANM3)
GAYANE
TEN; DIANA GRIGORYAN. THE REPRESENTATION
OF SOVEREIGNTY
IN THE SCULPTURAL
IMAGES
OF THE KINGS
OF BAGRATID ARMENIA: ASPECTS OF
ART
AND HISTORY
.
65
K~~MHHH~
E.
A.
06M~P~B1E
LJMKABI
MNALO~TPALJMFI
B
BH~~HTM~~CKMX
PYKONL4C5IX
BTO~OA
IIONOBMHBI
XI
BEKA.
NPO6NE~B1
MKOHO~~@MH
EVGENIA KALININA.
EXTENSIVE ILLUSTRATIVE
CYCLES IN BYZANTINE MANUSCRIPTS OF THE SECOND
HALF
OF THE 11" CENTURY:
ON THE ISSUES
OF ICONOGRAPHY
.
--G6
3A~RPAFI~~~A
C.
N.
MPMOP~BRE
HKOHI
XI-XIII
BB.
C
~306PAXE~E~
EORO~AEPM
B
REKOPAQURM
~~~MAMKH
CAH-MAPKO
B
BEEQUR:
~OCT~HOBK~
BONPOCA
SVETLANA
ZAIGRAYKINA.
'THE
L
L&-
13" CENTURY
MARBLE ICONS OF THE VIRGIN MARY IN SAN MARCO BASILICA IN VENICE:
THE STATEMENT
OF QUESTION
.
67
06PA3QOSA
K.
6.
AE~CYC
B
CHCTEME Y6PA~C~SA
BH~~HTH~~CKO~O
TEMNAOHA XII
-
HAQAAA XIII
BB.
KSENIA OBRAZTSOVA.
THE DEESIS COMPOSITION IN THE DECORATION SYSTEM OF THE BYZANTINE TEMPLON
OF THE
12&
-
EARLY 13&
CENTURIES
.
68
AK~~HH
3- A. @PEC~~
WPKBM T~RPA~A
OHEHQA (CB.
@H~OPMII)
B
AHH
(1215). KOH@~CCMOH~A~HI~~
ACIIEKT
ZARUHI HAKOBYAN. THE FRESCOES OF ANI'S TIGRAN
HONENTS
(ST. GREGORY) CHURCH (1215):
A
CONFESSIONAL
ASPECT
.-.69
KA3APNH A.
M.
APX~E~YP~B~FI
O~WKT
HA APXEONORMECKOM ROPONMQE. M~M~H~HM~
O6PASA
BO
BPEMEHH
AMEN
MAN.
ARCHITECTURAL
OBJECT
ON
THE ARCHAEOLOGICAL SITE. TIME VARIATIONS
OF THE IMAGE
.
.-.-.--.70
XYPA
R.;
ILAQEE
R.
OXP~A,
C~RRLYE~~NRII
ROPOA, MEPYCANM HA EAN~A~AX
GOCE ANGELICIN ZURA; GORAN PATCHEV. OHRID,
THE HOLY TOWN, THE BALKAN JERUSALEM!
.
-1
PN~~APNN
N-;
CWE~~C
H.
3A~A3SN~
ER0
PYICONMCB: IIPOTOCTPATOP MNXA~N
30P~ANOC
B
3NMPE
B
KOHQE
XI11
BEKA
LORENZO RICCARDI; NINA SIETIS.
A PATRON AND HIS MANUSCRIPT:
THE PROTOSTRATOR
MICHAEL ZORIANOS IN EPIRUS
IN LATE 13" CENTURY.
.
72
AKOB~~B~
M.
M.
@PEC~N
4EPKBM XPUC~A
II~CHT~AH
B
BEPM (1315
R.)
M
BOIIPOCBL TBOP.LECTBA RE0PRI4N
KANNEPR~CA
MARIA IAKOVLEVA. FRESCOES OF THE ANASTASIS
CHURCH
IN VEROIA (1315) AND THE ISSUES OF GEORGE
KALLIERGIS 0EUVRE
-.-.-73
,@HR~~H
M.
C
APMHHCKO~
QE~BEP0EBAHRENHE
POCCH~CKO~
~OC~~~~CTB~HHO~~
~H~JIHOT~KH
(@.
439.23.5):
K BONPOCY
~TPH~~MM
MMHMATIOP
PYKOIIMCH
INESA
DANIELYAN.
ARMENIAN
FOUR
GOSPELS
OF
THE RUSSIAN STATE LIBRARY
(T
439.23.5):
THE ATTRIBUTION OF MINIATURES
.
-.75
NA~PEHTBEBA
E.
C.
KOMNNE~C
XPAMA RPO6A R0CNONHN 3NOXH KPECTOHOCWB:
T~WM~HH
XPHCTI4AHCKORO
BOCTOK~
H
POMAHCKORO 3ANANA
B
CAOXEHMH
CTNNCL
KPECTOHOCQEB
ELENA LAVRENTYEVA CRUSADER COMPLEX OF THE HOLY SEPULCHRE:
THE CHRISTIAN
EAST AND THE ROMANESQUE
.
WEST IN THE FORMATION
OF THE CRUSADER
STYLE
-75
ANASTASIA
LIKHENKO.
ARCHITECTURAL
BACKGROUNDS
IN THE
WALL-PAINTINGS
OF THE BYZANTINE OIKUMENE
IN M=&GUE PERIOD
.
76
NATALIA BOBROVA. HISTORICAL SOURCES
ON THE PERIBLEPTOS MONASTERY
IN CONSTANTINOPLE AND THE ISSUE
OF RECONSTRUCTION OF THE VIRGIN PERIBLEPTOS PROTOTYPE
.
77
YHPH~
TEPPMH
H.
N0PTAAB1
M
IIEPEXOA: ~BMXCEHME
MY~POCTM
B
IIO~~H~BM~~HTM~~CKO~~
XP~MOBO~~
APXMTEKTYPE
JASMINA CIRIC TERRYN. PORTALS
AND
THE TRANSLATION: MOVEMENTS OF WISDOM IN LATE BYZANTINE SACRED
ARCHITECTURE
.
78
MANBQESA C. B. MHTEPILPETAQMII
BM~~HTM~~CKMX
06PA3QOS
B
QEPKOBHOM 30NWCTBE CEP6NUR
M
60ARAPMM
B0
BTOPO~~
IIOAOBMHE XIV BEKA
SVETLANA MALTSEVA. INTERPRETATION
OF BYZANTINE MODELS IN THE CHURCH BUILDING OF SERBIA
AND BULGARIA
IN THE SECOND HALF OF THE
14~
CENTURY
.
79
OAEFIHMK T. B.
K
BOIIPOCY 06 MHTEPNPETAQMM
MKOHO~"~~C$M~~CKMX
TMNOB ~306PAXE~II
~O~OPO~M~I,
II~MM~HIIBIIIIXCH
B
XPAMAX BM~~HTH~~CKO~O
X~~COH~
TATYANA
OLEYNIK.
ON THE ISSUE OF THE INTERPRETATION
OF ICONOGRAPHIC
TYPES OF THE THEOTOKOS
USED IN THE CHURCHES
OF BYZANTINE
CHERSON
.
81
XPMCTOC$OP~KM
M.
(~MT~~O-BM~~HTM~~CKYI~
TPMIITMX (POXJ(~CTBO
CO CBIITBIMM ~~H~~~MKTOM
M
@P~H~MCKOM )
IOANNA
CHRISTOFORAKI.
AN
'ITALO-BYZANTINE' TRIPTYCH
WITH THE NATIVITY, SAINT BENEDICT AND SAINT FRANCIS
.
82
FLPEBHEPYCCKOE
MCKYCCTBO
RUSSIAN MEDIAEVAL ART
KY3EVOSA
B.
H. M306PA3~ENB~B1E
TPAAMIJMH CEBEPA
VCH
M
NPMKAMBR
B
~OOMOP@HMX
IIOABECKAX X-XIII
BEKOB
VALENTINA KUZNETSOVA. FIGURATIVE TRADITIONS
OF NORTH RUS AND KAMA REGION IN ZOOMORPHIC PENDANTS
.
OF
11~-
13~
CENTURIES 85
XMAMHA H. B. CTMAMCTM~~CKM~
IIAPANNENH
B
H~O~~~~HT~A~HOM
M
IIPMKAAFLHOM MCKYCCTBE BPEBEFI
VCH
NATALIA ZHILINA. STYLISTIC PARALLELS IN FINE AND APPLIED ARTS OF OLD
RUS'
.
86
YIIKMH
B. A.; AHT~~OB
M.
B. 06
OCO~~HHOCTJ~X
OPI'AHM3QMM
CTPOMTENBCTBA
M
CTPOMTEABHORO IIPOM3BOFLCTBA
B
HOB~OPOJJCKO~~
3EMNE
B
AOMOHTOLIBCKOE BPEMJF
VALENTIN BULKIN; ILYA ANTIPOV. ON THE PROBLEMS
OF THE ORGANIZING
OF BUILDING PROCESS
IN NOVGOROD
.
AT PRE-MONGOL PERIOD 87
MATSEEB
B.
H. RIM~QURE
PENBE4ABRE NNHTKH: ESPONEFIC~II
KOHTEKCT
.
VASILII MATVEEV. RELIEF TILES FROM
HALICH: EUROPEAN CONTEXT
88
FINIIIMH
A.
A.;
BACHNBEB
6.
R.
@PECKOSASL
POCNMCB CCFLOMA
~OR~MH~,)
B
OKOABHOM
ROPOFLE
HOBORPY~KA
(NO
MATEPMANAM KONNEKQMM
@~I'M~HTOB
WTYK~TYPKM)
DENIS JOLSHIN;
BORIS VASILYEV. FRESCO DECORATION
OF THE "NOBLE'S
HOUSE" IN THE TOWN OF NOVOGRUDOK
.
(AFTER
THE COLLECTIONS
OF THE FRESCO FRAGMENTS)
89
CMM~HOB~
3.
C. 06PA3
XPAMA
B
MAPRMHANBHBIX MNAIOCTPAQMHX
HOB~O~OACKO~~
CMMOHOBCKO~~
NCAATUPM
(MM,
XNM.
3)
BTOPO~~
SETBEPTH
M
BEKA
ENGELINA SMIRNOVA. REPRESENTATION
OF THE TEMPLE IN THE MARGINAL MINIATURES
OF THE NOVGOROD PSALTER OF SIRNON
.
OF THE
2"D
QUARTER OF THE 14&
CENTURY
(STATE HISTORICAL MUSEUM, CHLUD. 3)
91
KP~SA
A. KTO
TAKM CO~M?
A~~BH~~~CCKO~
TOJIKOBAHME
HOSROPO~C~OFI
HKOHBI ~P~M~POCTM
60XCMEFI
.
AGNES
KRIZA.
WHO IS SOPHIA?
'THE
MEDIAEVAL
COMMENTARY ON THE NOVGOROD ICON OF DIVINE WISDOM
92
C~O6~APESA
P[. C. K BOILPOCY
0
THIIOAOI'MH
MOHACTBIPCKMX
CO~OPOB
M
LLPHXOFLCKUX XPAMOB
~CKOB~
XVI BEKA
.
DARYA
SKOBKAREVA.
ON THE TYPOLOGY OF THE 16&-CENTURY
CATHOLICONS AND PARISH CHURCHES
OF PSKOV
93
CAMOIINOSA T.
E.
XPAMOBUL MKOHA C11ACO-~PEO6PAXE~C~ORO
CO6OPA CO~OB~~KO~O
MOHACTMPH.
MKOHOI'P~@H~~CK~
NPOI'PAMMA
U
CTMAB
TATIANA SAMOYLOVA. THE ICON "TRANSFIGURATION" FROM THE TRANSFIGURATION
CATHEDRAL
OF SOLOVETSKY
MONASTERY:
ICONOGRAPHIC PROGRAM
AND
STYLE
.
94
C~MMH~
M.
A.
MHHH~TH)PM
~H~~BOI'O
~~TOIIUCHO~O
CBOFLA
C
~306PAE~ME~
CQEH CTPOHTENBCTBA KAK
MCTOSHHK
AHANH3A APEBHEPYCCKORO CTPOHTENBHORO IIPOM3BOACTBA
MARYA SIOMINA. MINIATURES OF THE ILLUSTRATED CHRONICLE
OF IVAN THE TERRIBLE WITH THE IMAGES OF BUILDING PROCESS
AS
A
SOURCE FOR THE
ANALYSIS OF THE CONSTRUCTION
WORKS IN MEDIAEVAL
RUSSIA
.
95
VLADIMIR YAKOVLEV. ON THE ISSUE OF OLD RUSSIAN ART IN THE NOVGORODIAN
HISTORIC AND LITERARY
TRADITION
OF THE
17' CENTURY
.
96
XOJ(~KOBCKU~~
E.
B. AKTYAABHB1E NPO6NE~B1
M3YW?HMH
HEKOTOPBIX IIAMILTHMKOB FLEPEB~HH0FI
APXRLTEKTYPB1
OEXC~ORO
CI
NE~ERO
6EPERO~
EIENORO ~OPN
EVGENY KHODAKOVSKY. ACTUAL PROBLEMS OF RESEARCH
OF WOODEN ARCHITECTURAL MONUMENTS ON LETNIY
AND ONEZHSKY COASTS
OF THE
WHITE SEA
.
97
MCTO'IHYIKOB
NADEZHDA CHESNOKOVA. RUSSIAN ICONS OF 16~
-
18* CENTURIES IN THE CHRISTIAN EAST,
ACCORDING
TO WRITTEN SOURCES
.
98
A6PAEUO
H.
M. MC~OPVLN
KPEIQENLCN PYCU
B
POCNNCN RANEPELC CO6OPA
HO~OCNACC~ORO
MOHACTBIPN
B
MOCKBE
NATALIA ABRAMENKO. THE HISTORY
OF CHRISTIANIZATION
OF KIEVAN RUS' IN THE GALLERY
OF THE CATHEDRAL
OF TRANSFIGURATION
OF NOVOSPASSKY MONASTERY IN MOSCOW
.
99
HHKO~~~B~
M.
B.
BOCCOSNAUE
(CIO6PEE~E~)
YTPAQEHHBIX HKOHOCTACOB XVII BEKA
IIO
IIWCBMEHHBIM
HCTO'IHHKAM:
UITAPHME IIPERPANBI XPAMOB MOCKOBCKORO BHCOKO-~~T~OBCKO~O
MOHACTBIPRI
MARIYA NIKOLAEVA. RECONSTRUCTION ("ACQUISITION") OF THE LOST 17'-CENTURY
ICONOSTASES
BY WRITTEN SOURCES:
CHANCEL
SCREENS
OF THE CHURCHES
OF MOSCOW VYSOKO-PETROVSKY
MONASTERY
.
L00
LIIHRKOB~
IO.
B. M~EPNPE~AQM
GPEBHEPYCCKORO
HACNENM
B
APXJLTEKTYPE TPANES~OII
NANATBI
@~~~O~OBCKO~O
ROPONKA
B
LL[APC~O~
CENE
IULIIA SHNYAKOVA.
THE INTERPRETATION OF THE MEDIAEVAL RUSSIAN ARCHITECTURAL HERITAGE IN
THE TRAPEZNAIA PALATA
OF FEDOROVSKY GORODOK
IN THE TSARSKOYE SELO
.
101
OHY@PH~HKO
M. O.06PA3
3MEH
B
CIOXETE 3EE60PC~SA
CB.
K0PRTU1
B
MCKYCCTBE P[PE~EII
P~CH
M
BM~~HTMM
(V-XVI
BB.).
O~MT
HKOHO~~~@H~~CKO~~
KA~CCM@MK~~MM
MAXIM ONUFRIENKO-THE
DRAGON CHARACTER
IN THE IMAGES
OF ST. GEORGE THE DRAGON FIGHTER IN THE ART
OF OLD
RUS'
AND
BYZANTIUM (5'-16& CENTURIES). A TRIAL OF THE
ICONOGRAPHICAL
CLASSIFICATION
.
102
~MKOB~
E.
B.
C~APO06PN~(SEC~CIE
KOM~HHHPOB~HHM~
MKOHBI:
THIIOAOIIM
M
~ITOB~HH~
EKATERINA
BYKOVA.
COMPOUND OLD
BELIEVERS'
ICONS:
TYPOLOGY
AND EXISTENCE
.
103
HAIIGE~OSA
I](.
B.
MKOHI
C
N306PAXE~E~
CB.
XPIICTO@OP~
B
II~~BOCA~BHO~~
H
~~AP006P~NSE~K0FI
TPAFLMUMM
XVIII
-
HAYANA
XIX
SEKA. OCO~~HHOCTH
~~O~ORPA@~N
DARYA NAYDENOVA. ICONS
DEPICTING ST.
