Search results

1

Ikonografia Jana Amosa Komeńskiego w zbiorach Muzeum Okręgowego w Lesznie

100%

Szymańska K.

Siedleckie Zeszyty Komeniologiczne seria Pedagogika

|

2021

|

vol. 8

233-247

EN

The article presents a collection of iconographic objects showing the images of John Amos Comenius: oil paintings, graphics, medals and plaques, postcards, and numismatic items. They are discussed taking into account the historical context of their creation and the methods of obtaining them for the collection. The article, despite its review character, aims to draw attention to similar collections in other Polish institutions.

2

“Ehk noiduseks tarvitatud” – maagilised esemed Eesti muuseumikogudes

88%

Johanson K., Jonuks T.

Mäetagused

|

2018

|

vol. 72

107-136

EN

It is quite remarkable that the number of artefacts connected with magical practices in Estonian museums is rather small. It can be said that this scarcity is related to several factors. One of the reasons is the fact that collections that grew around the nineteenth-century antiquarian societies were formed randomly, and cherished the age and artistic or material value of the artefacts. The systematic collecting of contemporary artefacts or those from the recent past gained impetus only when the Estonian National Museum (ENM) initiated campaigns for collecting everyday items in 1909. The collecting activity started by the ENM was clearly influenced by the official national ideology – the museum collected artefacts that were valued, and items of despicable “superstition” were not part of these. The second reason for the scarcity of magic items is the fact that magic was mostly a verbal and behavioural activity and for some rituals no special artefact was needed. In magical practices everyday items were often used, and while these had more roles than being only magical attributes, they were not donated to the collectors or have been gathered and catalogued as tools or commodities. Recognizing magic is a matter of the worldview. Until it is not discussed in books or taught at schools, the users cannot regard the artefacts used in special healing rituals as magical – these were used in folk medical practices which in the beginning of the twentieth century consisted of some apothecary remedies, verbal spells, and herbal treatment, but to some extent also special artefacts were used. This leads us to the third reason for the scarcity of magic items in collections. Many apotropaic or folk medical artefacts could have been actively used at the beginning of the twentieth century, and people were not eager to donate these to the museums. Obviously displays and artefacts in expositions also influenced collecting – seeing and knowing what the museum valued made common people recognize the same kinds of things. A notable feature in the small collection of magical items in Estonian museums is the clear focus on curative magic, leaving other aspects of magical practices represented only by single objects. The folk medical collection of the ENM contains several smooth pebbles and fossils used in healing practices. Similar material (more than 500 items altogether) has been gathered from Estonian archaeological sites. However, this kind of archaeological finds have very rarely been interpreted, although it is clear that folkloric background played a role in collecting these in the first place. The reasons for the scarce interest in material magic in academic research vary. Firstly, both archaeology and ethnography have tried to appear as scientific and credible disciplines which hardly deal with matters of magic or superstition. The general rational worldview has played a significant role also in the theoretical and methodological background. Nevertheless, religion and magic have been discussed to some extent, and artefacts with a magical background have reached museum collections. However, due to the valid rationalistic worldview, their interpretation has been clearly function-centred (e.g. the dolostone disk from Rattama), with mostly utilitarian functions in the foreground. This explains the higher representation of curing magic in collections, whereas the use of ear-stones (Bryozoan fossils), for example, clearly involves rational elements like heating the stone and pouring water on it to create curative steam for the ears. The function could also be non-utilitarian, for example, apotropaic amulets have been created for this purpose. If magical interpretations were used, these tended to be general and common-sense, for instance, related to the fear of natural forces. These interpretations often degenerate to academic naivety, and are grounded neither by arguments nor by reasoning. Also, the nature of artefacts used in magical practices in Estonia has played a considerable role in the lack of interest towards material magic. In most cases natural or everyday artefacts have been used, which, without an accompanying narrative, cannot be regarded as magical. High magic and more complicated teachings did not spread outside the University of Tartu in Estonia until the nineteenth century, and the scarcity of artefacts specifically made for magical practices has inhibited magic from becoming an attractive research topic. Due to the lack of academic studies, the cataloguing of magical artefacts has been complicated: sometimes the artefacts have been ascribed magical meaning that they actually did not have, sometimes their actual magical use has been ignored or hidden behind utilitarian functions. The only solution seems to be the increasing level of systematising studies on different forms of magic, with the purpose of creating a widely used and well-reasoned theoretical discussion.

