Collection Of Sculptures Research Articles

Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből

The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.

КОЛЕКЦІЯ МІРТАЛИ ПИЛИПЕНКО В МУЗЕЇ ІСТОРІЇ НАЦІОНАЛЬНОГО УНІВЕРСИТЕТУ «ОСТРОЗЬКА АКАДЕМІЯ»

Special attention in this article is paid to the analysis of art collection of the Ukrainian artist from abroad Mirtala Pylypenko at the Museum of Ostroh Academy. In 1997 the Museum of history of the Ostroh Academy was founded. A great contribution to its development process was made by Ukrainians from abroad. They supported the museum, sent interesting exhibits, and joined in museum projects. Nowadays the museum has valuable art collections, among which sculptures of the well-known Ukrainian artist Mirtala Pylypenko. Mirtala Pylypenko was born in Ukraine. During World War II she emigrated, and since 1947 she has been living and working in the USA. She graduated from the Boston Museum’s Art School and Tufts University in Boston. Mirtala’s sculptures are not just artworks, but a profound philosophical and original vision of the world. She showed her talent not only in sculpture and art photography, but also in poetry – her poetic collections “Verses”, “Rainbow Bridge”, “Road to Oneself” have been published in various languages. Mirtala received acclaim in the US and Europe in the 1970s – 1980s. Since the early 1990s her works have been known in Ukraine, where the artist held a series of solo exhibits and presentations. Mirtala presented one collection of her works to the National University of Ostroh Academy. Now it is one of the most valuable collections in the university museum. As a sculptor with a long exhibiting career, Mirtala has combined images of her sculptures with her poems, creating a single whole, which is greater than its parts. Mirtala’s collection of sculptures is monumental, philosophic and gracious. However, at the same time, it is sunny and brings back the life-asserting symbols of eternal space and time. The artist has spent most of her life across the ocean (in the USA), but her soul remains tied to Ukraine. Mirtala Pylypenko is an extraordinary figure in the Ukrainian art. And now, many generations of university students have an opportunity to get acquainted with her unique talent. It is important that sooner or later, Ukraine reveals its artists. Therefore, the museum tries to return and represent the Ukrainian diaspora art and history in museum collections in order to create a single Ukrainian cultural space.

Imagined interiors – imagined collections

Cabinet paintings showing an (art) collection in an interior developed as a genre in the early seventeenth century in Antwerp. The depicted collection could be the actual art collection in an imagined, idealized interior, or, more metaphorically, it could also be an imagined, fictional collection of paintings, sculptures, scientific instruments, silverwork, textiles, and naturalia such as flowers or shells. Jan Bruegel the Elder (1568–1625) and Pieter Paul Rubens (1577–1640), among others, used this genre in a series illustrating the five senses. These imagined interiors also influenced the caprices by Panini and Piranesi of a cityscape that is a collage of buildings, ruins, and archaeological fragments. In this essay, we relate these fictional representations of collections – objects as well as architectural and archaeological fragments – with the collections and scenography of (house) museums. We consider two house museums in particular: the house of the architect and collector Sir John Soane in London and the Museum of Innocence by writer Orhan Pamuk in Istanbul. House museums traditionally expose collections aside from a museological scenography but in their historical, domestic setting – “frozen” in another context and epoch. The two selected cases, however, were initially conceived as museums and contain an eclectic collection, presented as a pastiche, with a domestic setting that is strongly theatrical or even artificial.

Mystery and history: when did Catherine the Great purchase the Lyde Browne collection?

Abstract Documents preserved in the Russian State Historical Archives shed light on the acquisition by Empress Catherine II of the renowned collection of classical sculpture assembled by the antiquary Lyde Browne (d. 1787) – its purchase, arrival and first display in the pavilions of the imperial summer residence in Tsarskoe Selo near St Petersburg. The date for the sale, once assumed to have been 1787, is most widely accepted as 1785, or, as recently suggested, 1784. In fact, there are two dates – 1783 and 1784 – as established by Catherine’s payments (a total sum equivalent to £22,630) for the sculptures as delivered. The archival lists show considerably more items than does the catalogue of Browne’s collection from 1779, while the dispersal of Catherine’s collection of antiquities by her son, Paul I, a partial export to Poland, the formation of the Imperial Hermitage Museum, and later events all contribute to the complex history of the Lyde Browne sculptures in Russia.