CHRISTOPHER
IN
THE ORTHODOX AND OLD BELIEVER'S TRADITIONS
OF THE 18*
-
EARLY 19" CENTURY. FEATURES
OF THE ICONOGRAPHY
.
104
RPWROPBESA H. B. AE~OP~POSA~~B~FI
TONOPM
C
3E~M~ORO
ROPONMQA
B
C~APOFI
JIA~ORE
NATALIA GRIGORIEVA.THE
DECORATED HATCHET FROM
ZEMLANOYE GORODICSHE IN STARAYA LADOGA
.
--.-.----L05
E~PIII~B
M.
H.;
~~K%HHOB~
0.
H.
~OAOCHMKH
KAK HHCTPYMEHT
(POPMHPOB~HHI~
AKYCTMKM XPAMOB
ILIYA BURLYAEV; OKSANA LUKYANOVA. RESONATORS
AS
A
TOOL FOR THE FORMATION OF TEMPLES ACOUSTICS
.
-.--106
CKO~HH~
M. A. ME~OP
XII~M@TOBO~O
AHANM3A APEBHEPYCCKHX
FIWTHMKOB
MCKYCCTSA HMCBMA HA IIPMMEPE
HCCNENOBMM
~ANNNRPA@~M
ESAHRENMN XVI SEKA
~3
CO~P~HMI
PHIJ
MVIA
SKOPINA. METHODS
OF THE SCRIPT
ANALYSIS OF THE OLD RUSSIAN MANUSCRIPTS HANDS APPLIED FOR CALLIGRAPHY
RESEARCH IN THE FOUR GOSPELS OF THE 16-TH
CENTURY
FROM THE COLLECTION OF THE RUSSIAN NATIONAL LIBRARY
.
107
EY~WH~
H.
HE6EC~W
BOMHCTBO:
H~O~I~HW
M~O~ORPA~HN
HEKOTOPW
CBXI"I'
B
POCIIHCH APXMRENBCKORO
CO6OPA MOCKOBCKO~O
KPEM
YDIA
BUZYKINA.
HEAVENLY HOSTS: UNUSUAL ICONOGRAPHY
OF SAINTS
IN
WALL
PAINTING OF ARCHANGEL MICHAEL CATHEDRAL
IN
~~~0~
~EDI
.
.
.
.
.
.
108
~AIIA~HOEBPOIIE~~CKOE
CPENHEBEKOBOE
YICKYCCTBO
WESTERN EUROPEAN MEDIAEVAL
ART
O.
*-
K~NOMUE
QEPMH CBFLUMH
XI
-
M
BEKOB. APXHE~RYPA
BMBFIE~OE
~~
SKHN
LHNED
CHURCHES
OF
THE
L
LTT-12' CENTURIA;
THE
ARCHITERNE
OF VALDEMONE
.---.L11
MARIA TERESA GIGLIOZZI. ROMANESQUE CHURCHES AS ART-OBJECTS:
METHODOLOGY,
WAYS OF RESEARCH
.
AND EXPECTED RESULTS IN CENTRAL
ITALY
112
NAHE3M B. MOH~CTIPCKUI
APXMTEKTYPA OPNEHA KA~~MCCMHOK
B
CPELJHEII
MT~AMM
XIII-XIV BEKOB
VALERIA DANESI. THE MONASTIC ARCHITECTURE
OF THE POOR LADIES ORDER
-
LATER KNOWN AS "THE POOR CLARES"
-
IN CENTRAL
ITALY IN 13&-
14' CENTURIES
.
L 13
YEME30BA K.
E.
YH~CKM~~
~060~
B
KOHTEKCTE
HOPB~XCKO~~
K~M~HHO~~
KYA~TOBOR
APXMTEKTYPB1 XII-XI11
BEKOB
KSENIIA CHEMEZOVA.
THE CATHEDRAL
OF LUND IN THE CONTEXT OF THE NORWEGIAN CULT STONE
ARCHITECTURE
OF THE 12'- 13' CENTURIES
.
1 14
~MHT~H~B~
A.
A.
BHTPA RCHBIE
(IPO3BIN
B
CMCTEME LJEKOPA ROTMSECKMX
CO~OPOB
Q)P~H~MM
XII-XV BEKOB
ANNA DMITRIEVA. STAINED GLASS ROSES IN THE SYSTEM OF DECORATION
OF FRENCH GOTHIC CATHEDRALS
.
OF THE 12&-
15' CENTURIES
1 15
C~COHKO
K.
0.
~OTM~~CKUI
CKYABNTYPA:
OT
XPMCTHAHCKORO O6PASA
K
NPOM3BENEHMIO MCKYCCTBA.
HA NPMEPE
CKYNBNTYPB1 ROXHORO NOPTANA ~A@E~PANA~ORO
CO6OPA
B
C~PAC6YPRE.
KRISTINA
SASONKO. GOTHIC
SCULPTURE: FROM THE CHRISTIAN
IMAGE TO A MASTERPIECE OF ART.
THE SCULPTURE
FROM THE SOUTHERN
PORTAL OF STRASBOURG CATHEDRAL
.
116
~HX~MH
M.
~OAHC~MH~~CKM~
06'BEK~BI
KAK
METO~ONORMSECKIUL
NPO6NE~A.
HA IIPKLMEPE CPE)JHEBEKOBORO
CAP~O+ARA
~3
CO6OPA
B
T~~MOAH
FRANCESCO GANGEMI.
POLYSEMIC OBJECTS AS A METHODOLOGICAL
PROBLEM. THE CASE OF THE MEDIAEVAL SARCOPHAGUS
WITH AN EPIGRAPHIC
POEM IN THE CATHEDRAL
OF TERMOLI
.
117
KO~~PAMOSA
A. A.T~NONOR~LI
M
M~O~ORPA+NX
A~RNNIIC~NX
@M~'J'~~TMBHIX
~ANRPO6II
XIII-XV BEKOB
.
ANNA KONDRASHOVA.
TYPOLOGY AND ICONOGRAPHY
OF THE ENGLISH FIGURATIVE
TOMBS OF THE 13&-
15H
CENTURIES
1 18
TO~A
CD.
KOH@AHKT
NANB~
H
HMNEPATOPA. M306PAXE~E
KAK CPENCTAO XYGOXCECNSEAAOII
NPONARAAP1
B
PHM~
B
XI11 B.: CTPATERMH HCNOAB3OBAHHX 06PA30~,
MCTOPMSECKME
MCT09HHKH
H
O6PAYB1
FRANCESCA TOTA. ICONIC PROPAGANDA
IN
THE 13&-CENTURY
ROME: THE STRATEGIC
USE OF IMAGES, HISTORICAL
SOURCES
.
AND MODELS IN THE CONFLICT
BETWEEN THE POPE AND THE EMPEROR
119
NOFIR A. NORPE6ANB~B1II
IIWTHMK
AN~CB~
U0CEL.3
B
KKVIME, OKC@OP@IIMP
MAN
DOIG.'IHE
FUNERARY MONUMENT OF ALICE CHAUCER
IN
EWELME IN OXFORDSHIRE
.
120
BE6EP P[. M.
MKOHOI-~~@WI
AESBR M~~MM
B
~HBOHHH
B
CPENHME BEKA
H
PAHHEE HO~OE
BPEM.
.
DMITRIY WEBER. THE VIRGIN MARY'S
ICONOGRAPHY
IN MEDIAEVAL
AND EARLY MODERN LIVONIA
121
~~HXOA~M
T.
M~K~~JOHCKO~
BOSPO RCYJE~#E:
ROTAAHFLCKME PACRVITWI KAK
~A~6ONEE
PAHHME AEPEBHHHBIE PACIMTHR
B
HATYPAABHYIO BEAMRMHY
TORE GANNHOLM.
MACEDONIAN RENAISSANCE: GOTLANDIC CRUCIFIXES AS THE EARLIEST WOODEN
CRUCIFIXES
IN
NATURAL SIZE
.
122
POXKOB~
C.
A.
MHT~II~~T~~HJI
4BETA
BOW1
B
MMHHATIOPAX CPEPLHEBEKOBORO
~H~AM~~CKO~O
~CTH~~MX
SVETLANA
ROZHKOVA.
PROBLEMS
OF
WATER
COLOURING
IN
ENGLISH MEDIAEVAL BESTIARY
MINIATURES
.
123
3AROPCKHX
T.
R.
KOMMKC
KAK METON.
MCIIOA~~OB~HM~
TEOPHH KOMHKCA NPM AHAAM3E CPENHEBEKOBBIX MAHYCKPHIITOB
TAMARA ZAGORSKIKH.
COMICS AS A METHOD. USING THE THEORY OF COMICS
IN THE ANALYSIS
OF MEDIAEVAL MANUSCRIPTS
.
124
~~'ATT~H~~HO
M. @PEC~~
B
C~H-NOPE~QO-ANB-NARO
B
@~AC~PE
M
CCSERMO
RUSTIC US^
B
XCN~ONWC~
IOX~OFI
MAPE
MARCO DIATTANASIO. THE FRESCOES IN SAN LORENZO A1 LAGO AT FIASTRA AND
THE "SERMO RUSTICUS" IN THE PAINTING
IN
THE SOUTHERN
MARCHES
.
125
O~RO~OB~
T.
E.
@~OHTMCUC
&~~CTB~HHO~~
XAPKL
KOPOJUI 3LJRAPA
HIOMMHCT~~KOMY
A66A~C~Y:
JJOKYMEHT
B
NOKYMEHTE
TATIANA FEDOROVA. THE NEW MINSTER CHARTER FRONTISPIECE: DOCUMENT WITHIN
THE DOCUMENT
.
126
&AOB~
0.
P(.
X~OX~CTB~HHM~~
06'BE~~
HA CTBIKE KYJIBTYP: BA3A ANWEHOPBI AKBHT~HCKO~~
OLGA BELOVA.
AN
ART OBJECT ON THE CROSS-CULTURAL
CHANGE: THE ELEANOR
OF AQUITAINE
VASE
.
127
TOSUNOSA
H. H.
LLPO6NE~A
NPKLMEHEHM KOMNAEKCHORO METONA U3PEHMH
HO~B~XCKO~~
EPEB~HH0FI
LL0PTIWIB~0FI
PESB6B1
XI
-
XIII
B.
NADEZHDA TOCHILOVA. TO THE PROBLEM OF APPLICABILITY
OF A COMPLEX METHOD TO THE STUDY
OF THE NORWEGIAN
WOODEN PORTAL CARVING
OF THE L
LH
-
13&
CENTURIES
.
128
KOPONA~OSA
E.
B. BUSYANB~ARR
PMPUKA
XYRROXCEME~~OFI
CTPYKTYPBI CPESE~OEOFI
KHHRU BIBLIA PAUPERURN
.
ELENA KOROLKOVA.THE VISUAL RHETORIC
OF THE ARTISTIC STRUCTURE
OF
THE
MEDIAEVAL
BOOK
BIBLIA PAUPERURN
1
29
XPWN~OSA
E.
A. NNRYPM'LECUK
ACNEKT
KOM~O~MUMM
NROCNONB
BO
CNAEE))
B
NENOPASULW SANAN~OE~PONEFICUX
XPAMOB XI-MI BEKOB
ELENA KHRIPKOVA. LITURGICAL ASPECT OF COMPOSITION (CHRIST
IN MAJESTYX IN DECORATION
OF WEST-EUROPEAN
CHRISTIAN
TEMPLES IN THE 11' AND
12' CENTURIES
.
130
MCKYCCTBO PEHECCAHCA
ART
OF
THE
RENAISSANCE
MHKENVL M.
3.
AHTMYHH~
PE3HBIE
KIMHH:
IIOCPE&HHKM
MEMY
HCKYCCTBOM
APEBHMM
M
HOBBIM
MARIA ELISA MICHELI ANTIQUE CARVED GEMS: ITEMS
FOR
INTERACTION
BETWEEN ANCIENT AND MODERN ART
.
133
MAXO O.
R,
NPENE~
B
MTANBHHCKOM HCKYCCTBE P~H~CC~HC~.
APT~@~KT
M
~~T-O~S~KT.
OLGA MAKHO. AN OBJECT IN THE ITALIAN RENAISSANCE
ART. ARTIFACT AND ART-OBJECT
.
L33
K
MY~~~HOMY
3KCNOHATY
OLGA NAZAROVA. ITALIAN PANEL PAINTING FROM LATE DUECENTO
TO EARLY QUATTROCENTO CHANGING CONTEXTS:
FROM CULT
OBJECTS TO THE MUSEUM
EXHIBITS
.
134
CMARONB
0.
C. H~KOTO~I~
OCO~~HHOCTH
O6PA3A
EPPAPC~ORO
JPIOPQA XV-I'O BEKA
B
KOHTEKCTE
~BOCTO~HO~~~
CNEQBI@UU
APXMTEKTYPM P~H~CC~HC~
B
B~H~~MH
OXANA
SMAGOL. SOME PECULIARITIES OF THE 15'-CENTURY FERRARA PALACES IN THE
CONTEXT
OF VENETIAN RENAISSANCE
.
ARCHITECTURE
'EASTERNN ASPECTS 135
KY3EVO~A
H. C. A~XMT~KT~~~
XPAMA
~BH~~CKO~
YEPT03B1:
NPO6NE~A
BHEWHHX
BAHIIHH~~
H
MX
MHTEPNPETA4MM
B
APXHTEKTFLE
~OM~~P~HH
M-XV
BEKOB
NATALIYA KUZNETSOVA.
THE CATHEDRAL
OF CERTOSA DI PAVIA. THE PROBLEM
OF EXTERNAL INFLUENCES
AND THEIR INTERPRETATION
IN THE ARCHITECTURE
OF LOMBARDY
OF THE
14'- 15' CENTURIES
.
136
TAPA~AHOBA
E.
M.
KAPNM~M
EPAHFLA
K~CTHA~OH~
H
TOCKAHCKOE
MCKYCCTBO
B
~OM~~P~MH
EKATERINA
TARAKANOVA.
CARDINAL
BRANDA
CASTIGLIONE
AND TUSCANY ART IN LOMBARDIA
.
137
KONNANI~W~O~A
N.
B.
C~CC~TT~
KAK
NEFI3A~~C~.
K BOIIPOCY 06
~TPH~NMH
@?YX
NEJI3AXEFI
M3
CH~HCKO~
ILUHAKOTEKU.
DARIA KOLPASHNIKOVA.
SASSETTA AS A
LANDSCAPE
PAINTER. TOWARDS THE ATTRIBUTION
OF TWO LANDSCAPES
FROM THE
PINACOTECA
NAZIONALE (SIENA)
.
-138
~MYI'MH~
0.
K.
~OKAOH~HH~
HFFNAAE~Y
M3
KOMEKL@LH
E~AEP~~6YPRC~ORO
Y3E~
~306PA3~ENB~BRX
MCKYCCTB-
B0NPOCB;R
UKOHO~~~HH
OLGA PICHUGINA
ADORATION OF CHILD FROM
THE COLLECTION
OF EKATERINBURG FINE
ART
MUSEUM.
QUESTIONS
OF ICONOGRAPNY
.
139
YHHH~
M.
B.
ALI~APHILS
KOMLL03HQHFL
~BOSH~C~HH~
FLESBL HLAP~L~~
PA60~~
NBERPO
NEPPEO
U3
NONMNT-A
QEPX~~
CLWCCN~A
AHH~HUU~T~
BO
ONOPE~Q~~:
~OMECLSENNAM
QENNOCM N PENY~AQM
XNEONRRCQA
MARIA DUNINA. "ASSUMPTION OF THE VIRGINN
BY PIETRO PERUGINO
FROM THE ALTARPIECE OF SS. ANNUNZIATA
IN FLORENCE:
.
ARTISTIC
VALUE
AND
REPUTATION OF THE
PAINTER
140
AONYXOSA
M.
A. UNA STORIA
DI FIGURE
PICCOLE, CONDOTTE CON TANTA ARTE E DILIGENZA: UMCROPNN OP@EN*
II~ONO
NENB CENNAIIO
H
RPYNNA
PHC~HKOB
@NN~NNN~O
N~NNU
U
~ACEPCUOK
143
CO~PBHHII
RANEPEM Y+$BIQN
MARINA LOPUKHOVA.UNA STORIA
DI FIGURE
PICCOLE, CONDOTTE CON TANTA ARTE E DILIGENZA: JACOPO DEL SELLAIO'S
ORPHEUS
.
AND EURYDICE AND SOME DRAWINGS
BY
FILIPPINO LIPPI AND HIS WORKSHOP FROM THE UFHZI
GALLERY
141
~~PHHU
@0NE3A~M
)$K.