3

The archaeometric, formal and stylistic analysis of a black-glazed fish-plate from the National Museum in Poznań

88%

Głuszek I., Krueger M.

Analecta Archaeologica Ressoviensia

|

2019

|

vol. 14

81–90

EN

This paper presents the results of the XRF, formal and stylistic analyses of a black-glaze fish-plate from the National Museum in Poznań. A non-invasive portable X-ray fluorescence spectrometer (pXRF) has been used to determine the chemical composition of the plate. Analysis of the shape and decoration provided data on the chronology, typology and provenance of the vessel. The obtained results were used to determine the possible region of the fish-plate’s production. The form of the fish-plate represents features characteristic for the early stage of Italian black-glaze production, which is combination of Athenian traditions with new solutions in terms of proportion and shape. The analysis of X-ray fluorescence spectrometry data and comparative studies with already known results of the Italian black glaze pottery chemical analyses allowed the fish-plate to be identified as an example of the Campania A group from ancient Naples workshops, dated to the second half of the 4th century BC.

4

The Auschwitz-Birkenau Museum & Memorial Site. The Former German Nazi Concentration and Extermination Camp: The History of the Institution of Memory and its Operating Principles

75%

Dąbrowski F.

Institute of National Remembrance Review

|

2020

|

vol. 2

52-141

EN

The paper describes the activities, structures and tasks of the Auschwitz-Birkenau State Museum, one of the most important remembrance institutions and the most important Holocaust Memorial in Poland. The short outline of the camp’s wartime history is followed by sections concerning the post-war site’s use and commemoration, the forming of the Museum, concepts of its shape, and contemporary challenges to its activities. The selected Museum’s structures were discussed: the archives, exhibitions, research, collections, conservation and visitor services departments.

5

Muzeum Uniwersyteckie KUL

75%

Gomulanka S.

Archiwa, Biblioteki i Muzea Kościelne

|

1994

|

vol. 63

65-73

EN

-

6

Muzea kościelne w kręgu zainteresowań badaczy przeszłości Kościoła i wynikająca z tego, m. in. konieczność dobrego opracowania zbiorów tych instytucji

75%

Zahajkiewicz M. T.

Archiwa, Biblioteki i Muzea Kościelne

|

1997

|

vol. 67

13-15

PL

-

7

CENTRAL STORAGE FACILITY FOR MUSEUM COLLECTIONS: A NEW TASK FOR THE NATIONAL INSTITUTE FOR MUSEUMS AND PUBLIC COLLECTIONS

75%

Czop J.

Muzealnictwo

|

2019

|

vol. 60

92-102

EN

Museum is collections. Their safe and appropriate storage has always been and will remain the basic statutory activity of every museum. As can be found in both domestic and international sources, merely a fraction of museums’ collections is on permanent display, while their remaining part is kept in museums’ storerooms. Therefore, the priority goal of every museum, of its management, and organizer, should be the availability of an adequate storage area. Regrettably, history and praxis demonstrate that it is precisely within this field that museums have always had and continue having the greatest needs. Worldwide museology faces the ongoing challenge of museum collection storage, and this is the challenge that Polish museums face as well. Fortunately, for over two decades a process of actual transformation in this respect has been occurring, the latter resulting in modern storage facilities being built. These, complying with the latest standards, shall guarantee high-quality protection to the collections, as well as a low-budget construction, and low energy consumption in the course of operations. Poland, too, has been participating in these changes. Recently, the topic of museum storage areas has entered the list of priority tasks of the Ministry of Culture and National Heritage, which in 2016 commissioned the National Institute for Museums and Public Collections (NIMOZ) to provide appropriate reports, analyses, and concepts, while in 2018 it formally assigned the Construction of the Central Storage Facility for Museum Collections Project (CMZM) to NIMOZ. A new position of the Director’s Proxy for the Central Storage Facility for Museum Collections has been created. This means that a major development in the history of Polish museology has taken place: at the Ministry of Culture and National Heritage and its subordinate cultural institution definite steps have formally been taken in order to resolve the problems of museum collection storage in Poland. The assumption has been made that CMZM will be a pilot and model solution that can be followed by subsequent storage facilities for museums in Poland’s other regions.

