MUSEUM. MONUMENT. HERITAGE 2 (12) / 2022

A Problem in Focus: The Metamorphosis of Contemporary Museum

 Ananiev V.G., Dolák J. Museum in Modern World — an Attempt of Definition — 5 (Rus.)

Ananiev, Vitaly Gennadievitch — Doctor of Cultural Studies, Associate Professor, Saint-
Petersburg State University, Russian Federation, Saint-Petersburg, v.ananev@spbu.ru;

Dolák, Jan — Ph.D., Associate Professor, Comenius University, Slovakia, Bratislava,
jan.dolak@uniba.sk.

In cultural studies, it is traditional to consider the phenomenon of the museum in the context of the general development of culture. One of the creators of this approach was Moisey Samoilovich Kagan, who back in the early 1990s defined the specific features of the museum as a special subsystem of cultures methasystem. In this article, based on this approach, the authors try to show the changes that are happening with the museum in the modern world. Appealing to the works of a number of philosophers and experts in cultural studies, they define the determinants of a museum as a cultural phenomenon and its attributes, the change of which does not lead to a complete metamorphosis of the museum in the strict sense of the word. Central to the authors is the ability of museums to act as centers of expertise, not only collecting objects, but constituting collections as integral systems. The article discusses the challenges that the museum faces in the postmodern era, in connection with the development of information technology, multiculturalism and the new politics of memory. The authors focus
on the role of museums in the formation of identity and emphasize its conservative nature. The latter circumstance, in their opinion, however, is not an excuse for refusing to change. However, these changes should not subordinate the museum to such characteristic features of postmodernism as hypercriticism, a tendency toward subjectivism, and a rejection of any general conclusions. The task of the museum, according to the authors of the article, is to show carefully composed collections and, with their help, comprehensively and contextually represent the world in its past and present.
Key words: museum, culture, museum studies, transformation.

 Kuklinova I.A. A Museum of the 21st Century on the Pages
of the New Dictionary of Museology — 13 (Rus.)

Kuklinova, Irina Anatolievna — Candidate of Cultural Studies, Associate Professor, Saint-Petersburg State Institute of Culture, Russian Federation, Saint-Petersburg, i_kuklinova@mail.ru

The article characterizes the “Dictionary of Museology” published in autumn 2022. Its
publication was an important milestone in harmonizing of museum terminology at the international level. The author of the article focuses to compare this new publication with the “Encyclopaedic Dictionary of Museology” published in 2011. A significant amount of discussion on understanding the concept of a “museum” took place in the years between the publication of the two books. Specifically, there were attempts to substantially revise the previous, generally accepted, classical definition. These processes inevitably influenced the concept of the new dictionary. The editorial committee decided against the usual practice of using one language when working on the dictionary. The use of two working languages (English and French) has greatly expanded the range of authors, and consequently, opinions in relation to the museum
as a cultural institution. For the first time, the main focus was not on the key areas of museum activities or the peculiarities of the language and methods of museology as a science, but on the characteristic of the global and, at the same time, diverse world in which museums are currently developing. This has led to a significant broadening of the understanding of the museum, including its regional context, and a substantial increase in dictionary entries.

Key words: dictionary, museum, museology, term, ICOFOM, community.

 Tuminskaya O.A. The Audience “Junior Schoolchildren” of the Aesthetic Education Sector of the State Russian Museum in the Time of a Pandemic — 22 (Rus.)

Tuminskaya, Olga Anatolievna — Doctor of Art History, Head of the Sector of Aesthetic
Education, Methodic Department, the State Russian Museum, Russian Federation, Saint-Petersburg, olgmorgun@yandex.ru

The article examines the position of a small division of a large and well-known Russian
museum in the era of large-scale bans on visitors to exhibitions. The main directions of museum communications of the aesthetic education sector in the system of indirect visual participation in the program “Dialogues in the Museum” are analyzed. The process of working with the “junior schoolchildren” audience during the two-year moratorium on live contact in the museum led the sector’s employees to develop new interactive opportunities to preserve the audience and fill the need for cultural information. Museum tours in the era of the pandemic have been transformed into on-line, Zoom and others, the WhatsApp platform is in demand for children, allowing them to conduct a dialogue and receive feedback from children. The format of isolation in relation to museums represented different variations, but the main goal — to switch to face-to-face communication — has always existed and all virtual receptions only complemented the basic idea of temporary existence in forced conditions. Two years of
experience is now history.
Key words: the program “Dialogues in the museum”, the sector of aesthetic education,
pandemics, museum communications, virtual excursions.