KA~OFI
~OM~HMKO?
PEEHKIE
3ARAKM BE~HKOAEILHORO
BEHE4HAHCKORO NOPTPETA 1512
R.
M3
CO~P~HMII
~OCY&~PCTB~HHO~O
3PMWTA I A
GIOVANNA PERINI FOLESANI. DOMINICUS
WHO? SOLVING
THE RIDDLE POSED BY A SPLENDID "VENETIANN
PORTRAIT
.
DATED
15
12
AT THE HERMITAGE
.
142
KY-YCA~O
A~TTH.
~HENCHBIE
CMBLCNBI*: NCTPACTHAJL
+~HTZ~UAN
B
KAPTHHE ANON0
RKWMPMO .MOC~+
B
ER~NE*.
C~MMOTM~~CKM~~
AHANM3
ALTTI
KUUSAMO. UNCERTAIN SIGNIFIERS:
"AN
AFFECTIVE
PHANTASY" IN
JACOPO
PONTORMO'S
PAINTING JOSEPH
IN
EGYPT.
A SEMIOTIC ANALYSIS
.
.
.
.
.-,.
.
143
ELENA ZABRODINA. INTERWEAVING OF VERBAL AND VISUAL TEXT IN THE
WORKS OF THE BROTHERS
VAN EYCK AND
ROGIER VAN DER WEYDEN: IDENTIFYING
THE
VIEWER'S
POSITION
.
144
KOC~A~PRR
M.
A.
C03FLABA
CEMBIO:
)JBO~%HI~
IIOPTPETBI
B
XMBOIIMCM
P~H~CC~HC~
XV BEKA
MAKSIM KOSTYRIA.
CREATING
FAMILY: DOUBLE PORTRAITS IN RENAISSANCE PAINTING OF THE 15H
CENTURY
.
145
KOB~~CIOK
C.
A.
CAOX~HM~
MKOHOI'~~@MM
NECA~A
B
HMFLEPNAHFLCKOFI
XMBOIIMCM
BTOPO~~
NOAOBMHBI
XV-XVI BEKOB:
OT
E~PEKC~ORO
NPA3~~~~A
K
TAA~OII
SEQEPE
STEFANIIA KOVBASIUK.
PASSOVER FEAST IN THE NETHERLANDISH PAINTING FROM THE SECOND
HALF OF 15H
-
16"' CENTURIES:
.
FROM THE JEWISH
FEAST TO THE LAST SUPPER
146
TEPEXOSTLS
A.
B. NAPAFLO~CB~
B
MCTOPMM
MHTEPNPETAQM HACNERMFI N~EPA
EPEFIREN~
C~APMERO
HA NPMMEPE
CEPII
PMC~HKOB
CD?PEX~,,
M
C P[O6POFLEEN~~
ALEXANDRA TERECHOVICH.
THE PARADOXES IN INTERPRETATIONS OF THE HERITAGE OF PIETER BRUEGEL THE
ELDER
BY THE EXAMPLE OF DRAWINGS "SINS" AND "VIRTUE" SERIES.
.
147
QPONOSA
N.
B. NOP~PE~BR
HMNEPATOPA M~KCHMHAM~H~
I RA6C6YPRA:
OPYAME NPONARAAGBR
M
NP0~3EAE~E
HCKYCCTBA
.
LIUDMILA FROLOVA. PORTRAITS OF THE EMPEROR
MAXIMILIAN I OF HABSBURG AS POLITICAL ADVERTISEMENT AND ARTIFACT
L48
MCTOMMH~
H.
A.
K
BONPOCY
0
@YHK~MII
M
~ITOB~HMM
IIOPTPETHBIX PHCYHKOB RA~CA
RONB6EIIAA MNANMERO
NADEZHDA ISTOMINA. ON THE MATTER
OF THE
FUNCTION AND THE EXISTENCE OF PORTRAIT DRAWINGS
BY HANS HOLBEIN
.
THE
YOUNGER 149
NYPBE
3.
A.
~OPTP~TI
M~~THH~
N~EPA:
O6PA3
M
MFIEHTM'LHOCTB
B
~POT~CT~HTCKO~~
~~PM~HMH
XVI-XVII BEKOB
ZINAIDA LURIE. MARTIN LUTHER'S
PORTRAITS:
IMAGE AND IDENTITY
IN
THE PROTESTANT GERMANY
IN THE 16-1
7H
CENTURIES
.
150
BMO~-MALUY3NB
M.
CYNANYP~BRE
RPYNNB1
((MAFLO~~A
C MNAFLEHQEM,,
B
NYAPCK0FI RONURHE
B
3NOXY PEECCA~CA:
OT
MCTOPMO~P~@MH
K
3D-06'BE~Y
MARION BOUDON-MACHUEL.
THE
RENAISSANCE STATUES
OF THE
VIRGIN AND CHILD IN THE LOIRE VALLEY:
FROM A HISTORIOGRAPHICAL
SUBJECT
TO A 3D OBJECT
.
151
LLLAPPO~
N.
CTATYFI CB.
C~PA
B
QEPKSUR
B
AXAPCE
(QPA~QM,
M~H
M
NYAPA)
M
BONPOC
BHTOB~HHJI
~ONENEII
&HA @YKE
B
PA~~II
NEPMO8
PEECCA~CA
BO
QP~H~MM
PASCALE
CHARRON.THE
SAINT CYR STATUE OF THE CHURCH OF JARZK (FRANCE, MAINE-ET-LOIRE) AND THE
QUESTION
OF THE CIRCULATION OF JEAN
FOUQUET'S MODELS IN SCULPTURE
DURING THE EARLY FRENCH RENAISSANCE
.
152
COIUHMKOB~
K.
B.;
~MLUKMH
B.
B. N0PTPETHA.H
RANEPEFI FLBOPA @P~H~MCK~
1 (NO
PYKONMCM
M3
PHE)
KSENIIA SOSHNIKOVA;
VLADIMIR SHISHKIN. THE PORTRAIT GALLERY OF THE COURT OF FRANCIS I
.
(THE MANUSCRIPT IN THE RUSSIAN
NATIONAL LIBRARY)
152
EAFIFLOSA
A. A. HAMO6~M
CKYABNTYPA
MAP^
TOR~H
B
QEPKBH C~H-~~HM
B
A~6YASE.
MCTOPHR
IIAMIITHHKA
M
ER0
X~OX~CTB~HHI~~
KOHTEKCT
ANNA BAYDOVA.THE FUNERARY
MONUMENT OF MARIE GAUDIN IN THE SAINT-DENIS CHURCH AT AMBOISE: ITS
HISTORY
.
AND
ARTISTIC CONTEXT 153
3AILAAHOE
WCKYCCTBO
HOBORO
BPEMEHM
WESTERN ART
OF
THE MODERN AGE
KI~UMH~
E.
B.
HOCO~O~OM~HHR
B
H306PI33~ENB~0~
HCKYCCTBE 3ANAFL~OFI
ESPON~
XVIII BEKA
.
.
ELENA KLYUSHINA. RHINO MANIA IN WESTERN-EUROPEAN
FINE ARTS OF THE
18'"
CENTURY
156
%!P~BLILLE~A
M.
A. HO~BRII
MCTOPMU~CKM~~
HAPPATMB
B
XMBONHCM
XIX
BEKA
.
MARIA CHEMYSHEVA.
THE NEW HISTORICAL
NARRATIVE IN THE 19"'-CENTURY
PAINTING
157
CEMEPEHOK B.
8.
UMAPUR~O
@ANBEPON
3XEHA
FLENA~PYA
-
BEHEQMAHCKAR KAPTMHA
.
.
VALERIA SEDLERYONOK. "MARINO
FALIERO" BY EUGHNE DELACROIX VENETIAN PICTURE 157
C~~OPQOSA
E. A. CEPM
KAPTURH "CE~B
UYAEC CE~A"
UR3
CO6PAAM
HAYWO-URCCNEP(O~AENBC~ORO
~PE~
POCCHFIC~OFI
AKAREMHH X)AOXECTB: IXONMTKA
HOBO^^
A~PU6YQ~~
EKATERINA
SKVORTCOVA.
THE SERIES
"SEVEN WONDERS
OF THE
WORLDN
FROM THE
RUSSIAN ACADEMY
OF
FINE
ARTS MUSEUM: A NEW ATTRIBUTION
.
158
SORNA~OSA
A. M.; HOBHKOB
A.
A. PEC~ASPA~LTN
~PA~OPNOK
CTATYH ~XPHCTOCI
PA60~B1
M.
R.
GA~NEEPA.
ALEKSANDRA
BOGDANOVA; ANDREY NOVIKOV. THE RESTORATION
OF THE
].-H.
VON DANNECKER'S MARBLE STATUE
OF JESUS CHRIST
.
159
C
RE~M
KHR3H
C.
~OHRTOBCKO~O
ELENA DMITRIEVA. "WITHOUT UNDUE EXAGGERATION,
I HAVE BECOME A GREAT EXPERT OF GEMS.
.".
THE STATE HERMITAGE
MUSEUM COLLECTION
OF CASTS MADE FROM COUNT
PONIATOWSKI'S
ENGRAVED GEMS
.
160
NPBLR0B B.
M.
UFI~OPSB1
IIPOMBILUAEHHOCTH
E~PONEFIC~KIX
BC~MM~H~ZX
BBLCTABOK
B
NAMILTHHKAX MEJAABEPHORO
HCKYCCTBA (1851-1889
IT.)
-
.
VADIM PRYGOV. EUROPEAN WORLD EXHIBITIONS'
"PALACES OF INDUSTRY"
ON
THE COMMEMORATIVE MEDALS (1 85
1
1889)
161
Q'ANB60
0.
K~~TUHI
RXYNNO
4E3APE
~POK~'~~HHH
B
~OCC~~~CKHX
CO~PPHHIIX:
YTOYHEHHLL NATHPOBOK
M
BOCCTAHOBNEHME HCTOPMM
IIO
KOIIHRM
ODETTE
D'ALBO. GIULIO
CESARE PROCACCINI'S
PAINTINGS
IN
RUSSIAN COLLECTIONS:
REVISIONS TO THEIR CHRONOLOGY
AND A STUDY OF 'THEIR
FORTUNE THROUGH COPIES
.
162
COKO~OB
6.
M. T~~KT~T
R0PAQLM
YOAIIOA~
AMC~OPUUR
COBPEMEHHO~O
BKYCA
B
CAFLOBORCTBE* (1770)
H
POXJJEHME
KOHL.LEIIQMM HAQHOHANBHORO CAAOBORO
CTHM
BORIS SOKOLOV. HORACE WALPOLE'S
"HISTORY OF MODERN TASTE IN GARDENING
(1770) AND THE BIRTH OF THE CONCEPT
OF NATIONAL GARDEN STYLE
.
163
KAAAHBR
0.
N0A
KOX~~
IIPO3PAQHBIE
TENS
A0
OTKPBITWI PEHTREHOBCKHX NYVEII
FABIO CAFAGNA. UNDER THE SKIN: TRANSPARENT
BODIES BEFORE THE DISCOVERY OF X-RAYS
.
.L65
MOHT~H~~H
FLX.
MEWY
NOSSVREK
H
XHBONHCBH): M~T~MOP@O~H
~~XOB~HHYI
A~NPEA
AHRHNJXAPA
KAK O6PA3ES
WH REHY33CKHX N03TOB
H
XYAOXHHKOB
3IIOXU
6APO~~O
GIACOMO MONTANARI. BETWEEN POETRY AND PAINTING: GIOVANNI ANDREA
DERANGUILLARA'S
METAMORFOSI AS A MODEL
FOR
GENOESE BARQUE
POETS
AND PAINTERS
.
166
POROB M. A. CHMBOAMK~
RAYLIOCTM
H
PA3BORA
B
MOTHBAX
CHIITOG
OYBH
B
PAHHEM HMJ(EPNAHNCK0M
H
HEMEUKOM
MCKYCCTBE
MIKHAIL ROGOV. SYMBOLISM
OF FOLLY AND DIVORCE IN THE MOTIFS OF REMOVED SHOES IN THE EARLY
NETHERLANDISH
.
AND GERMAN ART 167
C~~HIIKOB
A.
0.
A~XMT~KT~~~
MOCTOB
H
~A6EPEMB1X
KEURRC6EPRA
XVI
-
NEP~OK
NONOBMHB1
XX
BEKA
ALEXANDER SLUDNYAKOW. THE ARCHITECTURE OF BRIDGES AND EMBANKMENTS OF
KOENIGSBERG IN THE
16~
-
FIRST HALF OF THE
20*
CENTURY
.
168
6ENWSQEBA
M.
B.
~BOPW
BOCTO'~HOA
~PYCCHYI
~3
C06PA~M
A. NPEPA
(HA
MATEPHAAE KOAAEKQHH ~306PA~NENB~ORO
APMBA
MHCTHTYT~
HMEHH REPFLEPA
B
MAP6YPRE): HCTOPM
IRINA BELINTSEVA. PALACE OF EAST PRUSSIA (IN THE KALININGRAD REGION)
FROM THE COLLECTION OF A. DUNCKER
(AS
BASED ON THE ARCHIVE COLLECTIONS
OF THE HERDER-INSTITUTE IN MARBURG):
THEIR HISTORY AND FATE
.
1B9
B0P~
E.
B.
MHTEPBEP~BE
IIANAMLICECTBI
@P~HY~CKO~~
KHUXHO~~
MNJIIOCTPA4UH
M11
BEKA:
NPO6NE~A
PACNO3~ASA~~~
ELENA BORSHCH. INTERIOR'S
PDIMPSESTS OF FRENCH BOOK ILLUSTRATION OF
CENTURY: THE PROBLEM OF ECO~NITION.17~
AEPPEP
BEHTOCA
P.
M306PA3~ENB~NRII
83MK
RPABIOP
H3
KHHR NO AMMHH XVI-XVIII BEKA
ROGER FERRER VENTOSA.?HE VISUAL LANGUAGE OF ALCHEMICAL ENGRAVINGS
(16~-18"
CENTURIES)
.
171
A~~TIOHRH
H).
M.
~~TIII~CTBM~
KAK
HCKYCCTBO:
~HOM~H
TPABENORA
B
A~MNFIC~OFI
RPA+NKE WI-XVIII
BEKOB
JULIA
ARUTYUNYAN. TRAVELLING
AS ART: THE PHENOMENON OF TRAVELOGUE
IN EN&SH GRAPHIC ART
.
OF THE
1
TH-
ISTH
CENTURIES
-172
C~XK
M.
KONNE~S~N
RPABLOP KAK 06PA30~ATENB~BIFI
HHCTPYMEHT. 3~A.LENE
U
@YH~~~
~CT~~OB
B
XIX
CTO~~THH
(HA NPMEPE
CO~P~HMR
MY3E~
T~~T~CCKO~O
Y~~EPC~E~A)
INGRID SAHK. COLLECTION OF PRINTS
AS A TO01 OF INSTRUCTION.
THE EVALUATION AND USAGE OF PRINTS
DURING
THE
19" CENTURY (IN
THE CASE OF TARTU UNIVERSITY ART MUSEUM COLLECTIONS)
.
173
~OHOM~~~HKO
M.
H.
AMMANBHM IIPMPOFLA
XMBONHCH
X)~OXHMKOB-HM~P~CCHOHUCTOB
MARIA PONOMARENKO. AUDITORY NATURE OF IMPRESSIONIST PAINTING
.
174
BA~MRUHH
A.
C. UEP~OSB
CARRTORO FM~UHT~
B
BAPRUAE:
NPO6NE~A
ROTMECKM
U~~CQE~QNJI
B
NONBC~OJI
APXHTEKTYPE XVII BEKA
ARTEM VANIUSHIN. ST. HYACINTH'S
CHURCH IN WARSAW: THE PROBLEM OF REFERENCES
TO
GOTHIC
IN POLISH ARCHITECTURE
OF
THE
1
CENTURY
.-.
175
~OPOHZ~~HKOB
M.
A. ((CMEPTB
MAPA~A)):
OT
~O~MTM.I~CKO~~
PEAMKBMM
K
XYAOXECTBEHHOMY ILLEJJEBPY
ILIA DORONCHENKOV. "THE DEATH OF MARAT": FROM A POLITICAL RELIC TO AN
ARTISTIC MASTERPIECE
.
176
MMPOBOE
MCKYCCTBO
XX-XXI
BEKOB: MOP[EPHW3M
M
COBPEMEHHOCTB
INTERNATIONAL ART OF THE
20TH
AND
21ST CENTURIES: MODERNITY
AND
CONTEMPORANEITY
YK~KM
A.