8

MANAGING THE COLLECTIONS OF THE MEDICAL UNIVERSITY OF WARSAW VERSUS THE EXPERIENCE OF THE HUMBOLDT UNIVERSITY AND THE UNIVERSITY OF VIENNA

75%

Tyszkiewicz A.

Muzealnictwo

|

2019

|

vol. 60

163-173

EN

The Medical History Museum founded in 2011 within the structure of the Medical University of Warsaw (WUM), following the solutions introduced at the Humboldt University in Berlin and the University of Vienna, is planning to shortly introduce coordination of protection and display of the historic tangible heritage of the school. In both Berlin and Vienna in the early 21st century the project of university collection inventory was launched. Just over several years it yielded a large-scale digitizing process, foundation of theme websites, publications, and organization of temporary exhibitions promoting the historic university collections. The Association of University Museums established in Poland in 2014 has for several years been drawing inspiration from the German and Austrian models. The WUM Medical History Museum, resorting to the experience of the Berlin and Vienna universities, has applied numerous ideas for the integration of the historic collections, their identification, and recreation. Following the history of medical collections in Warsaw from the 1st half of the 19th century up to contemporary times, the Author analyses the model for this museum strategy, while also presenting examples of dangers resulting from the mismanagement of university historic heritage.

9

The provenance of Neo-Babylionian legal documents from ‘Kish’ outside the Ashmolean Museum Collection

65%

Chmielowski S.

Folia Praehistorica Posnaniensia

|

2019

|

vol. 24

11-34

PL

The majority of currently known Neo-Babylonian legal and administrative documents from Kish come from excavations held on this site by the joint expedition of Oxford – Field Museum (Chicago) between 1923–1933. They are now housed in the Ashmolean Museum, Oxford. However, ca. 40 Neo-Babylonian ‘Kish’ tablets, i.e., written in Ḫursagkalamma or Kiš, are present in other collections. How did they end up in these museums assuming that most of them was acquired in the last quarter of the 19th century, 30–50 years before the expedition mentioned above? I suppose that they were not found in Kish, even though their Ausstellungsort indicates quite the opposite. They instead come from nearby Babylon or Borsippa cities. The analysis conducted in the article seems to confirm this assumption, and for most cases, the provided attribution should be considered. Additionally, tablets under discussion are testimonies of the vivid economic life of entrepreneurial Babylonians in the first millennium BC.

10

Vincenz Janke (1769–1838), malíř na pomezí „vysokého“ umění a zlidovělé produkce

63%

Kafka L.

Český lid: etnologický časopis (Český lid: Ethnological journal)

|

2018

|

vol. 105

|

issue 2

219-240

EN

This paper focuses on the work of a North-Bohemian painter, Vincenz Janke (1769–1838). While active, this author belonged among the most important representatives of craft painting on glass. His importance is evidenced by a collection of over 200 extant pieces which can be directly attributed to V. Janke or a family workshop operating in today’s Nový Bor, which was run by him in the first third of the 19th century. The painter’s work is exceptional due to its undoubtable artistic and drawing qualities which derive from high art. However, it also bears discernable features coincident with those of mass-produced goods destined for wide popular classes (e.g. thematic selection, production in series, contours favoured over painting). According to a widespread thesis, folk painting on glass originates in the artistic expression of professionally trained painters who were primarily oriented on a bourgeois customer base. Based on the analysis of extant work, it may be claimed that the production of authors such as Vincenz Janke represents the imaginary link between “high” and folk artistic expression.

