The Study of Plant Residue in the Mongolian Smoking Pipe from the Collection of the State Museum of Oriental Art

The article is devoted to the history of acquisition of the municipal and state repositories with early printed Cyrillic monuments in the 19th — 21st centuries. The aim of the research is to show the process of acquisition of the collections of state museums, archives and libraries of Russia. The author uses descriptions of the books from the catalogues published with the participation or under the guidance of experts in archaeography of the Moscow State University (MSU) named after M.V. Lomonosov. They cover the collections of the MSU Scientific Library, as well as the collections of museums, archives and libraries of Tver, Yaroslavl and Perm Regions, as well as the State Historical, Architectural and Ethnographic Museum-Reserve “Kizhi”.As a total there are involved 3953 descriptions containing information about the date and source of acquisition of the books to the repositories. The author concluded that archaeographic expeditions made a great contribution to the replenishment of the collections of the early printed Cyrillic monuments (860 books), but this contribution was not decisive. The most part of the unique monuments got into repositories as private donations or were purchased in old book shops, or during the expropriation of Church valuables. Only in the 1920s there were obtained 1068 books from the Church libraries.Significant event in the life of repositories in the twentieth century was more or less permanent redistribution of stocks between the major collections. The most part of the early printed Cyrillic books (almost half of them already introduced into scientific discourse), preserved now in the Scientific Library of the Moscow State University, was obtained not in the course of expeditionary work, but as a result of transfer of the books from the V.I. Lenin State Library of the USSR, the State Public Historical Library of Russia, the State Historical Museum and the Moscow Kremlin Museums.

The main stages of the formation of the malakological (conchological) collection of the museum from the 19th century to the present are described. Emphasized its connection with the scientific researches and educational work. A brief description of the current state of the collection, the presence of the typical material and the main goal of its further manning is formulated.

South Sumatra has known writing traditions from the seventh century to the present, with many artifacts in Sanskrit, ulu, Malay, Javanese, and Latin scripts being found. The ulu script is a script with the ka-ga-nga script that developed and spread in the inland ulu area of ​​south Sumatra. Kaghas manuscript number. INV 07. 47 is one of the manuscripts from the collection of the South Sumatran State Museum, with the Ulu script and Malay dialect, Basemah dialect, which is the area of ​​South Sumatra and made of bark or Kaghas. The problem of this research is how to study the philology of the manuscripts and what medicines are in the text of Kaghas Number. INV 07. 47 collection of the state museum of South Sumatra. The purpose of this research is to edit and find out the contents of the manuscript. The philological method used is the diplomatic edition and the standard edition by describing the manuscript with the original and correcting minor errors that are not clear in the manuscript to be examined. Kaghas manuscript number. INV 07. 47 collection of the state museum of South Sumatra made of bark or brown kaghas with a total of 24 sheets but 13 pages written and still intact. Kaghas manuscript number. INV 07. 47 the collection of the state museum of South Sumatra explains the names of plants and ingredients used as traditional medicines by the local community and also explains how to manage these medicines. This manuscript functions as a medium in conveying the values ​​of local wisdom, telling a story, recording customary law, writing a poem or poem, conveying religious teachings, medicine and treatment, or advice. So it is an important knowledge needed by the community.

The Banten Provincial State Museum is located in the historic Pendopo Gubernur Banten building in the city of Serang. The building was formerly the Banten Residency Office, established on January 26, 1821. On October 29, 2015, Governor Rano Karno officially inaugurated the museum. The primary goal of the Banten Provincial State Museum is to serve as a repository for the identity of the Banten region. The museum's collection includes historical artifacts from Banten as well as contemporary items from the region. In an effort to enhance accessibility, a Virtual Museum Website was created, allowing visitors to explore the collection anytime and anywhere. The Banten State Culture Park and Museum Unit, responsible for the museum's collections, deeply understands the importance of quality and comfort for visitors. Therefore, the museum not only keeps up with developments in the era of digitalization but also utilizes visualization and simulation technologies, including Virtual Reality. The use of this technology is expected to facilitate visitors in accessing the museum's collection through their electronic devices. The museum recognizes that the development of visualization technology, especially in Virtual Reality, has made significant progress in terms of output quality (graphics, sound, touch), user-friendliness, equipment efficiency, and psychological aspects. This research employs the Research and Development (R&D) method with a Waterfall approach for its development. Data collection techniques include interviews, observations, and literature reviews. With the implementation of the designed website, it is hoped that visitors can easily access the prehistoric collection without physically visiting the museum