KYNBTYPHOE
M
@M~M~~CKO~
NPOCTPAHCTB0 KAK
YCNOBME
XYNOXECTBEHHORO
BMNEHMR:
3REFI~~MFL
MMP
B
TBOPGECTBE RPEGECKMX
XY~OXHMKOB
MANEACA,
R'~ACA
M
T~TCMC~
ARGYRO LOUKAKI. CULTURAL AND PHYSICAL SPACE AS A CONDITION OF ARTISTIC
VISION: THE AEGEAN IN THE
WORK
OF GREEK ARTISTS
MALEAS, GHIKAS, AND TETSIS
.
179
~MM~H~MA
M. T~HA~H~HM
B
COBPEMEHHOM MCKYCCTBE RPEQMM. HOSB~H
MONEPHM3M MNM TOHKOE 06PAUEURE
K
NPOMNOY?
MELITA EMMANUEL. TENDENCIES IN CONTEMPORARY GREEK ART:
A
NEW MODERNITY OR A CLEVER REVERSION
TO THE PAST?
.
180
KMPX~QESA
M. A. YAPNB3 CIIEHCEP YANNMH
B
KOHTEKCTE ABAHRAPNHOR0 MCKYCCTBA 1920-X
I'OROB
.
MARIA KUDRYAVTSEVA. CHARLES
SPENCER CHAPLIN IN THE CONTEXT OF THE 1920S
AVANT-GARDE
ART 181
~~~TOIU
H.
K).
M~@ONOR~SEC~WII
HAPPATMB
B
XYJJ,OXECTBEHHOM HACAENMM APYPA
P~KX~M~
NATALYA
BARTOSH.
MYTHOLOGICAL
NARRATIVE
IN ARTHUR RACKHAM'S
ARTISTIC
HERITAGE
.
182
FLP~0J.U
A. C. MON~ARR
@0~0RPA@MR
NEP~OK
IIOJIOBMHBI
XX
CTONETMR:
K
BONPOCY
0
X~HPOBO~
@0PME
ANASTASIIA YARMOSH. FASHION PHOTOGRAPHY IN THE FIRST HALF OF THE
20B CENTURY:
REVISITING
THE GENRE
.
183
LUMK
M.
A. ((HAFINEHHBLE
06%E~TB1 )
B
CH ~~~~~HCTU~~CKO~
@OTORPA@MM
.
.
.
.
IDA
SHIK.
FOUND OBJECTS IN SURREALIST PHOTOGRAPHY 184
ACTB~~~T~~OB
A.
A.
~~HPM
MWNNEP: CIOPPEAAHCTHSECKIM
SEP6ANBAARR
HRPA
M
AKBAPENBHIM XHBONUCB
.
ANDREY
ASTVATSATUROV.
HENRY
MILLER: SURREAL
VERBAL GAME AND WATERCOLOUR PAINTING
185
NEO~O~A
K).
B. (BH~T~~HHM~
CANW
TENB-ABMB~:
PEAN~3AUM
~~~~HMCTMY~CKO~
YTONMH
NA~PU~A
REMECA
YULIA LEONOVA. 'INNER
GARDENS'
OF TE1 AVIV: IMPLEMENTATION
OF THE URBAN UTOPIA
BY PATRICK GEDDES
.
186
MANUS K. A. Q~HOM~H
CTHNHCTMRECKORO PA3~006PA3M
B
APXMTEKTFLE HRRFLEPNA~NO~
1940-X
-
1960-X
R0FLOB
KSENIIA MALICH. THE PHENOMENON OF STYLISTIC DIVERSITY IN THE
ARCHITECTURE
OF THE
NETHERLANDS
IN
THE 1940S
-
1960S
.
187
CTPENBQO~A
A.
K.
CT~TYC
NPOU3BEFLEHMI1
MCKYCCTBA
B
KOMMEPSECKOM KOHTEKCTE 3KCIIOHUPOBAHJLTI
ALINA STRELTSOVA.
THE STATUS OF ARTWORK IN THE CONTEXT OF COMMERCIAL
EXHIBITIONS
.
188
KOY~TKOB~
E. C. CCHDANEHBKAA CNAPTAN FL~A
~AMMNBT0HA
@MHII~R:
IIO3TUKA APTE@AKTA
B
NAHFLIIIA@THOM
MCKYCCTBE
.
EKATERINA
KOCHETKOVA. IAN HAMILTON FINLAY'S
LITTLE SPARTA: POETICS OF ARTIFACT IN LANDSCAPE
ART 189
K~~~HKO
E.
C.
BICOTK~~
&KEKMCA
BINAPFLA
B
MCTOPHKO-KYABTFLHOM KOHTEKCTE
XX-XX.1
BEKOB:
APXUTEKTYPA, NUTEPATYPA,
KUH~M~TO~~~@
ELENA
KASHCHENKO. JARNES
BALLARD'S
'HIGH-RISE'
IN THE HISTORICAL
AND CULTURAL CONTEXT OF THE
2P-21ST CENTURIES:
ARCHITECTURE, LITERATURE, CINEMA
.
191
K~~CM~~HMKOB~
A.
A.
NAH0PAMHBIFI NEKSAX
B
TBOPSECTBT! D3BUFLA
XOKHU:
OT
@OTOI'P~@MW
K
XHBONHCH
ALINA KRASILNIKOVA. PANORAMIC
LANDSCAPE IN THE WORK OF DAVID HOCKNEY: FROM PHOTOGRAPHY TO PAINTING
.
192
MAC ME^
A. M.
MCK~CCTBO
HENOHUMAHMII. K~K
IT
NEPECTAN
~ORT~CII
U
NON1O6UN COBPEMEHHOE
HCKYCCTBO
ALEXEY MASLYAEV. THE ART OF MISUNDERSTANDING.
HOW I LEARNED TO STOP WORRYING AND FELL IN LOVE WITH
CONTEMPORARY ART
.
193
YEK~APEBA
M.
A.
CBII~~
BPEMEH: NEPCOHAXU KOMEFLMU AENB APE
B
HT~JI~~~HCKO~
XUBOIIHCSI
KOHUA
XX
-
HARIAAA
XXI
BEKOB
MARINA CHEKRNAREVA. LINK OF TIMES: CHARACTERS
OF COMMEDIA DEWARTE IN ITALIAN PAINTING
OF LATE 20~
-
EARLY 2 1
ST CENTURIES
.
194
IIA~OSA
H.
R.
NNACU~A
H
NPOCTPAHCMO
B
UCKYCCME K~A
HUKO~COH~:
OT
PENBE+A
K
KAPTWHE
.
NATALIA PANOVA. PLASTICITY AND SPACE
IN
THE
ART
OF BEN NICHOLSON: FROM RELIEF TO PICTURE
195
NPY~~N~OSA
T.
H).
T~~HC@OPM~W%
NNHHB
B
APURTEKTYPE
3-
XAW~:
OT
CYNPE~A~N3~A
K
~KCI~~CCMOHH~M~
TATIANA
PRUDNIKOVA.TRANSFORMATION
OF
LINE IN
THE
ARCHITECTURE
OF ZAHA HADID: FROM SUPREMATISM
.
TO EXPRESSIONISM 196
POM~KBH~
M. A.
ABTO~CK~M
@OTOKHB~~
XXI
BEKA KAK
3IIH30R
6~ORPA+~11.
~~OIP~@HII
KAK
CIOXET
@OTOKHHM
MARIA ROMAKINA. 2LST-CENTURY AUTHOR'S
PHOTOBOOK AS EPISODE OF BIOGRAPHY. BIOGRAPHY AS PLOT
FOR A PHOTOBOOK
.
197
3AXAP.LE~~O
M.
H. NOCNESOE~~OE
HAYVHOE
HCKYCCTBO:
E~AEPNAN~3A1.1~~
AP~-O6%E~~A
KAK XMOXCECTBEHHARJ
CTPATERWL
IRINA ZAKHARCHENKO. POST-WAR SCIENCE
ART: DEMATERIALIZATION
OF
ART
OBJECT
AS
ARTISTIC
STRATEGY
.
198
COBPEMEHHOE
MCKYCCTBO
B
~M@POBH~
TEXHOJIORMH
NATALIYA SHCHETININA.
THE EXISTENCE OF ARTWORK
IN
TERMS OF PREVALENCE OF TECHNICAL MEDIA: CONTEMPORARY
ART
AND DIGITAL TECHNOLOGIES
.
199
~&IKHH
N.
B,
H~~~B~IU~HHOCT~
KAK
H~H~~~XHOCT~:
AYEPHOBWK
KAK
KOHQENT
H
METOA
B
COBPEMEHHOM HCKYCCTBE
DMITRY
GALKIN.
INEVITABLY UNFINISHED:
'DRAFT'
AS
CONCEPT AND METHOD
IN
CONTEMPORARY ART
.
200
PYCCKOE YICKYCCTBO
XVIII
BEKA
RUSSIAN ART
OF THE
18TH
CENTURY
MO~LUE~A
0.
M. HTAFICKHFI
@AP@OP
B
POCC~FIC~OFI
HMNEPHH NEP~OFI
NONOBMHB1 XVIII BEKA:
NPHHQVLNAR
(#~O~MH~OB~HHR
KOJINEW~FI
OLGA MOKSHEVA. CHINESE
PORCELAIN IN RUSSIAN COLLECTIONS: THE PRINCIPLES
OF FORMATION IN THE FIRST HALF
OF
THE
18"
CENTURY
.
203
C~KOBCKW
E.
B.
{(A~PUCM*
HNNN~A
~~HHHH~
H
ESPONERCKM APXHTEKTYPH2M TEOPMR XVII BEKA
ELENA SAKOVSKAYA. "DESCRIPTIONS"
OF WILLIM GENNIN AND EUROPEAN ARCHITECTURAL THEORY OF THE 17" CENTU
RY.204
~HM~HKO
C.
B.
IUITHHK
ME~~APCTBMLO:
RP~~~~P~~ENB~B~FI
NPOEKT
6.
K.
@OH
MHHHXA 1727
RONA
NO SAUNE
NEEP6YPRA
OT
~A~OME~II
SERGEY
KLIMENKO.
MONUMENT INTERREGNUM:
URBAN
PROJECT
OF
B.K.
VON
MUNNICH
ON THE PROTECTION
OF ST. PETERSBURG FROM
FLOODS (1727)
.
205
APOHO~A
A.
A.
KO~OH;~~~OHHI~
ILEKOPAQUEL KAK
~O~HTHY~CKH~~
TEKCT:
EKAREPHHA I
-
EKAEPWHA
11
AUA
ARONOVA. CORONATION SETTINGS
AS
A POLITICAL
MESSAGE: CATHERINE
I
-
CATHERINE
I1
.
-.-.--206
MNBHHA T. B. DEHAQKM IIANATA* (HHH~
~~TPOBCKHG
3AN
C~HKT-XI~T~P~~~CKO~O
YHMB~~CMT~T~)
-
YIIPFKANBHB1FI NEEP6YPRC~II
HHTEPBEP 1730-X
RONOB.
TATIANA IL'INA. THE SENATE
CHAMBER (NOW THE PETRINE
HALL
OF STATE SAINT-PETERSBURG
UNIVERSITY)
-
A UNIQUE SAINT-PETERSBURG
INTERIOR
OF THE 1730S
.
-.-.----207
TEEP~ASOSA
3.
B.
*CNENK~
C
NYH
3NOXM*.
LIPO6NEMA
6BL~O~A~NN
RPABH)PM
B
POCCHM
XMII
CTOAETHII.
~ALINA
TETERMAZOVA. "CASTS
OF AN ERA'S SPIRIT". THE LIFE OF PRINTS IN 18~
CENTURY
RUSSIA
.
-.--.209
HNU@OPOSA
N.
B.;
~OXHH~
E.
A.
NOP~PE~
C
APALTYOHKOM
B
PYCCKOM BCKYCCTBE XVIIL BEKA
H HKOHOT~~@~~
MMNEPMM
LARISA
NIKIFOROVA; EKATERINA BLOKHINA. THE PORTRAIT
WITH A BLACK PAGE IN RUSSIAN 18~
CENTURY ~RT
AND THE
.
ICONOGRAPHY OF THE EMPIRE
209
HAY~OSA
B.
C. P~~~OBCKH~.
CEEFIHM
HCTOPMX
B
NOPTPE~H0FI
MHHHAMPE
.
VERA NAUMOVA. THE RAZUMOVSKYS.
FAMILY HISTORY
IN THE PORTRAIT MINIATURE
211
CYNAR
C.
B.
NPO6NENA CA~O~NE~~N+N~AS~~
XYNOXHMA
B
N306PA3NENB~OU
HCKYCCTBE POCCHH
BTOPO~~
NOAOBMHB1 XVIII BEKA HA NPMMEPE XCA~PO~OFI
3BONH)QHM
B
TBOPYECTBE
K.-@.
K~ANNE
SVETLANA SUDAT. SELF-IDENTIFICATION
OF AN ARTIST IN THE FINE ARTS OF RUSSIA OF THE SECOND
HALF
OF THE 18~
CENTURY
ON THE EXAMPLE
OF THE GENRE EVOLUTION IN THE WORKS OF
K.-F.
KNAPPE
.-.1
A~~~MKMH
M.
A.
BLOE-NE6PE~:
O6PA3
CEHTHMEHTAABHORO XYFLONOLNKA KAK HEJF3SEC~~~$F
CMMET HCTOPMJ~
WCKYCCTB~
.
IVAN ABRAMKIN.VIGEE LE BRUN: THE IMAGE OF SENTIMENTAL
ARTIST
AS AN UNKNOWN SUBJECT IN THE
~~T
HISTORY.
213
&MHA~HKO
H).
6.
O~THWCKH~
BHNBL
XVLII
-
NEP~OFI
WTBEPTH XD[ BEKA:
OL.
HWHCH
K
RATVBKE
JULIA DEMIDENKO. VUES DBPTIQUE PRINTS
18"
-
FIRST QUARTER OF THE 19' CENTURY: FROM INSCRIPTIONS
TO ~ATING
.--.-.213
KAMM~HKO
K).
R.AC60PHMK
~P~XCA~HCKO~~
APXMTEKTYPBIH
X.-M.
KPA+@~A
H
MOC~SA
B
3NOXY
ALVRN~P
JULIA KLIMENKO. "RECUEIL &ARCHITECTURE
CIVILE" OF 7.-CH. KRAA
AND MOSCOW IN THE EPOCH OF EMPIRE
.
215
~~BAOB~
A.
N.
EB~H~~AMCTI
B.
N.
~O~OBMKOBCKO~O
KAK O6PASEQ
WR
QEPKOBHBIX
P0CNMCEFI
XIX
BEKA
B
TB~~CKO~~
O6NAC~~
ANNA PAVLOVA. EVANGELISTS BY
V.
L.
BOROVIKOVSKY AS A PATTERN FOR THE
CHURCH WALL-PAINTINGS IN THE TVER REGION
IN THE
19H
CENTURY
.
216
YXH~A~B
A. E. K
CTMAMCTMY~CKO~~
3BOAIOQMM KYIIOABHBIX ~00PYLKEHMFI
B
YCCKO~~
APXUTEKTYPE NEPB0FI
NOAOBHHB1 XVIII BEKA
ANDREI UKHNALEV.
ON THE STYLISTIC EVOLUTION OF DOMED STRUCTURES
IN THE EARLY 18-CENTURY
RUSSIAN ARCHITECTURE
.
2 17
IIKOBA~B
A. H. C~H~T
B
MOCKOBCKOM
KPE~NE
M
ERO
AHANORM
ALEXEY
YAKOVLEV. SENATE
IN THE MOSCOW KREMLIN AND ITS ANALOGUES
.
217
PYCCKOE MCKYCCTBO
XIX
BEKA
RUSSIAN ART
OF
THE
19TH
CENTURY
COXO~
T. E.; EBC~B~~B
M.
K).
REHEAAORI4H POAA
I&APIIHIX
M
HOBBIE 6~ORPA@~SEC~E
CBEFLEHHH
O ERO
HEKOTOPBIX NPEACTABHTENXX
TATYANA SOKHOR;
MICHAEL EVSEVIEV. GENEALOGY OF SHCHEDRIN'S
FAMILY AND NEW INFORMATION ABOUT THE BIOGRAPHIES
OF ITS REPRESENTATIVES
.
220
EBC~B~~B
M.
K).
YIIIKMH
M
BIMHHE
MICHAEL EVSEVIEV. PUSHKIN AND SCULPTURE
.
22 L
BICKO~KOB
N.
B.; ME~AE~A
A. A. BENHKMFI
KHII3B
H~~ONAFI
~~BAOBM~
-
KAPMKATYPMCT:
KT0
T~KO~
I OUF!
