Pietra dura Research Papers - Academia.edu (original) (raw)

Научные статьи сборника Царскосельской конференции «Атрибуция предмета: интуиция, опыт, документ» посвящены вопросам введения в научный оборот в результате атрибуции с использованием всех способов анализа движимых и недвижимых памятников истории и искусства: архитектурных построек, произведений живописи, скульптуры, всех видов прикладного искусства, а также проблемам современной методологии и терминологии атрибуции музейных объектов. Сборник адресован сотрудникам музеев, искусствоведам, историкам, краеведам, всем, кто интересуется отечественной историей и культурой. Государственный музей-заповедник «Царское Село» выражает благодарность членам Клуба друзей музея-заповедника за финансовую поддержку данного издания: Негосударственному образовательному учреждению высшего профессионального образования «Санкт-Петербургский Гуманитарный университет профсоюзов» М. Ф. Мудрак К. Н. Подпальному

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- Russian Studies, Decorative Arts, Faberge, Russian & Soviet Art

Inlaid with lapis lazuli, turquoise and malachite, the Pietra Dura work on the Taj Mahal is a testament to the beauty of this art form as well as its power to evoke emotion. Known locally as “Parchin Kari”, many who have come to personally see the Taj Mahal have also come to appreciate the detailed craftsmanship that has been poured into the inlaying of the majestic white marble. People have called the precise work on the marble as nothing short of an artistic phenomenon, knowing that it is able to add depth and richness to the entire monument and that it is able to seamlessly work together with all its architectural features.

- by Chantal Menhem
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- Ancient Mosaics, Graeco-Roman Mosaics and Wall Paintings, India, Pietra dura

Jahangir's Tomb is located in Shahdara Lahore, Pakistan. This tomb marks the transitional phase of inlay decoration in the sub-continent. Inlay work on the sarcophagus of Jahangir's tomb is noteworthy in its expression and decorative vocabulary. The rhythmic beauty of designs and technique achieved such a height of appreciation and acknowledgement that it has been considered as one the finest surface decoration among the world's best architectural surface decorations. It is debatable among the scholars for the origin of pietra dura technique. This article aims at tracing out the origin of this technique and to prove it with evidences that it was not purely the European technique but an amalgamation of Islamic and European influences. "The technique developed quite separately in India and is usually characterized by a unique distinct style". (Tillotson, 1990, p. 58) This article provides references to solve the ambiguity of the origin of pietra dura technique especially with reference to the Indian Sub-continent. It facilitates in tracing different influences involved in the formation of decorative designs. This article explores the philosophy and purpose of the ornamental patterns used on the sarcophagus of Jahangir's Tomb and highlights the importance of the local artisans who contributed in the development of this technique.

- by farah khan
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- Art History, Pakistani Art History, South Asian Art, Visual Arts

My paper is devoted to the history of pieces of art inside mineralogical collections, specifically of some samples of pietra dura mosaics that entered the Mineral cabinet of the Kunstkamera in the18th century and are kept in the Fersman mineralogical museum. The foundation of the first Russian mineralogical museum was the Mineral cabinet of the Kunstkamera of Peter the Great. From 1725 the Kunstkamera became an academic museum and belonged to the Petersburg Academy of
sciences. In 1836 the Mineral cabinet of the Kunstkamera was separated as a mineralogical museum of the Petersburg Academy of sciences (1836) and now this is the Fersman mineralogical museum of the Russian academy of sciences, the well-known research institution. The 18th century collection catalogues give an opportunity to reconstruct not only the composition and structure of the 18th century collection of minerals, but to clarify specific meanings of collectible items. As a rule, those meanings are unlike contemporary ones. Tracing changes of those meanings in time give an opportunity to see the history of mineralogical knowledge in a special way, from the perspective of collectible items. Following by their descriptions in the catalogues I found that in the 18th century the Florentine mosaics had “mineralogical’ meanings in the collection and were described as figured stones (or lusus Naturae, sports of Nature). Figured stones were included in almost any collection of minerals in the 18th century and in many systems of mineralogy as a special class. Change in their position in the collection of the mineral cabinet can be traced through catalogues and academic printed sources of the 18th century. The concept of figured stones disappeared by the 19 century with the birth of paleontology (petrified items in the 1930s got the special title of pseudomorphs, literally false forms). By that time, figured stones were excluded from catalogues but not from the
collection. Works of art from natural stones are counted as a sort of traditional decoration of the mineralogical collection. Study catalogues from the 18th century clearly show that initially these samples carried scientific mineralogical meanings in the collection. Today the figured stones and mosaics remain in the collection, playing an important role in the museum exhibition, attracting visitors’ interest even more than 'scientific' systematic part of the exposition. However, they are
mute and do not tell much about mineralogy and its history.

Demidoff family members use, collecting and promotion of malachite as an art market case

- by Ludmila A . Budrina
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- Russian Studies, International Relations, Cross-Cultural Studies, Art Market
- by Ludmila A . Budrina
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- Diplomatic History, Russian Studies, International Relations, Museum Studies
- by Ludmila A . Budrina
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- Russian Studies, Museum Studies, Diplomatic Studies, Decorative Arts

In Alexander Shmotiev, Ludmila Budrina, Tatiana Muntian, Serguey Shokarev. Heroes. History in Ural Stone Curving = Helde. Die Geschichte in Meisterwerken Uraler Steinkünstler = Geroy. Istoria v šedevrach uralskich kamnerezov. – [Vaduz]... more

- by Ludmila A . Budrina
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- Russian Studies, History of Sculpture, Decorative Arts, Faberge

Ahmedabad in Western India is known as a economic hub with complex urbanity, founded on a multi-dimensional ethnic and cultural identity. Beyond the modern metropolis, “Les monuments islamiques de la cité d'Ahmedabad (Inde, XVe-XVIIIe siècle) : étude archéologique” goes back to the historical roots of the forces that shaped the materiality and the identity of today’s giant Ahmedabad. It is a journey to understand Indian urbanity, its tangible body, its atmosphere and its social dynamics. What defined the Indian city, what are its urbanistic components, how building archaeology can help where other sources are silent, how do cultural factors and urban body contribute to each other’s growth: these are some of the questions raised by this detailed building archaeological work.

- by Sara Keller
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- Jainism, Architecture, Cultural Heritage, Heritage Conservation
- by mohamed A L I Abdelhafez
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- Pietra dura

Будрина Л.А. Пять столетий объемной мозаики. // Alexander Shmotiev, Ludmila Budrina, Tatiana Muntian, Serguey Shokarev. Heroes. History in Ural Stone Curving = Helde. Die Geschichte in Meisterwerken Uraler Steinkünstler = Geroy. Istoria v šedevrach uralskich kamnerezov. – [Vaduz] Jekaterinburg: Liechtensteinisches Landesmuseum & ZOOM ZOOM FAMILY, 2016. – P. 12-43.

- by Ludmila A . Budrina
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- History of Sculpture, Sculpture, Decorative Arts, Russian Art

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