CS

Podle obecně přijímané teze byl jedním z genetických východisek zlidovělé malby na skle malířský projev řemeslně vyučených malířů, kteří se primárně orientovali na měšťanské odběratelské zázemí. Příspěvek se věnuje tvorbě severočeského malíře Vincenze Jankeho (1769–1838), jenž byl naším nejvýznamnějším představitelem řemeslné malby na skle sklonku 18. a první třetiny 19. století. Vychází z rozboru více než 210 dochovaných exemplářů, které se dají připsat tomuto malíři a rodinné dílně, která působila v dnešním Novém Boru. Malířova produkce se vyznačuje nespornými výtvarnými a kresebnými kvalitami, které vycházejí ze slohového umění. Jsou v ní však patrné rovněž shodné rysy s hromadně vyráběným zbožím pro nejširší lidové vrstvy (např. tematický rejstřík, sériovost výroby, kontury prosazující se na úkor malby). Na základě výzkumu lze konstatovat, že tvorba autorů, jako byl Vincenz Janke, skutečně představuje pomyslnou spojnici mezi „vysokým“ a lidovým výtvarným projevem.

11

Muzea uczelniane i kolekcje – cele, założenia, przykłady

63%

Szaszkiewicz M., Ślaga J.

Opuscula Musealia

|

2021

|

vol. 28

137-147

EN

The aim of this article is to introduce the activities of museums and collections located in the structure of Polish higher education institutions. The analysis is based on concrete examples of academic units operating today. The authors distinguish several categories of museums according to their location, among them university and departmental museums. The second criterion is the organisational formula, in which the authors indicate, apart from museums, also centres and history interpretation units. Using archaeological, medical and natural history collections as examples, they describe similarities and differences in the way they work with resources. The article is also an attempt to start a discourse aimed at drawing attention to the potential lying in such units, the mission and duty of which is to preserve, secure, develop and make available for scientific and didactic purposes the heritage of the university and the history of science. The authors also refer to the legal situation of the university museum units and regulations, which the organisers may use when creating and conducting activities related to the collection and processing of tangible and intangible academic heritage, which is part of the world’s scientific heritage.

12

Analysis of museum labels description

63%

Karpiewska A., Iwan D., Szymroszczyk P., Lenard E., Halama M., Pluta D., Dobosz T.

Opuscula Musealia

|

2019

|

vol. 26

143-156

EN

The aim of the study was to analyse the content of museum labels from various periods in terms of their usefulness in creating new labels for exhibits included in museum collections. Nearly 5,000 museum labels from the years 1811 to 2017 were reviewed, for exhibits at the Museum of Zoology of the Polish Academy of Sciences in Warsaw, Herbarium of the University of Wroclaw, and the Museum of Forensic Medicine at the Medical University of Wroclaw. On the basis of the collected information, an attempt was made to develop a ‘universal label’template, including a range of necessary information from the point of view of managing and maintaining the accessibility of the relevant collection.

13

Strój pyrzycki w świetle źródeł etnograficznych i ikonograficznych zachowanych w Muzeum Narodowym w Szczecinie

63%

Karwowska I.

Materiały Zachodniopomorskie

|

2018

|

vol. 14

193-224

EN

The article discusses selected elements of traditional Pyrzyce costume, archive records and an oil painting by August Ludwig Most that survived in the collection housed in the Department of Ethnography of Pomerania at the National Museum in Szczecin. The painter’s sketchbook drawings held in the Department of Old Art were also taken into account, showing the look of the costume in the 1930s and 1940s.