HA
UIAPLKE
M3
KONAEKQMM ER0
PMCYHKOB
~H~AMOT~KM
~HMH~~O
ABOPQA
LEONID
VYSKOCHKOV;
ALLA
SHELAEVA.
GRAND DUKE
NICHOLAS PAVLOVICH AS A CARTOONIST:
WHO IS "OUF!" IN THE CARTOON
FROM THE
COLLECTION
OF HIS DRAWINGS OF THE
LIBRARY OF THE WINTER PALACE
.
222
I&IPA($A~HHA
K.
M. ~THK~THO-~ITOBI~
IIPAKTMKM KAK
KAIOSN
K
CMICAOBO~~
M
MAEPMAJIBH~FI
PEKOHCTPYKQHM
HHTPOCNEKTHBHBIX
~~T~@~KTOB
KLARA
SHARAFADINA. ETIQUETTE
AND EVERYDAY PRACTICES AS A "KEY" TO
A
SEMANTIC
AND MATERIAL RECONSTRUCTION
OF INTROSPECTIVE ARTEFACTS
.
223
I&#~OB~
0.
B.
MOH~M~HT~A~HO-#~KO~~THBHU
CKYNBNTFLA NEEP6YPRA
KAK O6-BE~~
PECTABPAQMM
B
XIX
-
XX
BEKAX (HA IIPMMEPE CKJVIBNTFLBI
A~CA~6M
~O~HO~O
MHCTMTYT~).
OLGA SCHEDROVA.
MONUMENTAL AND DECORATIVE SCULPTURE
OF ST. PETERSBURG AS AN OBJECT
OF RESTORATION
IN THE
19"'
-
20"' CENTURIES (ON THE EXAMPLE
OF THE SCULPTURAL
ENSEMBLE AT THE MINING INSTITUTE).
.
224
HOBMK
A. A. ~ON~HSEC~OE
NYTEIILECTBMEH: KOCMOPAMM
B
CAHKT-NETEP6YPRE
H
MOC~SE
NEP~OII
N0AOBHHB.L
XIX
BEKA
ALINA NOVIK. "OPTICAL JOURNEY": COSMORARNAS
IN ST. PETERSBURG AND MOSCOW OF THE FIRST HALF
OF THE
19&
CENTURY
.
226
CENA~OSA
C. C. BO~PYR
RUEFIESPA.
CCFISNE~NE
MECCMW ANE~CA~FIPA
MB~HOB~:
@~KTM
H
MH~M,
CC~AII~~~
M
HAYCLHME HCCAEFLOBAHHR
SVETLANA STEPANOVA.
AROUND THE MASTERPIECE. "THE APPEARANCE
OF MESSIAH"
BY
ALEXANDER IVANOV:
FACTS AND MYTHS, SECRETS
AND RESEARCH
.
227
IIIAX6NESA
M. X. X~AOXHHK
M
HHKOA~~BCKU
POCCHH
MADINA SHAKHBIEVA.
THE ART AND THE STATE IN RUSSIA DURING THE
REIGN OF NICOLAS
I
(1825-1855)
.
228
~(~~KOBCKU
0.
A.
MCTOKH
~B~OII~~~CKO~O
MM@
0
3HAMEHHTOM
B
POCCHW
XFLOXHMKE
MO~~HH~
KO~PAFLE
FL0PHEPE
OLGA ZHARKOVSKAIA. THE ORIGINS
OF THE
EUROPEAN MYTHS ABOUT JOHANN
CONRAD DORNER
-
THE
ARTIST
WHO
IS BELIEVED TO BE FAMOUS IN RUSSIA
.
229
IJWHH~
0.
B.
06PA3
H
IIPEWET
B
PYCCK0FI
MOHYM~HT~A~HO~
LLAACTHKE
BTOPO~~
LLOAOBMHBL
XIX
BEKA.
K
NPO6NEWE B3AHMOOTHOIUEHHH CKYJIBNTOPA
H
3PHTEM
OLGA KALUGINA THE
IMAGE
AND
THE SUBJECT
IN
RUSSIAN MONUMENTAL SCULPTURE
OF THE SECOND HALF
OF THE
19H
CENTURY.
ON
THE PROBLEM
OF RELATIONS BETWEEN THE SCULPTOR AND THE SPECTATOR
.
23
L
M~PTIHOB~
A.
0.
TEOPSECRSO
~PYCC~OFI
@~~H~~X~HKHD
M.
K.
6ARNKNPIJESOR
B
KOHTEKCTE
@P~HY~CKMX
TEQEHLLFI
70-80-X ROAOB
XIX
BEKA
DARIA
MARTYNOVA. CREATIVE
WORKS OF "RUSSIAN FRENCHWOMAN" MARIA BASHLARTSEFF
IN THE CONTEXT OF FRENCH
TENDENCIES
OF THE 1870-
1880S
.
23 L
BACH~A
E.
B. PENHRM03~BLE
KOHHOTAQHM
B
KAPTMHE &LPEBHA-HECER~A
B. M. BACEQO~A
.
.
EKATERINA VASINA. RELIGIOUS
CONNOTATIONS
IN VICTOR VASNETSOV'S
PICTURE "THE SAD PRINCESS"
233
AONROSA
A. M. BEUB
B
HHTEPBEPE (HA NPMMEPE NEEP6YPRC~NX
OCO~HRKOB
KOHQA
XIX
-
HAQAAA
XX
BE~A)
ANASTASIA DOLGOVA OBJECT IN THE INTERIOR (BASED ON THE EXAMPLE OF ST.
PETERSBURG MANSIONS OF THE LATE 19'B
-
.
EARLY 20" CENTURY) 233
3APY6N~A
H. A. NCN6~PC~OE
6APO~~OA
B
AEKOPE AEPEBRHHBLX
AOMOB
R. M~KYTCK~
XD[
-
HAQANA
XX
BEKOB
NATALIA ZARUBINA.
"SIBERIAN BAROQUE" IN THE DECOR OF WOODEN HOUSES
OF IRKUTSK
CITY IN THE 19TH
-
EARLY 20" CENTURIES
.
235
MHKM~~~T~~B
M.
H.
HPO6NE~A
APTE@AKTA
B
NEEP6YPRC~OK
APXHTEKTYPE
BTOPO~
WTBEPTM
XIX
BEKA
MICHAIL MIKISHATIEV. THE PROBLEM OF ARTIFACTS IN SAINT PETERSBURG'S
ARCHITECTURE
IN THE SECOND QUARTER
OF THE
19" CENTURY
.
236
BEP~ALU
A. B. M3Y.1E~E
QEPKOBHOR0 30FIWCTBA
B
PYCCKOM CTMNE (1830-1917
M'.):
MCTOPVRR
M
COBPEMEHHATI
NP06NEMA~HKA
ALEXANDER BERTASH. A STUDY OF CHURCH ARCHITECTURE IN THE RUSSIAN STYLE
(1830- 1917):
HISTORY
AND
ACTUAL PROBLEMS
.
237
BMPHHA
N.
A. MANAX~L~
HA BC~MMPHO~~
BBICTABKE
B
@HNAELIB@MH
(1876):
HOBBIE PYBEXN 3KCIIAHCMM
LUDMILA BUDRINA. MALACHITE AT THE WORLD'S FAIR IN PHILADELPHIA (1 876):
?HE NEW FONTIERS OF EXPANSION
.
239
TOP~HK
B. C. OT HBEH
K
BOLIJIOUEHHH).
~PO~~CC
CO3NAAN~
NPEFLMETA
ABOIJOBO~~
E6ENN
B
XD( BEKE
VLADIRNIR
TORBIK. FROM IDEA TO REALIZATION. DESIGN AND MANUFACTURE
OF A PIECE OF FURNITURE
IN THE 19" CENTURY
.
240
BAPENBC
H. B. B~CK~~C~HCKH~~
CO6OP
B
ROPONE APSA~ACE
KAK
X~~OX~CTB~HHI~~
ANBHHC
PA3NMQHBIX WKON
H
HAIIPABNEHHFI
B
UEPKOBHOM MCKYCCTBE
PYCCKO~
NPOBHHYHM 1830- 1840-X
ROBOB
NATALIA BARTELS. THE ARZARNAS RESURRECTION
CATHEDRAL
AS ARTS
ALLIANCE OF DIFFERENT SCHOOLS
AND TRENDS
IN CHURCH
ART
OF THE RUSSIAN PROVINCE OF THE 1830S-1840S
.
-241
PYCCKOE MCKYCCTBO
XX-XXI
BEKA
RUSSIAN
ART
OF
THE
20TH
-
21ST
CENTURIES
KONNNA
E.
M. HACNEME K.KE6AXA
B
KOHTEKCTE PI33BHTFM CANOBO-NAPKOBORO
MCKYCCTBA KPB1MA
XX
-
HAQANA
XXI
SEKA
EKATERINA KOLYADA. WORKS BY C.KEEBACH
IN
THE CONTEXT OF THE DEVELOPMENT
OF LANDSCAPE
ART OF THE CRIMEA
.
IN THE 20H
-
BEGINNING OF THE 21ST CENTURY
.-.---244
IOXA~OSA
E. B. XCANOMEN* OPA~QA
@OH
ILLY~A
KAK
CMEON
TAHQA
B
TBOPQECTBE BACNNM BNANNMHPOBA
ELIZAVETA YUZHAKOVA. "SALOMEN
BY FRANZ
VON STUCK
AS
A SYMBOL OF DANCE IN THE ART OF VASSILY VLADIMIROV.-.%S
3ABOPMHA M.
A.
~A3AHCKAJI
&?P~O~B
BOCK~~C~HCKOW
HO~OFLES~SBERO
MOHACTBIPR:
BH~~HTHHH~~YIO~~~
HALIPABAEHHE
B
KOHTEKCTE
H~OCTHA~~~
B
XP~MOBO~~
APXJLTEKTME KOHQA
XIX
-
HAQANA
XX
BEKOB
B
CAHKT-NETEP6FLRE
MARIA ZAVORINA.
KAZAN
CHURCH OF THE RESURRECTION
NOVODEVICHY
CONVENT: "BYZANTINE STYLE" IN CONTEXT
OF NEOSTYLES IN SAINT
PETERSBURG
CHURCH
ARCHITECTURE AT THE
TURN OF 19"-20" CENTURIES
.
---.--.---------.-2*
BAJIAIU0BA
A.
C.
MKOH~
KAK OCHOBA
HOBO^^
XPMCTH~HCKO~
06PA3~0C~N
(HA NPNMEPE PYCC~OFI
W~E~~E~~OFI
KYNBTYPBI
1910-X-20-RR.)
LADA
BALASHOVA.
THE
ICON
AS A BASIS FOR THE NEW CHRISTIAN IMAGERY (AS EXEMPLIFIED
BY RUSSIAN ARTISTIC
CULTURE FROM
1910
TO 1920)
.
.--247
BOKTEKY~AC
B.
A.
.3A
KWO~
TO~KO~~
-
NPO6~~OE
CTEKNO, 3A K~OFI
QEP~OQK0K
-
CCABMHA
0T
NYNN*:
HNNLOCTPAWLH
H).
N.
AHH~HKOB~
K
N03ME A. A.
~AOK~
UFLE~AMA~BW
B
YRROMEC.RSEH~OK
KPHTHKE 1918-1920-X
VALENTINA VOYTEKUNAS. 'BEHIND EACH
POINT IS BROKEN GLASS, BEHIND EVERY LINE IS BULLET WOUND": THE DRAWINGS
BY
YURY
ANNENKOV TO ALEXANDER
BLOK'S
POEM "'IHE
TWLVE" IN ART CRITICISM
OF THE 1918-1920S-
.-.-.--.----.-.--248
JIIIMH
M.
M.
A~XMT~KTY~HI~
IIPOEKTBI
B
MOCKOBCKOM
M
AEHMHRPAACKOM BXYTEMACE-BXYTEMHE.
061.QE
IIPORPAMMBI
M
PA3AMZIHBIE PEUEHMH
ILYA LAPIN. ARCHITECTURAL PROJECTS
IN MOSCOW AND LENINGRAD
VHUTEMAS
-
VHUTEIN.
COMMON PROGRAMS AND VARIETY OF SOLUTIONS.
.
249
K~M~HCKU
E.
H.
XYAOXHMK
AJI~KC~HA~
~~KOBA~B
B
WAHXAE (191
8
-
1919)
ELENA KAMENSKAYA. ALEXANDER IACOVLEFF IN SHANGHAI
(
19 18-
19 19)
.
I
.
250
RAAEEBA T. A. P~CCKM~
XYAOXHMKM
3MML"PAHTBI
~OPHC
~PM~OP~~B,
CEPRE6 CYA~~~KMH
M
MB~H
~~OM~POBCKM~~/
~XOH
RP3~
B
CO~~MH~HHIX
WTATAX AM~PMKH
B
1920-1930-E
W.: PACKOAOTAHN
MAEHTMZIHOCTB
TAMARA GALEEVA. RUSSIAN EMIGRE ARTISTS
BORIS GRIGORIEV,
SERGEY SUDEYKIN
AND IVAN DOMBROWSKY/JOHN
GRAHAM
IN THE UNITED STATES
OF AMERICA OF THE 1920S-
1930S: THE "SPLIT" IDENTITY
.
25 L
~POC~H
M. OT~OAOCKM
PYCCKORO MMIIEPCKORO
CTMAH
B
APXMTEKTYPE 6EARPAFLA
MILAN PROSEN. EVOCATION OF IMPERIAL
-
RUSSIAN STYLE IN BELGRADE ARCHITECTURE
.
252
BOPOHMH~
0.
M.
KIIHO@MK~~MII
XMBOIIMCM. OIIIT
XYAOXHMKOB
061.QEC~SA
CTAHKOBMCTOB
OKSANA VORONINA. "CINEMAFICATION"
OF THE PAINTING. THE OST MEMBERS' EXPERIENCE
.
253
~B~OB
FL.
E. UHAPOFLHOEN
HCKYCCTBO
II0
IIPEAIIMCAHHOMY O6PASQY.
COB~TCKU
ARMTASMH
B
AAKOBBIX
IIP0MBICAA.X 1920-1950-X
I'OAOB IIO
PMCYHKAM I'OPOP(CKKLX
X~~OXHMKOB-II~O@~CCMOH~AOB
DMITRIY LAVROV. "FOLK" ART ON A PRESCRIBED PATTERN. SOVIET PROPAGANDA
IN LACQUER CRAFTS OF THE 1920S-1950S
FROM DRAWINGS BY URBAN PROFESSIONAL
ARTISTS
.
254
YEXMHA
M.
M.
K.
M.
P~A~KOB:
TPH HEM3BECTHBIE PA6O~B1
M3
ZIACTHORO
CO~PPHMH
IULIIA CHEZHINA. KONSTANTIN RUDAKOV: THREE UNKNOWN WORKS FROM A PRIVATE
COLLECTION
.
255
C~PYR OBA
A.
M.
EIBAREMCFI
IIOJJAHHHBIMM
HACAEAHMKAMM BCERO BEAMKOAEIIWL
ZI~AOBY~CKO~~
KYABTYPMB:
CTMAMCTMYECKME OPHEHTMPBI
B
MOH~M~HT~A~HO~~
XMBOITMCM
CCCP 1930
-
1950-X
ROAOB
ALEXANDRA STRUKOVA. "WE ARE THE TRUE INHERITORS OF ALL THE SPLENDOR OF
HUMAN CULTURE": THE
STYLISTIC
MARKERS
OF MONUMENTAL PAINTING
IN THE SOVIET UNION IN THE 1930S
-
1950S
.
256
~OPO~~KMH~
B.
C. APXMT~KTYP~
AOMKOABHBIX
06PA30~AE~B~BIX
YR~PEME~II
POCCMM
M
@MHJMHAMM
HA IIPMMEPE
COSETCKORO
AETCKORO CAPMA
B
NEPEYNKE FLMA~6YNA
M
SAUNALAHTI
DAYCARE CENTRE
B
3CNOO
VARVARA BORODKINA.
THE ARCHITECTURE
OF KINDERGARTENS
IN RUSSIA AND FINLAND: THE SOVIET KINDERGARTEN
IN DZHABULA LANE AND SAUNALAHTI
DAYCARE
CENTRE
IN ESPOO
.
257
MA~OSA
N.
K.
~A~CTMV~CKM~
PEMEHMIL CKYABITTYP
M.
B.
K~~CTOBCKO~O
B
PAMKAX TEMBI
BOHHCKO~~
CNABM
.
POLINA MANOVA PLASTIC SOLUTION
OF IGOR KRESTOVSKY'S SCULPTURES IN THE CONTEXT
OF THE 'THEME
OF MILITARY GLORY
259
@AO~KOBCKU
A.
K.
XY~OXHMK-BH~MOH~P
E~REHMFI
CNACCKM6.