A Review of Archaeological Reports and Literature on the Gandhara Sculpture Collection of the Royal Ontario Museum

This review paper focuses on a forty-three-piece collection of Gandhara sculpture in the Royal Ontario Museum in Toronto, Canada. Although individual pieces of Gandhara sculpture are widely known to scholars, much of the collection of the Gandhara sculpture of the Royal Ontario Museum is unknown to scholars. In this paper, these sculptures have been described and analysed as a collection. The paper is organised on Gandhara ancient history, physical geography, and the history of the Buddha image in ancient subcontinent Pakistan in South Asia. Emphasis is placed on the era of the Kushan Empire from the 1st to 4th century AD when the school of Gandhara sculpture achieved its highest levels of production and craftsmanship. The Gandhara School of sculpture produced work continuously for at least six centuries and reached its peak of achievement during the era of the Kushan Empire that dominated Central Asia and Northern sub-continent India-Pakistan from the 1st to 4th centuries AD.

The attribution features of the items from the private collection of Japanese miniature sculpture on the example of the exhibition “Netsuke. The private collection” in Primorye State Art Gallery

The features of attribution work with the items from the private collection for the exhibition of the old Japanese sculpture “Netsuke. The private collection” in Primorye State Art Gallery have been considered in the paper. The items from private collections usually are excluded from a scientific circulation but they often are of a great scientific interest for art historians and museum researchers. The author aims to include into a scientific circulation several items of miniature sculpture netsuke which would be of an art history interest and which have never been exhibited before. The process of the items attribution, plot and stylistic features specification has been described on a basis of the expert opinion, comparative analysis with the items from the sufficient museum collections. The author comes to a conclusion that the plots and iconography of some items are rather rare and their description would make a contribution to the Japanese miniature sculpture research. В статье рассматриваются особенности атрибуционной работы с предметами из частной коллекции для выставки старинной японской миниатюрной скульптуры «Нэцкэ. Частная коллекция» в Приморской государственной картинной галерее. Произведения из частных коллекций, как правило, исключены из научного оборота, однако часто представляют большой научный интерес для искусствоведов и музейных работников. Автор ставит своей целью ввести в научный оборот несколько произведений миниатюрной скульптуры нэцкэ, представляющих искусствоведческий интерес и ранее никогда не экспонировавшихся. Описывается процесс атрибуции произведений, определения сюжета, стилистики на основе экспертного мнения, сравнительного анализа с предметами из крупных музейных коллекций. Автор приходит к выводу, что сюжеты и иконография некоторых предметов весьма редки, и их описание внесет определенный вклад в изучение японской миниатюрной скульптуры.

From Świdnica to Bratislava: The sculpture of Christ the Saviour from the collection of the Slovak National Gallery

Among the works that stand out in the Baroque sculpture collection of the Slovak National Gallery (SNG) is the figure of the Saviour by Georg Leonhard Weber of Świdnica. Surveys conducted in Slovak, Czech and Polish museums, combined with field studies, have made it possible to provide hitherto unexplored artistic context of the work. They have made it possible to trace the formal origins of the Bratislava Saviour as well as its later imitations. The sculpture is carved with virtuosic precision; it develops a concept derived from ancient art and is the finest example of Weber’s early oeuvre. Also, it constitutes a link between works made in his workshop over four decades. The present study demonstrates the advantages of an interdisciplinary and international analysis of museum collections. It highlights the significance of the sculpture in question to Central European cultural heritage, expanding the knowledge of museum collections in three different countries.