14

SAFE MUSEUMS, SAFE COLLECTIONS. A SELECTION OF ARTICLES BY PIOTR OGRODZKI, NIMOZ LIBRARY, VOL. 13, WARSZAWA 2020

63%

Maniurka P. P.

Muzealnictwo

|

2020

|

vol. 61

219-223

EN

Safe Museums, Safe Collections. A Selection of Articles by Piotr Ogrodzki is a publication discussing the contemporary problems of crimes against heritage objects. The essays written over the period of 20 years were systematically published in the ‘Cenne, Bezcenne/Utracone’ journal, the only periodical dedicated to the recovery and restitutions of the lost national heritage. The publication is composed of 18 papers characterizing selected threats to museums and collections. All the presented texts oscillate within the semantic concepts related to crime and theft in museums and sacral facilities. The essays aptly juxtapose legal aspects with the practices of the protection of national heritage, while the described examples of security measures have been and will remain applicable also in the future. The additional value of the publication of Piotr Ogrodzki’s texts is their translation into English. Although many of the described thefts of art works have taken place in Poland, the Author also points to similar circumstances of such crimes in Europe. Enriched with Piotr Ogrodzki’s short biography and bibliography, the book begins with the papers by Piotr Majewski, Paulina Florjanowicz, Kamil Zeidler, and Jacek Rulewicz. It concludes with the message of Chief Inspector Adam Grajewski of the Polish Police Headquarters under a meaningful title In Lieu of an Afterword. Museum Collection Safety. The publisher of the book, the National Institute for Museums and Public Collections, NIMOZ, should be acknowledge for the noble idea of publishing this book, thus commemorating the outstanding individual that Piotr Ogrodzki was.

15

Ewidencja i digitalizacja spuścizny po artyście rzeźbiarzu Franciszku Duszeńce w Bibliotece Akademii Sztuk Pięknych w Gdańsku

63%

Zelmańska-Lipnicka A.

Toruńskie Studia Bibliologiczne

|

2017

|

vol. 10

|

issue 1(18)

55-68

PL

Biblioteka Akademii Sztuk Pięknych w Gdańsku w 2015 r. realizowała projekt z programu „Ochrona i cyfryzacja dziedzictwa kulturowego”, dofinansowany ze środków Ministerstwa Kultury i Dziedzictwa Narodowego. Zadanie to związane było z profilem Uczelni, a także z zapoczątkowaną w 1982 r. przez Rektora prof. Franciszka Duszeńkę inicjatywą gromadzenia obiektów muzealnych związanych z działalnością artystów współtworzących dziedzictwo artystyczne Akademii Sztuk Pięknych w Gdańsku. Bibliotekarze kontynuowali przy pomocy współczesnych środków to, co chciał zawrzeć Duszeńko w momencie zainicjowania galerii. Celem artykułu jest zwrócenie uwagi na różne dokumenty i obiekty muzealne, które były ważnymi elementami spuścizny. Należało je w pierwszej kolejności uporządkować, poddać ewidencji i opracować, a następnie zdigitalizować i udostępnić. Praca nad opracowaniem spuścizny wymagała od bibliotekarzy znajomości życia i twórczości Duszeńki, szczególnie na etapie uporządkowania zbioru. Zadanie było podzielone na etapy, po ukończeniu pierwszego z nich, Biblioteka ASP w Gdańsku upowszechniła pierwszą część spuścizny składającą się z 720 zdigitalizowanych zdjęć przedstawiających prace profesora oraz z 1500 rysunków stanowiących zamknięty, nigdy wcześniej nie udostępniony zbiór prac.

EN

In 2015, the Library of the Academy of Fine Arts in Gdansk undertook a project “Protection and digitalization of cultural heritage”, supported by The Ministry of Culture and National Heritage. The task was associated with the Academy profile as well as an initiative started in 1982 by the Rector prof. Franciszek Duszeńko to collect museum objects relating to the activities of artists co-creating the artistic heritage of the Academy of Fine Arts in Gdansk. Using modern technology, Academy’s librarians have been continuing what Duszeńko attempted to achieve while creating the gallery. The aim of the article is to draw attention to the important elements in the development of heritage which consists of various documents and museum objects. First of all, the job was about making order, collecting records, listing them, digitizing and making the files available. The task was divided into stages. After completing the first one, the Library popularized the first part of the legacy consisting of 720 digitized images of Professor Duszeńko’s works and 1,500 drawings which have never been publically presented before.