 Guselnikova E.A. Scientific-Research Work of Regional Local History Museums of Russia during the Pandemic Period — 32 (Rus.)

Guselnikova, Elizaveta Andreevna — Bachelor of Socio-Cultural Work, Student of Master Programme, Saint-Petersburg State University, Russian Federation, Saint-Petersburg, lizaguselnikova@mail.ru

The article presents the results of a review study that reflects on the experience of regional museums of local lore in Russia in the direction of scientific-research activities. Includes the period 2020 and 2021. As an example, there are four large museums: the Altai State Museum of Local Lore (Barnaul, Altai Territory), the Krasnoyarsk Regional Museum of Local Lore (Krasnoyarsk, Krasnoyarsk Territory), the Kler Sverdlovsk Regional Museum of Local Lore (Yekaterinburg, Sverdlovsk Region), the Kyzlasov Khakassian National Museum of Local Lore (Abakan, Republic of Khakassia). Research events are considered, including scientific conferences and seminars organized by museums or in which museum employees took part with their reports. And studied: the publication activity of museums and their individual researchers — scientific editions and publications and the activities of museums as part of the work of their methodological centers, which also change the agenda in connection with the  pandemic. Attention is focused on new online formats that have become widespread during the pandemic, telling visitors about the results of research activities, media content with the participation of museum researchers.

Key words: research work, museum of local lore, scientific conference, publication activity of the museum, pandemic.

Museum 

 Nepomnyashchy A.A. “I Will Lift My Nose Proudly and Boldly up”:
Polina Chepurina in the Fight for the Evpatoria Museum — 39 (Rus.)

Nepomnyashchy, Andrey Anatolyevich — Doctor of Historical Sciences, Professor, the
V.I. Vernadsky Crimean Federal University, Russian Federation, Simferopol, dr.aan@mail.ru

The article demonstrates complex processes of formation of the Crimean museum community in the 1920s. The role of art historian Polina Yakovlevna Chepurina (1880–1947) in the creation and preservation of the archaeological and ethnographic museum in Yevpatoria is shown. The use of numerous epistolaries and clerical documentation from the archives of Moscow and Saint-Petersburg made it possible to demonstrate intellectual tension among museum workers, their interpersonal contacts and conflicts and to present the biography of the head of the Evpatoria Museum in a new way.

Key words: Chepurina Polina, Archaeological and Ethnographic Museum, Yevpatoria,
Crimean Tatar crafts, exhibitions.

 Juraev Sh.G. Rostislav Borisovich Kansky as a Researcher at the Bukhara Museum — 57 (Rus.)

Juraev, Sherali Gulyamovich — Junior Research Fellow, the Bukhara branch of the Samarkand Institute of Archaeology, Uzbekistan, Bukhara, Sherali_Gulyamovich@mail.ru

The article is devoted to the scientist, art historian Rostislav Borisovich Kansky, who
made a great contribution to the development of the Bukhara State Museum-Reserve. In this article his work in the museum was covered on the basis of archival materials. In addition, the article also includes the materials (not publicly available) presented by his heirs — the son of the scientist Yuri Kansky. The novelty of the research is Kansky’s business trip to Leningrad and facts from the 1946 report, as well as an information on exhibition dedicated to the 500th anniversary of the birth of Alisher Navoi.
Key words: Bukhara, museum, R.B. Kannsky, V.A. Shishkin, Narshahi, Alisher Navoi,
Samanids.

 Kharitonova T.Yu. The Visitor in the Museum:
The Orientation of the Social Set, Attitude, and Awareness
(a Case of Staff Building of the State Hermitage Museum) — 64 (Rus.)

Kharitonova, Tatiana Yurievna — Candidate of Science in Psychology, The Research Fellow, the State Hermitage, Russian Federation, Saint-Petersburg, tatiana@hermitage.ru

The article is devoted to the study of social set of The State Hermitage visitors (on the
example of The General Staff Building). The concepts of social set, the need to visit to museum are analyzed, as well as examples of experimental studies of the museum audience are given. Interviews of more than 300 individual visitors were used as tool; the results were processed in the SPSS.20. The orientation of social set of the visitor’s audience was analyzed using a longitudinal study, conducted by the author from 2010 to 2022. Several types of set’s orientation have been studied, the main ones being “everyone should visit” and “I want to have pleasure”. In addition, the article draws conclusions about the change in the visitor audience of The General Staff Building during the coronavirus pandemic and the return to pre-pandemic audience parameters. To study the visitor’s estimates, the author used the own method of researching the psychological atmosphere of the museum. The main information sources were
identified to study awareness. The article concludes that in order to increase the attendance of The General Staff Building, it is necessary to take into account the focus on getting pleasure when visiting the museum, maintain the atmosphere of the museum at a high level, strengthen and control the information about The General Staff Building.
Key words: orientation of the social set of visitors to The State Hermitage, the need to
visit to museum, visitor’s audience, awareness.