IntroductionIn regional Australia and New Zealand, museums and art galleries are increasingly becoming primary sites of cultural engagement. They are one of the key tourist attractions for regional towns and expected to generate much needed tourism revenue. In 2017 in New South Wales alone, there were three million visitors to regional galleries and museums (MGNSW 13). However, apart from those (partially) funded by local councils, they are often run on donations, good will, and the enthusiasm of volunteers. Regional museums and galleries provide some paid, and more unpaid, employment for ageing populations. While two-thirds of Australia’s population lives in capital cities, the remainder who live in regional towns are likely to be in the 60+ age cohort because people are choosing to retire away from the bustling, growing cities (ABS). At last count, there were about 3000 museums and galleries in Australia with about 80% of them located in regional areas (Scott). Over the last 40 years, this figure has tripled from the 1000 regional and provincial museums estimated by Peter Piggott in his 1975 report (24). According to a 2014 survey (Shaw and Davidson), New Zealand has about 470 museums and galleries and about 70% are located outside capital cities. The vast majority, 85%, have less than five, full-time paid staff, and more than half of these were run entirely by ageing volunteers. They are entrusted with managing the vast majority of the history and heritage collections of Australia and New Zealand. These ageing volunteers need a diverse range of skills and experience to care for and interpret collections. How do you find the time and budget for professional development for both paid staff and volunteers? Many professional development events are held in capital cities, which are often a significant distance from the regional museum—this adds substantially to the costs of attending and the time commitment required to get there. In addition, it is not uncommon for people working in regional museums to be responsible for everything—from security, collection management, conservation, research, interpretation and public programs to changing the light bulbs. While there are a large number of resources available online, following a manual is often more difficult than learning from other colleagues or learning in a more formal educational or vocational environment where you can receive timely feedback on your work. Further, a foundational level of prior knowledge and experience is often required to follow written instructions. This article will suggest some strategies for low cost professional development and networking. It involves planning, thinking strategically and forming partnerships with others in the region. It is time to harness the power of modern communications technology and use it as a tool for professional development. Some models of professional development in regional areas that have been implemented in the past will also be reviewed. The focus for this article is on training and professional development for workers in regional museums, heritage sites and keeping places. Regional art galleries have not been included because they tend to have separate regional networks and training opportunities. For example, there are professional development opportunities provided through the Art Galleries Association of Australia and their state branches. Regional galleries are also far more likely to have one or more paid staff members (Winkworth, “Fixing the Slums” 2). Regional Museums, Volunteers, and Social CapitalIt is widely accepted that regional museums and galleries enhance social capital and reduce social isolation (Kelly 32; Burton and Griffin 328). However, while working in a regional museum or gallery can help to build friendship networks, it can also be professionally isolating. How do you benchmark what you do against other places if you are two or more hours drive from those places? How do you learn from other colleagues if all your colleagues are also isolated by the ‘tyranny of distance’ and struggling with the same lack of access to training? In 2017 in New South Wales alone, there were 8,629 active volunteers working in regional museums and galleries giving almost five million hours, which Museums and Galleries NSW calculated was worth over $150 million per annum in unpaid labour (MGNSW 1). Providing training and professional development to this group is an investment in Australia’s social and cultural capital.Unlike other community-run groups, the museums and heritage places which have emerged in regional Australia and New Zealand are not part of a national or state branch network. Volunteers who work for the Red Cross, Scouts or Landcare benefit from being part of a national organisation which provides funding, support workers, a website, governance structure, marketing, political advocacy and training (Winkworth, “Let a Thousand Flowers” 11). In Australia and New Zealand, this role is