K
MCTOPHM PEAMI'MO3HOI'O HAITPABAEHWL
B
PYCCKOM HCKYCCTBE
XX
BEKA
ANNA FLORKOVSKAYA. THE ARTIST-VISIONARY
EUGENE SPASSKY. THE HISTORY
OF THE RELIGIOUS TRENDS IN RUSSIAN ART
OF THE
20H CENTURY
.
260
UIH~OKOBCKHX
M.
C. NE~H~L"PAFL~KHE
CMTQM:
OT C~PH~~HMX
06PA3~0~
K
~PT-O~'~~KT~M
MARGARITA
SHIROKOVSKIKH. LENINGRAD
CHINTZ: FROM SERIAL SAMPLES
TO ART OBJECTS
.
261
OTA~A~HOB~
B.
A. R0~3AKA3
KAK MHCTHTPMOHAABHW ITPAKTMKA. AH~AH~
IIPOAYKQMM MOCKOBCKO~O
KOM~HH~T~
XMBOIIHCHOI'O
MCKYCCTBA
B
IIO~~~COB~TCKM~~
IIEPMOA.
VERA OTDELNOVA. STATE COMMISSION
AS
INSTITUTIONAL PRACTICE. ANALYSIS OF PRODUCTS CREATED
IN THE
MOSCOW COMBINAT
OF PAINTING IN THE LATE SOVIET PERIOD
.
262
K
NPO6NEE
0603~AEUCR
X~OXECTBEHHORO
COO6UECMA
VERONIKA NIKIFOROVA. "ORDER OF THE INDIGENT PAINTERS" ("OIP") OR
"AREFIEV'S
CIRCLE"?
THE PROBLEM
OF THE DESIGNATION
OF THE ARTISTIC GROUP
.
263
~AIKOB~
T.
B.
OCO~~HHOCTM
NEEP6YPRC~OII
U~H~AHTHY~CKO~~H
WKOAM
HA IIPMMEPE AEHTENBHOCTH XYFLOXHHKA
M
PECTABPATOPA
ANE~CA~NPA
FONO~A3OSA
TATIANA SHLYKOVA. DISTINGUISHING
FEATURES OF PETERSBURG
"ANALYTICAL" SCHOOL
AS
EXEMPLIFIED BY PROFESSIONAL
ACTIVITY
OF ARTIST AND CONSERVATOR ALEXANDER GOLOMAZOV
.
264
5IY
X.
CNOXE~NE
TPUHH
NEII3AX~OFI
XHBOITHCH
HA CAXANNE
H
KYP~NBC~M
OCTPOSAX
HISASHI YAKOU. THE FORMATION
OF LANDSCAPES IN THE SAKHALIN AND KURIL ISLANDS
.
265
K.
ILI.
OOP~~POSA~E
~ONNE~QNK
PYCC~ORO
N COSETCKORO
NCKYCCMA
B
REP~A~NN
N CUIA
B
1960-E
-
1990-E
ROW
KRISTINA
BAREKYAN. THE FORMATION OF THE COLLECTIONS
OF THE RUSSIAN AND SOVIET
ART IN GERMANY
AND THE UNITED STATES
OF AMERICA IN THE 1960S-
1990S
.
266
IIAQER A.
B.
BANN~
BOHHOB.
06-BE~~
222:
HOSEFILUAN
MC~OPHN
POCCHH
ANASTASIA PATSEY. VADIRN VOINOV. OBJECT 222: MODERN HISTORY
OF RUSSIA
.
267
C~A~LOKOSWS-&2HNCOBA
E.
H).
H.
M
30110~0
HA R0NY60~~.
HE6
~O~OMOJIOB:
XHBONHCB KAK APTE@A~T
EKATERINA
STANIUKOVICH-DENISOVA
".
AND
GOLD ON BLUE". GLEB BOGOMOLOV: PAINTING
AS AN ARTIFACT
.
268
ANPA~CMHA-CBLPCK~
E.
A. 06PA3
M
@0PMA
B
COB~~M~HHO~~
&~~~BSIHHOR
CKYNBNTYPE.
HA NPNMEPE PA6O~
NEEP6YPRC~~X
ABTOPOB
H3
CO6PA~~1
~OC~~~CTB~HHO~
MY3EFL
I'O~O~CKO~~
CKYNBLITYPBI
EKATERINA
APRAKSINA-SYRSKAIA.
IMAGE AND SHAPE
IN THE MODERN WOODEN SCULPTURE.
ON THE EXAMPLE
OF
THE
WORKS
BY PETERSBURG ARTISTS
PRESENTED IN THE
COLLECTION OF THE SAINT-PETERSBURG
STATE MUSEUM
.
OF URBAN SCULPTURE
-269
RPAE~A
C.
M.
H~TIO~MO~T
B
COB~~M~HHO~
XMBONHCM NEREP6YPRC~NX
XYNOXHMKOB-AKANEMMCTOF%.
SVETLANA
GRACHEVA.
THE GENRE OF STILL LIFE IN CONTEMPORARY
PAINTING
OF ST. PETERSBURG
ARTISTS-ACADEMICIANS
.
271
C~~'~~KTMBHO~O
IRINA SEDOVA. THE IMAGE OF THE MOTHER IN THE
WORK OF ALEXANDER
RUKAVISHNIKOV.
ART OBJECT AS THE SUBJECTIVE
.
REPRESENTATION 272
NA~~~A
H.
A.;
~~TOIU
H.
K).
KHMRA KAK 0BERQE~~BNEH~BLFI
4CO6PAS TEPPMTOPMMR
NINA PANINA;
NATALYA BARTOSH. THE BOOK AS
AN
EMBODIED "TERRITORY
IMAGE"
.
273
AE~O~OSA
I?
A.
0
XYP(OXECME~~OII
TPAGMQMM
XX
BEKA: NEFI3AX~ARR
XMBONMCB
B.
5.
NVRXA~OSA
M
P. 6. N~XA~OSA
RIMMA FEDOTOVA. ON THE
ARTISTIC TRADITION
OF THE
20&
CENTURY:
LANDSCAPE PAINTING
BY
B.
B.
LIKHANOV
.
AND R. B. LIKHANOV -274
~O~~XKOB~
E.
B.;
CMMPHOB
C.
A.
~POMIUI~~HHI~~
O6PA3EQ
KAK
APT-06'1BEKT
EKATERINA
POLYAKOVA;
SERGEY
SMIRNOV.
INDUSTRIAL
MODEL
AS
AN ART OBJECT
.
-,.275
P~RNKOSA
0.
B.
MCTO~MX
OEQEC-MA
B
RPA@UECRM
APRYMEHTAX
B.
B. 3YESA
N ERO
PEHHKOB
OLGA RYZHKOVA. THE HISTORY
OF FATHERLAND IN THE GRAPHIC ARGUMENTS
OF
V. V.
ZUYEV AND HIS DISCIPLES
.
276
KOPONESA
0.
A.
KAPM~A
KAK ((BELQB
B
CE6E~
U
KAK BERYB
GM
HACN: 3BONLO1P~
NNACTMYECKOR0 MBILLLNEHMX
XMOXHMCA (HA NPHMEPE MOPYECMA ANE~CEN
IIAPIU~O~A).
OLGA KOROLEVA. PAINTING
AS A "THING IN ITSELF" AND AS A "THING FOR
USN:
THE EVOLUTION OF THE ARTIST'S
"PLASTIC 'THINKING"
(ON THE
EXAMPLE
OF CREATIVITY
OF
ALEXEY PARSHKOV)
.
-277
KPOXANESA
A.
N.
BPEM
&IRMNEBA
B
COBPEMEHHOM IIEPMCKOM MCKYCCTBE
ANNA KROKHALEVA. DIQ$EV7S TIME
IN
CONTEMPORARY
ART
OF PERM
.
278
MCKYCCTBO BOCTOKA
ORIENTAL
ART
QAYC~NNC
H.
MW0~0RPA@MX
KOCMOROHMM
B
LUTAHFLAPRAX
NYPAC~A~A
NIKOS CHAUSIDIS-
COSMOGONIC ICONOGRAPHY OF
THE
LURISTAN
STANDARDS
.
.-
.
281
HHKMTMH
A.
6.
~OPO~CTPH~~CK~JI
MM@O~OI'FUI
M
CACAHHFLCKHE
REMMU
.
ALEKSANDR NIKITIN. ZOROASTRIAN MYTHOLOGY
AND SASANIAN ENGRAVED STONES
282
M~P3OE~
E.
6. TPY~4ANB~E
PENBE$B~
MANYPA 1
B
FHMANYPE: NPO6NE~B1
HHREPNPETAQNM
H
MNEONORWS
EVGENY MIRZOEV. THE TRIUMPHANT RELIEFS OF SHAPUR I AT BISHAPUR: PROBLEMS
OF INTERPRETATION AND IDEOLOGY.
.283
BOPO6BESA
A.
H.
KAPNMN
B
ILPE~EMILKFFIC~OFI
PENHMO3HOFI
MKOHO~~~@HM.
YPOBHH
MHTEPNPETAQMN
.
.
DARYA VOROBYEVA. DWARFS IN ANCIENT INDIAN RELIGIOUS
ICONOGRAPHY.
INTERPRETATION
LEVELS
283
&T~&~MKOB~
X.
C.
C~HMOHO
B
KOHTEKCTE 3BONK)QKFM
X~OHCKO~~
RPABH)PM XVII
-
M
BEKOB
ZHANNA ALEYNIKOVA. SURIMONO
IN THE CONTEXT OF THE EVOLUTION OF JAPANESE
PRINTS 17&-19H CENTURIES
.
285
KO3NOSC~AN
M.
B.
OT ~3HAQANBHOFI
KOHQENTYANBHOCTH
K
(QYHKU&~OH~~~HO~
EENE~006P~~~~~~~
0
NPOHCXOXNEHHIC
O~HOR
~306PA3HENBH0FI
RETANM
B
POCNMC~
MOHACTBLPEK ILLIN~O~O~O
NYTH
MARINA KOZLOVSKAYA. NROUGH
CENTURIES: FROM THE INITIAL
CONCEPTION
TO THE FUNCTIONAL ABSTRACTNESS OR
BOUT
THE
ORIGIN OF ONE
OF THE SMALL DETAILS
IN MURALS OF MONASTERIES
ON THE SILK ROAD
.
286
H~~AMHCK~I
M.
A.
APXMT~KTYPHI~~
ONBIT QMHCKOTO NEKMHA (1644-191
1)
M
ER0
OTPAXEHME
B
T~~HC@O~M~~HHX
ESPONEIIC~~X
CTONMQ XIX SEKA
MARINA NEGLINSKAYA. ARCHITECTURAL
EXPERIENCE OF BEIJING (1644-191 1) AND ITS REFLECTION IN TRANSFORMATIONS
.
OF THE EUROPEAN CAPITALS
OF THE 19&
CENTURY
287
M~CM~A~
CAH.IEC
N.
K.
MESETM
B
KOHCT~HTMH~
M
KACA6NA~E:
MC~~MCKH~~
MCTOPM3M KOHQA
XX
BEKA
LEV
MACIEL.
MOSQUES IN CONSTANTINA AND CASABLANCA: LATE 20~-CENTURY
ISLAMIC HISTORICISM
.
288
KYPA~AEBA
A. A.
~~~CTMW?CKM~~
06'BEKT
B
MCKYCCTBE
%IOHMM
XX BEKA
ANASTASIA ZHURAVLEVA.
A
PLASTIC
OBJECT IN JAPANESE
ART OF THE 20H CENTURY
.
289
MYE~:
KONNEKQMH, IIPOCTPAHCTBO, IIAMHTHMK
MUSEUM: COLLECTION, SPACE, MONUMENT OF ART
E~KW
M.
X.;
ES~M
T.
6.
A~X~O~O~MY~CKH~~
06'BEKT:
OT
IMPAMOPOBBB
FL0
KOHCEPBAIJMM HA MECTE PACKONOK
.
ISMAIL YAVUZ OZKAYA;
TURAN BELGIN OZKAYA. THE OBJECT OF ARCHAEOLOGY: FROM 'MARBLES'
TO ONSITE
CONSERVATION
292
RAPFLEANM
N.
CT~~MM
M
HAYANO EBPONEFICK0FI APXE0AORMM:
OT
RPA6~ENBC~~X
PACKONOK
K
HAYYHMM MCCNEFLOBAHMIIM
PAOLO GARDELLI. STABIA AND THE ORIGIN OF EUROPEAN
ARCHEOLOGY: FROM PLUNDERING
EXCAVATIONS
.
TO SCIENTIFIC RESEARCH 293
KONOCO~
B.
N.
MOHM~~CKW
APXMTEKTYPA EOCIIO~~
VI-IV BEKOB
FL0
H.
3. COB~~M~HHI~
IIPEFLCTABNEHMH
&L
IIEPCNEKTMBBI
H3FEHMH
VLADIMIR KOLOSOV. IONIAN ARCHITECTURE
OF THE
BOSPORAN KINGDOM IN THE 6H-4H CENTURIES
B.C.
CURRENT CONCEPTS AND INVESTIGATION PROSPECTS
.
294
X0Y
T.
H. CAMB~FI
XP)TIKMFI APT-06'BE~~
M~TEPNPETAQLU
M
3KCNOHMPOBAHME CAFLA
AAH
I'IPORJVIOK
HA BMNAE
APM~)JHI
B
CT~~HRX
THOMAS
NOBLE HOWE.
A
MOST FRAGILE
ART OBJECT INTERPRETING AND PRESENTING
THE STROLLING
GARDEN
OF THE VILLA ARIANNA, STABIA
.
295
PAFLONMQ~2M
R.
C. AHTMYHO~
KYPRAHHOE
30AOTO
RAA3AMM APXEONOROB
M
HCKYCCTBOBEFLOB: FLBA
B03MOXHBIX
NOJJXOFLA
K
M~)N~HMIO
APXEONORWIECEORO MATEPHANA
M
ERO
NOVASY
B
Y3EFI~B1X
~C~OBMHX.
O~IT
~PMMT~XWO~O
CO~P~HMII.
YANA RADO1ITSKAYA.ANTIQUE GOLD FROM BURIAL MOUNDS FROM THE
VIEWPOINTS
OF ARCHAEOLOGISTS
AND ART HISTORIANS:
TWO VALID APPROACHES TO STUDYING
THE
ARCHAEOLOGICAL
DATA AND THEIR REPRESENTATION IN MUSEUMS.
THE EXPERIENCE
OF THE HERMITAGE
COLLECTION
.
297
EYTIITMH
A.
M.
APT~~~KT,
KAK
NPOM3BEFLEHHE MCKYCCTBA: NPO6NE~A
MY3EFIH0FI APXEONORMM
.
ALEXANDER BUTYAGIN.
ARTIFACT AS A WORK OF ART: PROBLEM OF MUSEUM ARCHEOLOGY
298
EPEEESA
A. A.
~~MITHMKM
~HTH~HO~~
APXZLTEKTYPM
KAK
06'BE~T
~~3EFI~0FI
3KCN03MQMM.
~TKPITO~
XPAHEHHE
OTJJ~~~
AHTHYHOR0
MMPA
B
PW CT~~M
P[EPEBHH~
ANNA EREMEEVA. FRAGMENTS
OF ANCIENT ARCHITECTURE
AS
AN OBJECT
OF A MUSEUM EXPOSITION "DISPLAYED DEPOSITORY"
OF THE HERMITAGE DEPARTMENT OF GREEK AND ROMAN ANTIQUITIES AT THE
"OLD VILLAGE" CONSERVATION
AND STORAGE
CENTRE
.
298
C~M~HOB~
T.
E;.
A~T~@~KT
B
HCTOPMSECKOM IIPOCTPAHCTBE HO~ORO
~PMHTU~.
NMPAMMFLA
C
KAMERMH
M
BMTPMHBI-NMPAMMNBI WR
RMM
TATYANA SEMENOVA.
ARTIFACT IN HISTORICAL
SPACE OF THE
NEW HERMITAGE. THE PYRAMID WITH CAMEOS AND SHOWCASES
FOR GEMS
IN THE FORM OF A PYRAMID
.
300
C~M~HOB~
M.
R.;
TEPEHTBESA
M.
0.
~ AHTM~HOCT~~
B
60NB1110~
~A6MHETE
C.
R.
CTPO~OHOB~:
NPMMEP PEKOHCTPYKUM
IIO
@OTO~~~@HM
M.
K.
EM~HKM
(1865)
YULIYA SEMENOVA;
IRINA
TERENTEVA.
CLASSICAL
ANTIQUITY*
IN SERGEI G. STROGONOFF
'S
GRAND CABINET: AN EXAMPLE
OF RECONSTRUCTION AFTER
THE PHOTO BY GIOVANNI BIANCHI (1865)
.