16

Lidová kultura Ukrajinců rakousko-uherské monarchie v etnografické sbírce Františka Řehoře z 80. a 90. let 19. století

51%

Boljuk O., Fedorčuk O., Valášková N., Pohunek J.

Český lid: etnologický časopis (Český lid: Ethnological journal)

|

2020

|

vol. 107

|

issue 1

71-92

EN

The paper presents preliminary results of the analysis of a lesser-known collection of the Czech self-taught ethnographer František Řehoř. The collection documents the traditional folk culture of Ukrainians in eastern Galicia and Bukovina (parts of the Austro-Hungarian Empire) in the last decades of the 19th century. The collection is located in the Department of Ethnography of the National Museum in Prague and is currently analysed by Czech ethnologists in cooperation with Ukrainian art historians.

CS

Článek přináší předběžné výsledky analýzy v odborných kruzích málo známé etnografické sbírky českého etnografa-samouka Františka Řehoře. Týká se oblasti východní Haliče a Bukoviny v rámci rakousko-uherské monarchie a dokumentuje lidovou kulturu obyvatel dnešní Ukrajiny převážně v posledních desetiletích 19. století. Sbírka se nachází v Etnografickém oddělení Historického muzea při Národním muzeu v Praze a její studium probíhá ve spolupráci českých etnologů a ukrajinských uměnovědných odborníků.

Refine search results

Ikonografia Jana Amosa Komeńskiego w zbiorach Muzeum Okręgowego w Lesznie

“Ehk noiduseks tarvitatud” – maagilised esemed Eesti muuseumikogudes

The archaeometric, formal and stylistic analysis of a black-glazed fish-plate from the National Museum in Poznań

The Auschwitz-Birkenau Museum & Memorial Site. The Former German Nazi Concentration and Extermination Camp: The History of the Institution of Memory and its Operating Principles

Muzeum Uniwersyteckie KUL

Muzea kościelne w kręgu zainteresowań badaczy przeszłości Kościoła i wynikająca z tego, m. in. konieczność dobrego opracowania zbiorów tych instytucji

CENTRAL STORAGE FACILITY FOR MUSEUM COLLECTIONS: A NEW TASK FOR THE NATIONAL INSTITUTE FOR MUSEUMS AND PUBLIC COLLECTIONS

MANAGING THE COLLECTIONS OF THE MEDICAL UNIVERSITY OF WARSAW VERSUS THE EXPERIENCE OF THE HUMBOLDT UNIVERSITY AND THE UNIVERSITY OF VIENNA

The provenance of Neo-Babylionian legal documents from ‘Kish’ outside the Ashmolean Museum Collection

Vincenz Janke (1769–1838), malíř na pomezí „vysokého“ umění a zlidovělé produkce

Muzea uczelniane i kolekcje – cele, założenia, przykłady

Analysis of museum labels description

Strój pyrzycki w świetle źródeł etnograficznych i ikonograficznych zachowanych w Muzeum Narodowym w Szczecinie

SAFE MUSEUMS, SAFE COLLECTIONS. A SELECTION OF ARTICLES BY PIOTR OGRODZKI, NIMOZ LIBRARY, VOL. 13, WARSZAWA 2020

Ewidencja i digitalizacja spuścizny po artyście rzeźbiarzu Franciszku Duszeńce w Bibliotece Akademii Sztuk Pięknych w Gdańsku

Lidová kultura Ukrajinců rakousko-uherské monarchie v etnografické sbírce Františka Řehoře z 80. a 90. let 19. století