undertaken by the Australian Museums and Galleries Association AMaGA (formerly Museums Australia) and Museums Aotearoa respectively. However, both of these groups operate at the macro policy level, for example organising annual conferences, publishing a journal and developing Indigenous policy frameworks, rather than the local, practical level. In 1995, due to their advocacy work, Landcare Australia received $500 million over five years from the federal government to fund 5000 Landcare groups, which are run by 120,000 volunteers (Oppenheimer 177). They argued successfully that the sustainable development of land resources started at the local level. What do we need to do to convince government of the need for sustainable development of our local and regional museum and heritage resources?Training for Volunteers Working in Regional Museums: The Current SituationAnother barrier to training for regional museum workers is the assumption that the 70:20:10 model of professional development should apply. That is, 70% of one’s professional development is done ‘on the job’ by completing tasks and problem-solving; 20% is achieved by learning from mentors, coaches and role models and 10% is learnt from attending conferences and symposia and enrolling in formal courses of study. However, this model pre-supposes that there are people in your workplace whom you can learn from and who can show you how to complete a task, and that you are not destroying or damaging a precious, unique object if you happen to make a mistake.Some museum volunteers come with skills in research, marketing, administration, customer service or photography, but very few come with specific museum skills like writing exhibition text, registering an acquisition or conserving artefacts. These skills need to be taught. As Kylie Winkworth has written, museum management now requires a [...] skills set, which is not so readily found in small communities, and which in many ways is less rewarding for the available volunteers, who may have left school at 15. We do not expect volunteer librarians to catalogue books, which are in any case of low intrinsic value, but we still expect volunteers in their 70s and 80s to catalogue irreplaceable heritage collections and meet ever more onerous museum standards. That so many volunteers manage to do this is extraordinary. (“Let a Thousand Flowers” 13)Workers in regional museums are constantly required to step outside their comfort zones and learn new skills with minimal professional support. While these challenging experiences can be very rewarding, they are also potentially damaging for our irreplaceable material cultural heritage.Training for museum professionals has been on the agenda of the International Council of Museums (ICOM) since 1947 (Boylan 62). However, until 1996, their work focused on recommending curricula for new museum professionals and did not include life-long learning and on-going professional development. ICOM’s International Committee for the Training of Personnel (ICTOP) and the ICOM Executive has responded to this in their new curricula—ICOM Curricula Guidelines for Professional Museum Development, but this does not address the difficulties staff or volunteers working in regional areas face in accessing training.In some parts of Australia, there are regional support and professional development programs in place. For example, in Queensland, there is the Museum Development Officer (MDO) network. However, because of the geographic size of the state and the spread of the museums, these five regionally based staff often have 60-80 museums or keeping places in their region needing support and so their time and expertise is spread very thinly. It is also predominantly a fee-for-service arrangement. That is, the museums have to pay for the MDO to come and deliver training. Usually this is done by the MDO working with a local museum to apply for a Regional Arts Development Fund (RADF) grant. In Victoria there is a roving curator program where eligible regional museums can apply to have a professional curator come and work with them for a few days to help the volunteers curate exhibitions. The roving curator can also provide advice on “develop[ing] high quality exhibitions for diverse audiences” via email, telephone and networking events. Tasmania operates a similar scheme but their two roving curators are available for up to 25 days of work each year with eligible museums, provided the local council makes a financial contribution. The New South Wales government supports the museum advisor program through which a museum professional will come to your museum for up to 20 days/year to give advice and hands-on training—provided your local council pays $7000, an amount that is matched by the state government—for this service. In 2010, in response to recommendations in the Dunn Report (2007), the Collections Council of Australia (CCA) established a pilot project with the City of Kalgoorlie-Boulder in West