301
A~GPEESA
E.
M.; P[A~BINOSA
N.
M.;
BORNA~OSA
A. M. CT~TYR
A@MHM
(TH~
XOYN-QAPESE)
N3 CO6PAAULT
~OC~~~CTB~HHO~O
3P~BITUA:
AHTMGHAFI CKYNBNTYPA
B
KOHTEKCTE HCTOPHM
W
IIPAKTHKM PECTABPAQMH
EKATERINA ANDREEVA;
LIUDMILA DAVYDOVA; ALEXANDRA BOGDANOVA. STATUE OF ATHENA (TYPE HOPE
FARNESE)
FROM THE COLLECTION
OF THE HERMITAGE
MUSEUM: ANCIENT SCULPTURE
IN THE CONTEXT
OF THE HISTORY
AND PRACTICE
OF RESTORATION
.
302
MARINA SHULTS. ROOMS OF BATTLE PAINTINGS
IN THE WINTER PALACE AND THE PROJECT OF MEMORIALIZATION
OF NATIONAL HISTORY IN THE 1830- 1850S
.
303
XHXIIH~
H.K.
0
KPHTEPHHX OQEHKH 3HAYMMOCTM HEKOTOPBIX
IIPOH~B~A~HHR
BHTH'IHORO HCKYCCTBA
B
3PMHTAXHOM
CO~PPHIIH
CEBEPONPHW.PHOMOPCKHX
BP~BHOCRR
NADIA JIJINA. EXTERNAL CRITICISM
OR CRITERIA FOR CLARIFICATION
THE SIGNIFICANCE OF SOME
NORTH PONTIC
ANTIQUITIES
FROM
THE
HERMITAGE COLLECTION
.
304
NPA~ONYNY
E.
N06~O~NEHAER
M~~ONULCU
6APO~~O
B
KHLRAX XOPXE CE~NPY~A
.
.
EUGENIA DRAKOPOULOU. THE "RENOVATIO" OF BAROQUE PAINTINGS IN THE BOOKS
OF JORGE
SEMPRUN
305
MAP~OS
K.
B.
X~~OX~CTB~HHI~~
06'BE~~
KAK O6'BE~~
Y3EIC~ORO
NPABA. OCO~~HHOCTH
IIPABOBORO
PERYNLLPOBAHHN HCLLONB3OBAHHFI ~306PME~NA
MY3EFI~BIX
IIPEWETOB
KONSTANTIN MARKOV. ART OBJECT AS OBJECT OF THE MUSEUM LAW. FEATURES OF
LEGAL REGULATION OF USE OF IMAGES
OF MUSEUM SUBJECTS
.
306
YBKO
A.
A,
COB~~M~HHO~
HCKYCCTBO
-
PABH0IIPAB~BLFI
~~PTH~P
MY~~~~HMO
NPOCTPAHCTBA
ANATOLIY
BUDKO.
CONTEMPORARY
ART
AS
AN
EQUAL PARTNER OF THE MUSEUM SPACE
.
-307
~OI~TKHH~
E.
B.
~HOBEKUIEE
@~IHY~CKO~
HCKYCCTBOB
B
C06PASAA
~OC~~~~CTB~HHO~O
~PMMT~X~
B
1920-E
-1930-E RONB1
EKATERINA
LOPATKINA. CONTEMPORARY
FRENCH ART
IN
THE COLLECTION
OF
THE STATE
HERMITAGE MUSEUM.
.
1920S-
1930S
307
CJIU~H&OHOB~
M.
B.
OT
APTE@AKTA
K
~PT-O~~~KTY:
XYROXECTBEHHM KYNBTYPA
B
IIPOCTPAHCTBE
TEXHHYECKORO MY3EH
YULIA SPIRIDONOVA. FROM ARTIFACT TO ART-OBJECT: VISUAL ARTS IN THE SPACE
OF
A TECHNICAL MUSEUM
.
309
WANHEIA
H.
C.; CHHI~TMH~
H.
E.
CTOPMT~~~MHI':
BO3BPALQEHME
K
06'BE~Y
.
.
.
NATALIA SHALINA;
NADEZDA SINYUTINA.
STORYTELLING:
BACK TO THE OBJECT
,.------309
NEKOPATMBH0-NPWKIIAP(HOE
MCKYCCTBO
APPLIED
ART
BEP~AP~~
R.
KONNE~SM
NANCKNX
H
KOPONESCKHX NEPCWEIC A3 MY3EN CPENESE~OAAN
B
EONO~AE
(M~ANNN)
GABRIELLA BERNARDI. THE COLLECTION OF PAPAL AND ROYAL FINGER-RINGS OF
THE MUSEO CIVICO MEDIEVALE
OF BOLOGNA (ITALY)
.
.----312
RPHH@ENBFLT
M.
A. 3~ALIE~BIE
CEPBU3BL AY~6YPRCM
CEPE6PRR~W~0~
KOHQA XVII
-
HASANA XNII
BEKA
MARIA
~RINFELDT.
ENAMEL SERVICES
OF AUGSBURG SILVERSMITHS
OF THE 1TB
-
EARLY 1
CENTURY
.-.-.--.-.-.313
NEPRAQESA
II.
B.; PN6QESA
C. C.
~ILRUIKH
B
+OPE
NOTOCA
C
TEPPMOPHN MO~~~BCKOPO
KHFIXECTBA:
TANONORAN, XPOSONORWRL.
A NPEEMC-MEHHOCN
LILIA DERGACIOVA;
SVETLANA REABTSEA. FINDINGS OF LOTUS-SHAPED PLAQUES
IN ME PRINCIPALITY
OF MOLDOVA:
TYPOLOGY, CHRONOLOGY
AND CONTINUITY
.
-.------314
A~NPEESA
E.
A. RONNA~~C~AE
PACNNCSBIE
@M~COSE
NNMA
~60NBMORO
KPPA,,
BO
POPQE
A.
R.
ME~MKOBA
B
NEEP6YP1-E:
USYUE~RRE,
A~PN6PWA,
MANORH
EKATERINA
A. ANDREEVA. DUTCH TILES
"GREAT CIRCLE"
IN
THE MENSHIKOV
PALACE IN ST. PETERSBURG:
THE
STUDY,
ATTRIBUTION
AND
HALOPES
.
.
.
.
---.------315
BFJIEHC~~FI
11-
3.
E~PONEFIC~~FI
@AP@OP
XVIII BEKA KAK
~PT~@KT
AP~-O.-O6'BEK~
HNA HCTOPMH KO~JIOTBEPA
LAN
VDENSKY. EUROPEAN PORCELAIN OF THE 18&
CENTURY
AS
ARTIFAD AND ART-OBJECT
OR
A
COMPOTIEFS STORY
.-.-.-.316
AO~~~A
N-
H-;
BARAN~~A
@-
F-
O~H~M~HT
TATAPCKHX UEKAHHBIX K)BENHPHBA RPAME~~G:
~~M~HTHWCKH~~
ACNEKT
HISA
~ONINA;
FIRDAYZ VAGAPOVA. TATAR ORNAMENT
EMBOSSED JEWELRY:
SEMANTIC
ASPECT
.----.-.-.-.-.----.-317
.
FLO~PAE~A
E-
E- KYNB~O~M
YMAPB
B
NPOE~MOFI
RPA@NE
BTO~OA
JIONOBHHSL
XD[
BE=
OT
3A~~CNA
K
PEANA3AQMH
ELENA DOKUCHAEVA. RELIGIOUS
UTENSILS
IN THE PROJECT DRAWINGS OF THE SECOND HALF
OF
THE 19' CENTURY.
FROM
CONCEPTION TO IMPLEMENTATION
.
3
IS
MPN
H.
H.
06PA3
PYCC~ORO
QAPN
U
3NOM
CPEGESE~OABN
B
NPEME~AX
MJ
K0NNEKU.H MYERL.
@A6EPXE
NATALIA MUTIA. 'THE
IMAGE OF THE RUSSIAN TSAR
AND
THE MIDDLE AGES
IN
SUBJECTS
FROM THE COLLECTION
OF THE FABERGE
MUSEUM
.
--.-----319
EAIOMMH
M.
A. OT NOCKYTHORO OGEMA
K
AAAHRAPNY
MARINA BLUMIN. FROM A PATCHWORK
BLANKET TO AVANT-GARDE ART
.
320
APO6A1MESA
H.
B. TP~~~H~MOHHI~
OPHAMEHT
BOHAOYHIX
KOBPOB HAPOGOB C~B~~HO~O
KABKA3A
NATALIA
DROBYSHEVA.
TRADITIONAL
FELT CARPETS ORNAMENT OF NORTH CAUCASIAN PEOPLE
.
322
~M~~OHM
M.
NPEFLE~
KAK
CY~%~KT.
N0AB
~ORH
M
KEPAMMKA
MATTEO PICCIONI. OBJECT AS SUBJECT.
PAUL GAUGUIN AND THE CERAMICS
.
323
MSNESA
0.
A. XYNOXEC~SE~~BE
II~OM~B~~~HMR
SA~ONA
((H~M~H
1930-X
RONOS
OLGA IVLIEVA. ARTGLASS
ITEMS OF "NEMAN" FACTORY IN THE 1930S
.
324
EHMH~
0.
C. BONPOCBI
B~~HMOP(~~CTBMR
COBPEMEHHBIX TKAHBIX ~PT-O~%~KTOB,
TEKCTMABHBIX
MHCT~AAR~M~~
M
~PXMT~KT~HO~~
CPEFLBI
OLGA
ENINA. QUESTIONS OF INTERACTION BETWEEN CONTEMPORARY TEXTILE PLASTICS
AND ARCHITECTURAL
MEDIUM
.
325
UEBEAEBA E. B. A~T~@~KT
B
YKPAI.UEHMRX CB~TA~HI
KAMEHEBOFI:
KOAA~K~MOHHI~
IIPEFLMET
M
XY~~OX~CTB~HHI~~
O6PA3
ELIZAVETA SHEVELEVA. THE ARTIFACT
IN SVETLANA KAMENEVA'S
JEWELRY: COLLECTOR'S
PIECE AND IMAGERY
.
326
~B~TKOB~
H.
H.
APT-~~%~KT
B
MCKYCCTBE X~OXECTBEHHOI'O
TEKCTHAR
XX-XXI
BEKOB
NATALIA TSVETKOVA. OBJECT IN TEXTILE ART OF THE 20H-21ST CENTURIES
.
327
TEOPHHMCKYCCTBA
ART
THEORY
CEHQ
M.
C. HESWN~~B~R
ASA~RAPN
M
IIOTEPJFHHM
P~BOAIO~HH:
HOBI~~
B3RARA
BAABTEPA
~~H~RMZIH~
HA
L'OPO)J,CKOE
IIPOCTPAHCTBO
1920-X
RONOB
IRINA SEITS. INVISIBLE AVANT-GARDE AND ABSENT REVOLUTION:
WALTER BENJAMIN'S
NEW OPTICS
.
FOR RUSSIAN URBAN SPACE
OF THE 1920S
330
~MM~HCK~J~
N.
K).
NPO6NE~A
3MNATMM
M
PONB KHHECMKM
B
MCKYCCTB03HAHMM KOHQA
XIX
-
IIEPBOFI
IIOAOBHHBI
XX
BEKA
LIUDMILA LIMANSKAYA.
FIE
PROBLEMS
OF EMPATHY AND KINESICS IN THE
END OF THE 19*
-
THE
FIRST HALF
OF 20
TH
CENTURY ART CRITICISM
.
33
L
BOAYOK
K).
N.
C~~~M~TMY~CKM
APXUTEKTYPA:
CTMA~.
ME~ON.
CT~~MA~HM~
K
COBEPIUEHCTBY
.
YURY VOLCHOK. SUPREMATIC ARCHITECTURE:
STYLE. METHOD. COMMITMENT TO EXCELLENCE
332
@~N~SESA
H. B. AP NE~O
B
NPOEKTE
MO~~PHM~M~
NADEZHDA FILICHEVA.
ART DECO AS A PART OF MODERNISM
.
333
BICOTMH~
E. B. (~NOXSANB~OE
CAOBO
PYKEN
B
TEOPMM AHPM
@OCMAOH~
EVGENIIA VYSOTINA. "IN PRAISE OF HANDS" ACCORDING
TO THE HENRI FOCILLON'S
THEORY
.
334
KOH~B
B. A. OCHOBOIIOAOX~HMR
~ITMR-B-II~OM~B~A~HMH
VLADIMIR KONEV. THE BASIC PRINCIPLES OF BEING-IN-THE-CREATION
.
335
BNACO~
B.
R.
T~O~HR
FLBYX
YCTAHOBOK 3PEHMR
H
IIEFLATORH9ECKA.H
AERTEABHOCTB XYAOXHMKA
C.
A.
~~TPOB~
.
VIKTOR
VLASOV.
THE
THEORY
OF TWO SETTINGS
OF VIEW AND THE PEDAGOGICAL ACTIVITY
BY THE
ARTIST S. A. PETROV
336
A+A~ACBEB
B.
B.
0
H~O~XO~~MMMX
B3AUMOCBR3RX HCKYCCTBA, HAYKM,
T~XHOAO~M~~
B
MARHCTPANBHOM HAIIPABNEHUH
3BOAH)QMH
XMBOIIMCM
M
MY3BIKM
VALENTIN AFANASSIEV. ON NECESSARY
LINKS
BETWEEN ART, SCIENCE,
AND TECHNOLOGIES IN THE MAIN TENDENCY
OF EVOLUTION IN FINE ART AND MUSIC
.
337
TOYPE~
N.
@~HOM~HOAOI'HY~CKM
TEOPMH
H
HOBM~~
B3RAHFL HA HEIIPEPBIBHOCTB
B
APXMTEKTYPE
.
JIRI
TOUREK PHENOMENOLOGICAL THEORY AND A NEW LOOK AT CONTINUITY IN
ARCHITECTURE
338
ACT~XOB
M. B.; 30P~
A. A. AKTYAABHM MAPI'UHAABHOCTB.
UY~WIH~R
BOAHAW KAK 06'BEKT
HCKYCCTBOBEECKOI'O
WCCNEGOSAHUR
.
MIKHAIL ASTAKHOV; ALINA ZORIA.
ACTUAL
MARGINALITY. "STREETART WAVE" AS AN ART HISTORY RESEARCH OBJECT
339
KTCUNBESA
E.
B.
%MKT
W
4ENOE~
CMUCNA
B
CNCTEME ~O~ORPA@UEC~ORO
U306PAXE~M
.
EKATERINA
VASILEVA. OBJECT
AND
THE PHENOMENON OF MEANING
IN THE
SYSTEM OF PHOTOGRAPHIC
IMAGE
340
QYPL.AK
A.
B. CLLEQM($M~A
~OXECTBEHHORO
NPOCTPAHCTBA
FRANCISCA FOORTAI. THE SPECIFICITY
OF ARTISTIC SPACE
.
341
CMH~HOB
A. B. MCKYCCTBO
ROPOFICKMX NBOPOB: CNEQH@M~A
RBNEHYLJI
H
NEPCNEKTHBB1 H3PEHLCFI
ALEKSEY SMIRNOV. THE VERNACULAR
ART
IN
URBAN SPACES: THE CHARACTERISTICS OF THE PHENOMENON
AND
THE
PROSPECTS
OF STUDY
.
342
MMT~B
H).
H.
M~C~ANMQM,
BM~~O-APR,
NEP+OP~A~C,
XENNENNHR
-
6ONRAPCNOE
HCKYCCTBO
HA RPAM
~BYX
3NOX
(1990-2010)
YULIAN MITEV. INSTALLATION,
VIDEO ART, PERFORMANCE
ART,
HAPPENINGS
-
BULGARIAN ART ON THE VERGE
OF
TWO EPOCHS
(1990-2010)
.
343
H)PLLFIS~~
G.
B. H~BMRHMO~
KBK
~PT~(#)~KT:
N~TMOC@~~~
H
IIPOCTPAHCTBO
B
COB~~M~HHO~~
APXHTEKTYPE BEPNLT~A
.
DARIA
IURIICHUK. INVISIBLE AS AN ARTIFACT: "ATMOSPHERE" AND SPACE IN
CONTEMPORARY ARCHITECTURE IN BERLIN
345
BOBHM~KMR
N.
B. COBP~M~HHI~
APR-06'BE~~
B
RCTO~WY~CKO~~
~OPO~~CKO~~
CPENE: 6ENOPYCC~E
~~~TP~~TKMN
PAVEL
VOINITSKI.
CONTEMPORARY
ART OBJECTS IN HISTORICAL URBAN ENVIRONMENT:
BELARUSIAN "ARTRASHTKI"
.