Monument

  Sapanzha O.S. “Real Childhood”: Winter and Child in Soviet Photography and Interior Porcelain Plastic of the 1960s (from the Collection of the Museum “XX years after the War. Museum of Everyday Culture of Leningrad 1945–1965”) — 75 (Rus.)

Sapanzha, Olga Sergeevna — Doctor of Cultural Studies, Professor, the Herzen State Pedagogical University of Russia, Russian Federation, Saint-Petersburg, sapanzha@mail.ru

The theme of childhood as an element of artistic and scientific discussion is at the centre of this paper. The problems of childhood as a phenomenon of artistic culture are traditionally considered through the prism of portrait or household genre in modern art studies. But this approach demonstrates not the evolution of the real status of childhood as a stage of life and ways to ensure it, but the understanding of the artistic image as a reflection of concepts of styles or ideologies (classicism, sentimentalism, romanticism, revolutionary pathos, fight with enemies, etc.). The concept of “Soviet childhood” acquired independent features during the Soviet period. They were determined, on the one hand, by ideological attitudes and the inclusion of childhood in the program of building communism. On the other hand, it was determined by global trends — the second demographic transition and the associated formal increase in the period of childhood and its quality. At the same time, the dynamics in the understanding
of childhood was not homogeneous, just as the Soviet period was not unified — the
concept of “Soviet childhood” in the 1930s and in the 1960s represented completely different models. Internally and visually, these models were totally different. The analysis of child images in Soviet culture of the 1960s is presented in the article based on the materials of the Museum “XX years after the War. The Museum of Everyday Culture of Leningrad 1945–1965”. In our focus are works of two types of art — photography and porcelain interior plastics for demonstration. One topic that is quite common in Soviet art — the child and winter, was taken for analysis. The study of the general plot in the works of different types of art confirms the thesis that in the 1960s, childhood was formed as an element of mass culture. The artistic image is maximally connected with the real general practices of the children’s world in this culture.
Key words: childhood, Soviet childhood, happy childhood, Soviet photography, Soviet
porcelain, Soviet porcelain interior plastic, winter.

 Backaiutova L.N. The Museum Potential of the Marks of the Postage Payment — 86 (Rus.)

Backaiutova, Liudmilla Nickolayevna — Candidate of Science in Cultural Studies, Curatorin-chief of the National philatelic collection, A.S. Popov Central Museum of Communications, Russian Federation, Saint-Petersburg, bakayutova@rustelecom-museum.ru

Visualization of various graphic media in the thematic and permanent exhibitions of museums, first of all, reflects the historical and cultural content of the museum collection or exposition, and from the point of view of the potential of use, it somewhat distinguishes popular graphic media from each other. We can include marks of postage payment, including artistic marked cards, postcards, and also, with a certain degree of conditionality, posters to the small graphics group. This article deals mainly with postage marks as museum items, since they make up the bulk of the funds of the A.S. Popov Central Museum of Communications in St. Petersburg and are a significant part of his museum exposition and temporary exhibitions.
Key words: Marks of the postage payment, postage stamp museum potential, properties of a museum object.

  Hvostova G.A. The Statue “Allegory of Sincerity” by Marino Gropelli from the Collection of Marble Sculptures of the Summer Garden — 94 (Rus.)