This article presents an attribution of an unknown faience plaque depicting a beggar of alms for building a church signed by ceramics painter E. A. Egorov. Today Evdokim Alexeevich Egorov’s life and artworks are barely studied. His name appears in the publications concerning Paris ceramic workshop of Russian painters created due to initiative of a painter Alexey Bogolubov in 1875–1876. The attribution creates a case of studying Egorov’s art outside this period. The aim of a study is to prove the authorship of Egorov. Egorov’s graphic works and ceramics from museum and private collections were analyzed using comparative methods. A signature on the plaque was compared to his autographs on ceramic works from the collection of Bogolubov’s museum, which is today Saratov State Museum of Art named after Alexander Nikolayevich Radishchev. While conducting the research, an engraving with a composition similar to the one on the plaque was discovered in the album of engravings by E. A. Egorov in the collection of the British Museum. The plaque was confirmed as a work by Evdokim Egorov created in Paris in 1882. The depicted subject, that is peculiar to Egorov’s art, the repetition of the composition in the engraving, the signature, that is similar to the ones from museum collections and manner of performance are all the in favour of this statement.

In Turkey, Museums Need Reciprocity, Not Only Repatriation

The chapter challenges the concept of undefined, infinity, and indefinite retention periods of collections in Zimbabwe's state museums and underscores the need for each state museum to develop a collections management policy. The concept of indefinitely retaining collections characterizes Zimbabwe's National Museums. In that regard, this chapter interrogates issues surrounding collections management in Zimbabwe's state museums. Museums in Zimbabwe are overburdened with inherited collections from the past with limited supporting information. This coupled with the need to store contemporary collections congests the storage space in museums. A multiple case study approach was employed to examine the state of collections in three selected state museums in Zimbabwe. Findings revealed that collections in these museums have been inherited from the past collectors who amassed collections with limited information about them. There was no formal collections management policy. The chapter proposes a regime to guide museums in dealing with their collections.

The first practices in the conservation-restoration of museum collections in Turkey began in the nineteenth century with the opening of the Imperial Museum during the Ottoman Empire. Conservation-restoration work on movable cultural property gained momentum at the beginning of the Republican period from 1923 in terms of legal regulations and organisations. The number of museums increased, workshops and laboratories were established, and formal and non-formal training programmes were launched in subsequent years. In this context, our research questions are: What were the improvements in conservation-restoration work on museum collections in the Republican period? Were the scope and quality of conservation-restoration practices in state museums and private museums different from each other in the Republican period? A literature review and personal communication are used as research methods. The article gives information on the history of conservation-restoration work on museum collections; discusses the legal regulations, organisations, experts, workshops, and laboratories; and the procurement of materials and equipment. It concludes with a general evaluation of the nature and extent of conservation-restoration practices of collections in Turkish museums.

Purpose. On the basis of open sources of information, perform an analysis of the factors that led to an increase in the demand for collectible mineral specimens, identify the current popular trends in this market, show the potential of Ukraine in this field. The methods. The work uses general scientific research methods - empirical and theoretical (analysis, generalization, comparison, explanation). Findings. The main factors that led to the current increase in demand for collectible stones are highlighted, including the development of information technologies, the Internet, and social networks. Popular trends are identified and their connection with investment activities is shown, in particular such areas as museum and exhibition activities, cryptocurrencies, NFT technologies. A preliminary analysis of the availability and distribution of specimens of collection stones of Ukraine in modern museum collections of the world was performed, examples of the use of collection samples from the deposits of Ukraine as raw materials by the world's leading carvers are given, such a phenomenon as the activity of hunters, including at well-known domestic geological sites, is highlighted. The originality. The market for collectible mineral specimens is shown to be a powerful segment of the global gems market with annual sales of over $1 billion. Its capitalization continues to increase thanks to the artistic reinterpretation of these unique works of nature, the collections of which are now considered as alternative investments with the value of individual specimens at the level of 500 million dollars. The discovery of new mineral deposits, the emergence of a new class of collectors, as well as the development of cryptocurrencies justify the further development of collectible specimens’ market. Practical implementation. Examples of the commercialization of collectible specimens with the application of NFT technologies to them or to their digital images are given, usingof images of the specimens in modern art is shown on specific works of domestic and foreign artists and graphic products. Modern approaches to the formation of museum collections in the world's leading museums, the principles of philanthropy and aspects of attracting patrons, as well as the experience of attracting a wide range of visitors, which should also be applied to domestic state and university museum collections, are shown.

Previous articleNext article No AccessBOOK REVIEWSUnited States & Canada: An Illustrated Guide to Textile Collections in United States and Canadian museums. Cecile Lubell , Andrew Hunter Whiteford Robin KaplanRobin Kaplan Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Volume 5, Number 2FEBRUARY 1977 Article DOIhttps://doi.org/10.1086/arlisnanews.5.2.27945802 Journal History This article was published in the ARLIS/NA Newsletter (1972-1981), which is continued by Art Documentation (1982-present). Copyright © 1977 ARLIS/NORTH AMERICAPDF download Crossref reports no articles citing this article.

