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THE PORCELAIN MUSEUM AND MANUFACTORY IN HEREND, HUNGARY (Muzeum i Manufaktura Porcelany w Herend na Wegrzech)

100%
Wilde T.
Muzealnictwo
|
2008
|
issue 49
354-362
EN
Porcelain was invented in China during seventh century. When in the eleventh century it made its way to Europe, it became the object of enormous admiration and desire. From almost six centuries Europeans strove to discover the secret of its production. First European porcelain was not made until the beginning of the eighteenth century (in Saxony). In 1826 Vince Stingel established a manufactory in the small Hungarian town of Herend. During the early years of that century it produced stoneware, but from the very onset its owner studied the making of porcelain, although to no avail. The costs of his research left Stingel bankrupt. His successful successor, Mor Fischer, produced the first porcelain vessels, decorated with simple linear and floral motifs, which proved greatly popular and won numerous awards, including international ones, thus initiating the great career of the Herend manufactory. For more than 180 years the factory enjoyed great successes, but also instances of bankruptcy. Its owners amassed, originally for commercial purposes, a collection of the most magnificent products, which became the core of a museum, opened to the public on the very threshold of the first world war. The Herend Porcelain Manufactory Ltd was established in 1992. At the end of the 1990s the whole Manufactory complex was thoroughly redesigned and expanded in order to prepare an infrastructure associated with tourism. Going on the assumption that a considerable part of the visitors are potential buyers, the exhibits were arranged in such a way as to stir the imagination and display the captivating process of producing the luxury objects. The titular complex in Herend is composed of a Late Classicistic building housing the museum and, on the other side of the street, a Complex of the Buildings of the Minimanufactory. Designed by Gabor Turanyi, the simple Cubistic red brick solids, decorated with burnt clay, and with roofs whose construction and shape refer to kilns, constitute characteristic elements of the landscape, seen from afar. The space between the buildings, arranged in a horseshoe pattern, is laid with light coloured flagstones, creating a patio used for open-air events and concerts. The visitors' encounter with porcelain begins at the Minimanufactory; the guided tour, available only for groups, lasts for an hour. Each year the Museum boasts a total of 100 000 visitors.
2
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MUSEUMS IN GEORGIA (Muzea w Gruzji)

100%
Wilde T.
Muzealnictwo
|
2005
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issue 46
147-153
EN
The Caucasus and especially Georgia, situated on the Caucasian Isthmus, remain an extraordinary site. Location on a crossing of communication routes, rich mineral deposits, and excellent climate favour cultural development. On the one hand, the natural geographic boundaries between the Caucusus Mts., the Black Sea, and the Sea of Azov have precisely defined the native area and united the tribes which arrived here already prior to twelfth century B. C. On the other hand, the fate of the inhabitants of the 'Corridor', the centuries-long onslaught of powerful states, the different cultures and customs have augmented national consciousness. This process was favoured especially by the memory of a flourishing mediaeval state. After the loss of independence and annexation by Russia in 1801, the local intelligentsia expressed a need to seek and document its cultural identity. Today, despite serious economic problems, this mission is being continued. The activity pursued by the National Museum of Georgia and its branch - the Museum in Vani, in the region of the former Kingdom of Colchis, is a highly interesting undertaking. Apart from amassing its collections and holding exhibitions, both institutions also fulfil the function of research centres involved in popularising knowledge. Prof. David Lordkipanidze, director of the National Museum, declares that at present the museum enjoys an opportunity to become a truly dynamic institution thanks to skilful cooperation with the media and assorted sponsors as well as the ability to co-work with businessmen and statesmen. Consequently, it has at its disposal a much greater scientific potential than all other institutions of its sort, as evidenced by the international excavations conducted by the Museum in Dmanisi, which have unearthed traces of Earliest PreHumans Out of Africa, dated as 1.8 million years old. The Museum in Vani was established at the beginning of the 1980s on the site of an ancient temple town situated within the former Kingdom of Colchis. Ancient Greek mentions of Vani rich in gold proved to be true - excavations conducted for more than 110 years have discovered priceless monuments, including numerous objects made of gold. The museum was founded for the purpose of presenting the collections, their conservation, studies and the creation of a basis for excavation teams. Its building was designed as an outstanding complex, and in the course of the passing years has merged into the surrounding landscape. It now comprises an integral part of the locality, whose residents consider the excavations to be their heritage, also thanks to various popularisation campaigns. Each year, a day-long exposition is held specially for them at the end of the excavation season. Together with the research team, the museum also holds international congresses about archaeology in the Black Sea basin. The difficult economic situation calls of applying various methods of winning funds, but despite the existing obstacles and numerous restrictions, the outcome of the research remains impressing.
3
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Problematyka badawczo-konserwatorska budowli centrum ceremonialnego Cahuachi (Peru)

63%
Skibiński S., Wilde T.
Ochrona Zabytków
|
1989
|
issue 2
159-166
EN
Nasca culture came into being ca. 400 B .C ., on the base of the Paracas culture, into the region of the rivers lea and Nasca. In a short time excellent irrigation systems were built, along with water reservoirs, underground aqueducts with walls made of stone blocks and equipped with a system of wells for purifying water of slime, sanctuary complexes. The ceramic utensils and figurines of the Nasca culture are characterized by a high artistic as well as technological level. The ceramic ware was ornamented with geometrical designs and presentations of stylized birds, plants, insects and mythological figures. The motifs appearing on ceramic objects and in tapestry are similar to the gigantic drawings on deserts called geoglyphs. These drawings came into being during 1200 years (from 800 B .C . to 400 B .C .). There are many theories that explain the function of these drawings. At the present stage of research, the most convincing hypothesis has been formulated by Toribio Mejia Xessepe. According to it the drawings marked out procession routes. The Cahuachi ceremonial centre occupies an area of over 24 km2. Most structures within the centre have been built of brick formed from clay and dried out in the sun, the so-called adobe, joined with mortar based on a loam binder. The bricks are of different shapes and their arrangement in the wall is also varied. The state of preservation of the buildings is very good. This is due to the layer of sand covering them, brought over during a flood. The layer ensured a constant level of humidity and temperature, as well as shielded against the sun's rays and the effects of wind. Following exposure, the structures are undergoing rapid deterioration. It is therefore necessary that archaeological investigations be accompanied by conservation measures. Studies of loam minerals contained in the bricks and clay mortars were conducted in a field laboratory. They were continued on samples brought to Poland with the use of IR spectrophotometry and X-ray diffraction. In previous years an Italian mission made an attempt to conserve part of the structures. Materials of inorganic origin were used as well as materials of organic origin. For strengthening the houses and wall surfaces lime, gypsum, cement and clay mortars were used. However, none of these mortars proved effective. In spite of negative results, the efforts made it possible to determine the criteria which have to be fulfilled by materials and means suggested for use in conservation work, namely: — the materials and means used cannot seal off the surface of the structures or alter the physical properties of the bricks, — they must be resistant, particularly to ultraviolet rays and humidity, — their coefficient of thermal expansion must be similar to that of the original material, — they must be flexible. The following can be considered as the most important problems of conservation: — the making out of complete conservation documentation, — outlining the methodology of preservative conservation, — the description of the old building technique and the identification of causes that led to the destruction of structures, — the preparation of a complex program of aesthetic solutions of the exposition of the ceremonial centre's structures in correlation with the presentation of geoglyphs, together with objects connected with ceremonies, cults, everyday life etc. These problems are the subjects of research carried out as part of the „Proyecto Nasca" and in the Institute of Historical Monument Studies at the Mikołaj Kopernik University in Toruń.
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