Hvostova, Galina Aleksandrovna — the Leading Research Fellow, the State Russian Museum, the curator of the sculptures of the Summer garden, Honoured worker of culture of Russian Federation, Russian Federation, Saint-Petersburg, HvostovaGalina@yandex.ru

The statue “Allegory of Sincerity” from the Summer Garden by the Venetian master Marino Gropelli is one of the iconic works of the collection of marble sculpture of Peter the Great. Until now, apart from brief information about her appearance in Saint-Petersburg, her individual three-hundred-year history on the banks of the Neva River has remained little studied. This material is intended to fill in this circumstance. In addition to the description and analysis of the work, a detailed picture of restorations throughout the XVIII, XIX, XX, XXI centuries is offered, reconstructed on the basis of studying the available archival data, as well as the personal practical experience of the author, who is the keeper of the sculpture of the Summer Garden. Numerous restoration operations confirm the complex expositional fate of the “Allegoryof Sincerity” in the Summer Garden. At the same time, the restoration and copying of the statue
at the beginning of the XXI century, carried out as part of a large-scale restoration of the
Summer Garden, contributed to the adoption of a logical decision to replace the marble original on the garden alley with a replica work made using the latest modern technologies from polymer-based marble chips. This turn, in the future, gives hope for a favorable stay of the marble statue in the exhibition space of the branch of the Russian Museum — Mikhailovsky Castle.
Key words: Summer Garden, statue “Allegory of Sincerity”, restoration, Gropelli.

Heritage

 Abroskina E.V. “Free Women of the East”:
Representation of the Soviet Policy in the Field of Woman Question
on the Exhibitions of the State Museum of Ethnography in the 1920s–1930s — 106 (Rus.)

Abroskina, Evgeniia Vyacheslavovna — Master of Arts (in Museology), the Research Fellow, the Institute of World History of the Russian Academy of Sciences, Russian Federation, Moscow, evgeniia.abroskina@gmail.com

The article analyzes the representation of the Soviet policy in the field of women’s issues in the expositions of the State Museum of Ethnography in the 1920s and 1930s. The display of the position of women in the Soviet East in the museum’s expositions is given as an example. The author also analyzes the concept of the “new woman” proposed by A.M. Kollontai, and considers how this idea was reflected in the exposition. Traditionally, in Soviet rhetoric, women from the Muslim regions of the former Russian Empire were seen as victims of the patriarchal and capitalist order, they were dominated by the norms of religious and customary law. The Soviet government, through the dissemination of communist ideas through zhenotdels, periodicals, and cinema, sought to free the “women of the East”. A liberated woman had to have equal rights with men, to participate in collective labor and social work, had the right to leisure and assistance from the state. These two images — the enslaved and liberated women
of the East –were reflected in the expositions of the State Museum of Ethnography, they
were supposed to clearly demonstrate the oppressed position of women in the pre-revolutionary period and the positive changes that the Soviet government brought.
Key words: Russian Ethnographic Museum, museum exhibitions, women’s issue, “new
woman”, Soviet East.

 Savchenko S.K. Secondary Material in the Context of the History
of the Exhibition Activity of Museum — 120 (Rus.)

Savchenko, Sofia Konstantinovna — Bachelor of Museology, Student of Master Programme, Saint-Petersburg State University, Russian Federation, Saint-Petersburg, sofiasavchenko22@gmail.com

This article attempts to identify the role of secondary material in museums during various historical periods, as well as to determine the specifics of secondary material in museums of various profiles. The article discusses some practices of using secondary material in different socio-political contexts which demonstrate the potential of these materials: usage of texts explaining the museum subject in the expositions of art and natural science museums of the XIX century, the active use of secondary material for propaganda or curatorial projects in Soviet and American museums of the first half of the XX century, an experiment of not using secondary material at all in European art museums in the middle of the XX century. The article also shows the changes of the appearance and the content of secondary material on the example of the expositions of a particular museum, conducting a comparative analysis of the 1951 and 2001 expositions of the Military Medical Museum. The appeal to the experience of the past is relevant for determining the opportunities that secondary material can provide, as
well as its role in modern museum expositions.
Key words: secondary material, exhibition, museum label, Military Medical Museum.

  Quianshu X. The Problem of Training of Restorers in Russian Universities in the 21th century: A View within — 129 (Rus.)

Qianshu, Xiao — PhD Student, the Russian State Pedagogical University named after
A.I. Herzen, Russian Federation, Saint-Petersburg, 375171326@qq.com

The article provides a theoretical analysis of Russian universities that train professional
artists. The purpose of the study is to analyze the problems and conditions of training restorers in Russian universities. The scientific novelty lies in identifying and comparing the problems and conditions of training restoration artists at various universities. As a result of the study, it was determined that in many higher educational institutions there are the same problems of training specialists in the field of restoration.                             Key words: fine art, restoration, restoration artist, painting, university.

Download full issue MUSEUM. MONUMENT. HERITAGE. 2 (12) / 2022