The article is devoted to nine Indian miniatures from the collection of the State Museum of Oriental Art (Moscow). The aim of this study is to provide an academic description of these items, and to clarify their attributions. All the works in question have been thoroughly studied: the author conducted an iconographic, textological and stylistic analysis of the objects. He also looked for compositional and stylistic analogues among the miniature paintings (mainly from foreign collections), published in catalogues, monographs, articles, and on the Internet (on the websites of museums and libraries); the items identified were carefully analysed. On the basis of the abovementioned study, the author identifies nine sheets in the collection as miniatures of Ragamala series; in some cases it is also possible to clarify the time and place of their creation. Ragamala is a unique phenomenon of medieval painting of Hindustan, representing a visualisation of Indian musical modes. The musical material is embodied by the depiction of scenes that may contain motifs similar to those found in Baramasa ( Twelve Months ), Nayaka-Nayika (types of the heroes and heroines of classical drama), and other series of Indian miniature painting. This fact leads to closer attention to iconographic schemes and signatures of the items discussed. This article summarises a five-year study of the authentication of Ragamala miniatures in the collection of the State Museum of Oriental Art.

According to current data, the world fauna of mites of the family Nothridae is represented by 3 genera and 98 species [26]. 7 species are known for Ukraine, and all of them are presented in the collection of the State Museum of Natural History of the National Academy of Sciences of Ukraine. This is a material that was collected by Serhiienko M.I., Melamud V.V., Kaprus I.Y., Susulovskyi A.S., Vozniak I.R., Kazakov V.I., Hushtan H.H. during 1980-2014, in the territories of Ukraine and Poland. The purpose of our work was to compile a catalog of the collection of Nothridae of the State Museum of Natural History of the National Academy of Sciences of Ukraine. This generalization for Nothridae was made for the first time. The article is a catalog of oribatid mites of the Nothridae family of the collection of the State Museum of Natural History of the National Academy of Sciences of Ukraine (Lviv, Ukraine). The article contains information about 62 storage units (micropreparations) of Oribatida, belonging to 7 species (Nothrus anauniensis Canestrini & Fanzago, 1876, Nothrus biciliatus Koch, 1841, Nothrus borussicus Sellnick, 1928, Nothrus lucunosus Sergienko & Melamud, 1993, Nothrus palustris Koch, 1839, Nothrus pratensis Sellnick, 1928, Nothrus silvestris Nicolet, 1855. In total, the collection contains 305 specimens. For each species there is an inventory number, place and date of discovery, biotope, who collected and identified the material. The material is collected from the following regions: Stryiskyi, Skolivskyi, Lvivskyi, Sambirskyi, Mykolaivskyi, Yavorivskyi, Zolochivskyi, Zhovkivskyi district, Lvivska region (Ukraine); Vynohradivskyi, Uzhhorodskyi, Mukachivskyi, Irshavskyi, Tiachivskyi, Mizhhirskyi, Berehivskyi, Rakhivskyi district, Zakarpatska region (Ukraine); Nadvirnianskyi district, Ivano-Frankivska region (Ukraine); Berezhanskyi district, Ternopilska region (Ukraine); Kamianets-Podilskyi district, Khmelnytska region (Ukraine); Nyzhni Ustryky (Poland). A map of armor mite finds in the collection of the State Museum of Natural History is presented.

This article is a preliminary discussion of the scientific value of archival lithics kept in museum collections and storage based on a small sample of Late Mesolithic flint artefacts from the site of Tomaszów II in south-eastern Poland, which was subjected to organic residue analysis. The aim of the trial study was to investigate and assess the preservation potential of organic residues on stone tools from sites located in areas not favourable to the survival of organic material and subsequently handled during post-excavation (especially those kept in museum collections). While the authors initially assumed that the chances of discovering residues indicating human use were slight and expected a general absence of organic material, the analysis of the lithics from Tomaszów II indicated that a small amount of ancient plant residues can survive on archival flint artefacts even in such unfavourable circumstances.

Cases of theft of museum collections in Indonesia have occurred in a number of museums, both in urban centers and in regional areas. The State Museum of Southeast Sulawesi Province did not escape the theft of museum collections that occurred in early 2021. This research attempts to describe the security conditions of the State Museum of Southeast Sulawesi Province before and after the theft occurred at the museum. This research uses library methods and field observations to obtain the required information. Based on the results of the research, it is known that there are 900 museum collections stolen by unknown parties. The condition of the museum before the theft occurred was known to have a security system that was not optimal as evidenced by the absence of control by museum supervisors or CCTV security. The condition of the museum after the theft has experienced a number of improvements in the form of iron bars and locks on a number of doors and windows of the museum building. However, based on field observations, security at the museum is still far from properly implementing the concept of museum security.