346
KAPNOS
A.
8.
~~J(OX~CTB~HHI~~
PBIHOK
KBK
IIPEWET MEXNMCIJHIINMHAPHBIX
MCCNE~OSA~NFI
ALEKSANDR
KARPOV. ART MARKET
AS
AN
OBJECT
OF INTERDISCIPLINARY
RESEARCH
.
347
QPERN~C
E.
M.
~CCJI~JJOB~HH~
CO~MOKYJIBTYPHORO
NPOCTPAHCTBA CAH~T-NEEP6YPK'A:
EXQURCQ~NN~~AP~BRII
NOPOA
ELENA FREIDIS. STUDYING
SOCIO-CULTURAL SPACE OF SAINT PETERSBURG: INTERDISCPLINARY
APPROACH
.
348
EIE33Y60SA
0.
B.
HOB=
MCTOPMR HCKYCCTBA
M
BH3YAABHAEI KYNBTYPA: TEOPETMSECKME
NMCKYCCMH
70-X
-
90-X
ROFLOB
XX
BEKA
OLGA BEZZUBOVA. THE NEW ART HISTORY AND VISUAL CULTURE: DISCUSSIONS ON
THEORY
THROUGHOUT THE 1970S
-
1990S
.
349
~THYHUKOB~
R.
A. 061QEC~E~~OE
NPOCTPAHCTB0 COBPEMEHHORO ROPOAA KAK
APT-06'BEKT
.
.
.
.
GALINA PTICHNIKOVA. URBAN PUBLIC SPACE
AS
AN
ART OBJECT
350
FLPMKKEP
A.
C. BOCCT~HH~
KONUIH (NPO6NE~A
KOLLHM
M
OPMRHHANA
B
AEMOKPATMSECKOM NPOQECCE)
ALEKSANDR DRIKKER. REVOLT OF COPIES (THE
PROBLEM OF COPY AND ORIGINAL
IN DEMOCRATIC PROCESS)
.
--.351
PHKOB
A.
B.
CKM~I,
KENBTBL
M
APHFI4H. P~COBM~?
/
HAQWOHANWCTMSECKME
MH@O~O~~MI
B
TEOPMLLX MCKYCCTBA
ASAHRAPNA
ANATOLII RYKOV. SCYTHIANS,
CELTS, AND ARYANS. RACIST
/
NATIONALIST MYTHOLOGIES IN THE AVANT-GARDE
THEORIES OF ART
.
352
KYNBT
M
XYBOWCTBEHHAH KYNBTYPA
CULT
AND
ARTISTIC
CULTURE
MAPKOB
6.
B.
C~OBO
M
O6PA3
B
XPMCTM~HCKO~~
KYABTYPE
.
BORIS MARKOV. WORD AND IMAGE IN CHRISTIAN CULTURE
355
CO~OB~~B
K.
A. COB~~M~HHO~
UEPKOBHOE 3OJL#WCTBO
H
AKTYANBHBLE NPO6NEM~
EPKOBHOR0
MCKYCCTBA
KIRILL SOLOVYEV.
MODEM CHURCH
ARCHITECTURE
AND CONTEMPORARY
PROBLEMS
OF RELIGIOUS ARI
.
-.-.-.356
CKOTHHKOB~
R.
B.
M~T~MOP@O~I
IIOCTMXEHHR ~P~BH~YCCKO%
MKOHM
B
POCCWH
HOBO~O
BPEMEHM:
MONHTSEHHOE NPEACTOMNE,
HAYMOE MCCNENOSAHME, ACTETMSECKOE HACNQEHME
GALINA SKOTNIKOVA. METAMORPHOSES OF THE COMPREHENTION OF OLD RUSSIAN
ICONS IN MODEM AGE RUSSIA:
ACADEMIC RESEARCH,
ESTHETIC PLEASURE, PRAYEH1
INTERCESSION
.
357
EASAPOSA
3.
~~.CHMBO~M~~CKU
QEHHOCTB APEANA EENORO
MO~R
ETERI BAZAROVA.THE SYMBOLIC
VALUE OF THE WHITE SEA AREA
.
358
~~KOBA~B~
H.
A.
TBO~'-I~CTBO
M
COTBOPECTBO
B
KAPTMHE
M
MKOHE
NONNA YAKOVLEVA. CREATION
AND CO-CREATION
IN PAINTING AND ICON PAINTING
.
-359
RY6APE~A
0.
B. 06PA3B1
RBNEHMR, A~~~CTBMR,
AAPOB
M
IINOAOB CBHTO~O
NYXA
B
HKOH~X
OKSANA GUBAREVA.
THE ICONIC
IMAGES
OF THE
APPEARANCES, ACTIONS,
GIFTS,
AND FRUITS OF THE ~01~
SPIRIT
.
360
NE'I6MHCKAH
K).
N.
BICTIBKH
BW~~HTM~~CKO~O
MCKYCCTBA
B
E~PONE.
BH~~~~~~
M
K~~~TOPCKH~
PMEHHII
JULIA
LECHBINSKAYA. EXHIBITING BYZANTIUM ART IN EUROPE: THE IMAGE OF BYZANTIUM
AND
CUNTORIAL SOLUTIONS
.
362
MSA~OSA
C.
B. MMHM~TIO~I
P~~~MCKO~O
MMCCAAA
B
KOHTEKCTE
CP~~H~B~KOBO~~
KYABTYPBI
SVETLANA
IVANOVA.
THE MINIATURES
OF REIMS MISSAL WITHIN THE CONTEXT OF MEDIEVAL CULTURE
.
363
EE~6ENB
M.
0.
@~HOM~H
TPAAMQMH
B COBP~M~HHO~~
APXMTEKTYPE
IRINA BEMBEL. THE PHENOMENON OF THE TRADITION IN MODERN ARCHITECTURE
.
364
RPA~0BA
H.
A.
~MO~MOH~A~HO~
M
TBOPYECKOE PA3BMTME
-
@YH~~~M~HT
XM3HM
NELLY GRADOVA. EMOTIONAL AND CREATIVE DEVELOPMENT: 'IHE
BASIS OF LIFE
.
365
IOKMH~
N.
A.
COK~~T
B
IIPOCTPAHCTBE
BOO~~~X~HMH
H.
A. @AO~~HCKO~O
LYUDMILA KLYULUNA. SOCRATES
IN P.A. FLORENSKY'S IMAGINATION SPACE
.
366
K)PRY~
E.
B. TEA~PAN~SAQ~X
B
MY3EE KAK @0PMA
COXPAHEHMII KYABTYPHORO HACAENMII
EKATERINA
YURCHUK. 'IHEATRALIZATION IN THE MUSEUM AS A FORM OF THE PRESERVATION OF
CULTURAL HERITAGE
.
367
UE~AE~A
M. H.
@MAOCO@MR
TEAECHOCTM
B
YICKYCCTBE
MARINA TSVETAEVA. PHILOSOPHY
OF CORPOREALITY
IN ART
.
368
TEPM~OSA
E.
A.
KM~AFICKIM
HAPOGHU KAPTMHA
M3
CO~P~HMII
~OCY~~~CTB~HHO~O
MY3ER MCTOPMM PEAMRMM
M
ONBIT EE M3YYEHMII
EKATERINA
TERYUKOVA.
THE CHINESE POPULAR
WOODBLOCK PRINTS FROM THE STATE MUSEUM OF THE HISTORY
OF RELIGION:
THE COLLECTION HISTORY AND STUDY
.
369
@A~PM
A.
M.
C~M~HTMY~CKO~
3HAYEHME KAMEHHBIX CTEA
~AH:
3TMMOAORMII
@OPMI
M
@YHK~JMR.
AMINA FAKHRI. THE SEMANTICS
OF THE MAYA STONE STELAE: THE ORIGIN OF THE SHAPE AND FUNCTION.
.
370
KO~PAA
M.
C.
HMEPMKA
B
COSPEE~~OFI
KYNBTYPE URSFLEIIYEA
Y~SONB
(HA MATEPMANE
N.
HO~PEPO-E-NA-LLANA~~~A,
IIITAT H~HPMT,
M~KCMK~)
INNA KONRAD.
NIERIKA IN MODERN HUICHOL CULTURE (AS EXEMPLIFIED
IN
POTRERO DE LA PALRNITA VILLAGE,
.
NAYARIT STATE, MEXICO)
3
1
CEPE6P11~~
B. B. RPA@MSECKU
PEKOHCTPYKYHII MEYETM XIV BEKA HA ( BO~HCKOMB
ROPOAMUE (K-ABN ~AEH)
VALENTINA SEREBRYANAYA.
THE GRAPHIC RECONSTRUCTION
OF THE
14&
CENTURY MOSQUE ON THE ((VODYANSKOYE))
SITE
OF AN ANCIENT SETTLEMENT
(BELJAMEN)
.
372
INDEX OF PARTICIPANTS
.
385 |
| any_adam_object | 1 |
| author2 | Piotrovskij, Michail Borisovič 1944- Daudov, Abdulla Chamidovič 1952- Tučkov, Ivan Ivanovič 1956-2018 |
| author2_role | edt edt edt |
| author2_variant | m b p mb mbp a c d ac acd i i t ii iit |
| author_GND | (DE-588)103194924 (DE-588)171561856 (DE-588)114060788X |
| author_corporate | Aktualʹnye problemy teorii i istorii iskusstva (Veranstaltung) Sankt Petersburg |
| author_corporate_role | aut |
| author_facet | Piotrovskij, Michail Borisovič 1944- Daudov, Abdulla Chamidovič 1952- Tučkov, Ivan Ivanovič 1956-2018 Aktualʹnye problemy teorii i istorii iskusstva (Veranstaltung) Sankt Petersburg |
| author_sort | Aktualʹnye problemy teorii i istorii iskusstva (Veranstaltung) Sankt Petersburg |
| building | Verbundindex |
| bvnumber | BV044667352 |
| ctrlnum | (OCoLC)1014038748 (DE-599)BVBBV044667352 |
| format | Conference Proceeding Book |
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| genre | (DE-588)1071861417 Konferenzschrift 2016 Sankt Petersburg gnd-content |
| genre_facet | Konferenzschrift 2016 Sankt Petersburg |
| id | DE-604.BV044667352 |
| illustrated | Not Illustrated |
| indexdate | 2024-12-11T19:02:25Z |
| institution | BVB |
| institution_GND | (DE-588)1147781095 (DE-588)5114370-7 (DE-588)1010710-1 (DE-588)2124053-X |
| isbn | 9785288056918 |
| language | Russian English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-030064755 |
| oclc_num | 1014038748 |
| open_access_boolean | |
| owner | DE-255 |
| owner_facet | DE-255 |
| physical | 392 Seiten |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Izdatelʹstvo Sankt-Peterburgskogo universiteta |
| record_format | marc |
| spelling | Aktualʹnye problemy teorii i istorii iskusstva (Veranstaltung) 7. 2016 Sankt Petersburg Verfasser (DE-588)1147781095 aut VII Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" tezisy dokladov : Sankt-Peterburg, 11-15 oktjabrja 2016 g. = VII International Conference "Actual problems of theory and history of art" : abstracts of communications : St. Petersburg, October 11-15, 2016 Sankt-Peterburgskij gosudarstvennyj universitet, Moskovskij gosudarstvennyj universitet imeni M.V. Lomonosova, Gosudarstvennyj Ėrmitaž ; redakcionnaja kollegija: M.B. Piotrovskij, A.Ch. Daudov, I.I. Tučkov [und 22 weitere] Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" International Conference "Actual problems of theory and history of artabstracts of communications" Aktualʹnye problemy teorii i istorii iskusstva Actual problems of theory and history of art Aktualʹnye problemy teorii i istorii iskusstva VII : tezisy VII International Conference "Actual problems of theory and history of art" Sankt Peterburg Izdatelʹstvo Sankt-Peterburgskogo universiteta 2016 392 Seiten txt rdacontent n rdamedia nc rdacarrier The collections presents the abstracts of communications of the 7th International Conference organized by St. Petersburg State University and Lomonosov Moscow State University together with the State Hermitage Museum in Saint Petersburg on October 11-15, 2016 Abstracts teilweise russisch, teilweise englisch Teilweise kyrillisch (DE-588)1071861417 Konferenzschrift 2016 Sankt Petersburg gnd-content Piotrovskij, Michail Borisovič 1944- (DE-588)103194924 edt Daudov, Abdulla Chamidovič 1952- (DE-588)171561856 edt Tučkov, Ivan Ivanovič 1956-2018 (DE-588)114060788X edt Sankt-Peterburgskij gosudarstvennyj universitet (DE-588)5114370-7 orm Moskovskij gosudarstvennyj universitet im. M.V. Lomonosova (DE-588)1010710-1 orm Gosudarstvennyj Ėrmitaž (DE-588)2124053-X orm Erscheint auch als Online-Ausgabe 10.18688/at16 In Beziehung stehendes Werk Aktualʹnye problemy teorii i istorii iskusstva, 7 Sbornik naučnych statej 2017 (DE-604)BV045125971 KUBIKAT Anreicherung application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030064755&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | VII Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" tezisy dokladov : Sankt-Peterburg, 11-15 oktjabrja 2016 g. = VII International Conference "Actual problems of theory and history of art" : abstracts of communications : St. Petersburg, October 11-15, 2016 |
| subject_GND | (DE-588)1071861417 |
| title | VII Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" tezisy dokladov : Sankt-Peterburg, 11-15 oktjabrja 2016 g. = VII International Conference "Actual problems of theory and history of art" : abstracts of communications : St. Petersburg, October 11-15, 2016 |
| title_alt | Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" International Conference "Actual problems of theory and history of artabstracts of communications" Aktualʹnye problemy teorii i istorii iskusstva Actual problems of theory and history of art Aktualʹnye problemy teorii i istorii iskusstva VII : tezisy VII International Conference "Actual problems of theory and history of art" |
| title_auth | VII Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" tezisy dokladov : Sankt-Peterburg, 11-15 oktjabrja 2016 g. = VII International Conference "Actual problems of theory and history of art" : abstracts of communications : St. Petersburg, October 11-15, 2016 |
| title_exact_search | VII Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" tezisy dokladov : Sankt-Peterburg, 11-15 oktjabrja 2016 g. = VII International Conference "Actual problems of theory and history of art" : abstracts of communications : St. Petersburg, October 11-15, 2016 |
| title_full | VII Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" tezisy dokladov : Sankt-Peterburg, 11-15 oktjabrja 2016 g. = VII International Conference "Actual problems of theory and history of art" : abstracts of communications : St. Petersburg, October 11-15, 2016 Sankt-Peterburgskij gosudarstvennyj universitet, Moskovskij gosudarstvennyj universitet imeni M.V. Lomonosova, Gosudarstvennyj Ėrmitaž ; redakcionnaja kollegija: M.B. Piotrovskij, A.Ch. Daudov, I.I. Tučkov [und 22 weitere] |
| title_fullStr | VII Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" tezisy dokladov : Sankt-Peterburg, 11-15 oktjabrja 2016 g. = VII International Conference "Actual problems of theory and history of art" : abstracts of communications : St. Petersburg, October 11-15, 2016 Sankt-Peterburgskij gosudarstvennyj universitet, Moskovskij gosudarstvennyj universitet imeni M.V. Lomonosova, Gosudarstvennyj Ėrmitaž ; redakcionnaja kollegija: M.B. Piotrovskij, A.Ch. Daudov, I.I. Tučkov [und 22 weitere] |
| title_full_unstemmed | VII Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" tezisy dokladov : Sankt-Peterburg, 11-15 oktjabrja 2016 g. = VII International Conference "Actual problems of theory and history of art" : abstracts of communications : St. Petersburg, October 11-15, 2016 Sankt-Peterburgskij gosudarstvennyj universitet, Moskovskij gosudarstvennyj universitet imeni M.V. Lomonosova, Gosudarstvennyj Ėrmitaž ; redakcionnaja kollegija: M.B. Piotrovskij, A.Ch. Daudov, I.I. Tučkov [und 22 weitere] |
| title_short | VII Meždunarodnaja konferencija "Aktualʹnye problemy teorii i istorii iskusstva" |
| title_sort | vii mezdunarodnaja konferencija aktualʹnye problemy teorii i istorii iskusstva tezisy dokladov sankt peterburg 11 15 oktjabrja 2016 g vii international conference actual problems of theory and history of art abstracts of communications st petersburg october 11 15 2016 |
| title_sub | tezisy dokladov : Sankt-Peterburg, 11-15 oktjabrja 2016 g. = VII International Conference "Actual problems of theory and history of art" : abstracts of communications : St. Petersburg, October 11-15, 2016 |
| topic_facet | Konferenzschrift 2016 Sankt Petersburg |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030064755&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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