Precarious, fragile and temporary interactions between the public sculpture collection of Santo Tirso and its non-specialized audience

The following article depicts ongoing research from the project Quiet Dialogues, part of a Ph.D. thesis in artistic education in the Faculty of Fine Arts of the University of Porto. Quiet Dialogues is a project that aims to map, explore and materialize the interactions that occur between the passer-by audience of the city and the International Museum of Contemporary Sculpture of Santo Tirso. The project’s resulting map will be in a public online archive showcasing all the interactions collected during the research. As the museum displays its artworks in the public space, this research explores three behavioural categories the audience may react towards the artwork. They are as follows: a mental relationship (a stand-off with the memory), a physical relationship (using the sculpture as shelter or support) and a playful interaction (using the sculpture as a game or in a ludic approach).

CURATORSHIP PRAXISES TOWARDS ‘DISPLACED ASSETS’ IN POST-1989 MUSEUM PROJECTS: TWO EXHIBITIONS AT WARSAW’S XAWERY DUNIKOWSKI MUSEUM

Two exhibitions at the Xawery Dunikowski Museum of Sculpture at the Królikarnia Palace, branch of the National Museum in Warsaw: the ‘Inventorying’ Display-Research Project, which was a kind of a public inventory of the sculpture collection (2012) and the Exhibition ‘The Estate. Sculptures from the collection of the Von Rose family and films and photographs from the archive of Zofia Chomętowska’ (2015) are case studies serving the Author to analyse curatorship practices with respect to the collections whose major part is composed of ‘displaced assets’, first of all from the so-called ‘Regained Territories’. In the words of the Chief Curator at the Królikarnia Museum since 2011 and the Exhibitions’ Curator Agnieszka Tarasiuk: it is a troublesome collection testifying to a difficult heritage and not yielding to conservation. The paper’s methodological basis is the museum exhibits’ provenance research conducted by R. Olkowski, L.M. Kamińska, and M. Romanowska-Zadrożna, while its context is found in the programme assumptions of the Strategy for the Operations and Development of the National Museum in Warsaw 2010–2020 worked out by the former National Museum’s Director Piotr Piotrowski. One of its priorities is to clarify the origins of the collections of unknown provenance, and settling accounts with their former owners. Furthermore, the question related to constructing museum’s genealogy and the memory of history of the period immediately following WWII in the new socio-political situation in Poland after 1989 is posed. The position for dealing with collections’ provenance research introduced by P. Piotrowski was liquidated following the Director’s dismissal in 2012. The paper forms part of a bigger whole.

APA Foundation Rolls Out Red Carpet at Historic Location for Annual Benefit

Back to table of contents Previous article Next article APA & MeetingsFull AccessAPA Foundation Rolls Out Red Carpet at Historic Location for Annual BenefitKatie O'ConnorKatie O'ConnorSearch for more papers by this authorPublished Online:19 Feb 2020https://doi.org/10.1176/appi.pn.2020.2b12AbstractThe APA Foundation’s benefit on Saturday, April 25, at the Union League of Philadelphia embraces the history of the city while supporting the Foundation’s programs and initiatives. Almost every lavishly decorated room in the Union League of Philadelphia is adorned with paintings, some of which are over 200 years old.Courtesy the Union League of PhiladelphiaJust 17 years after the organization that would become APA was founded in Philadelphia, the country was torn apart by war, and the city, just north of the Mason-Dixon line, was divided. But in 1862, a group in Philadelphia took a decidedly pro-Union stance, founding the Union League of Philadelphia, a patriotic organization dedicated to supporting President Abraham Lincoln and the continuity of the Union. The Union League still operates as a private club today, headquartered at the stately Union House on Broad Street.The APA Foundation will give APA members attending the Annual Meeting the opportunity to see the Union League house during its benefit on Saturday, April 25, from 7 p.m. to 10 p.m. Each year, the Foundation hosts a benefit to support its various initiatives to address the most pressing mental health issues in this country today. In addition to camaraderie, attendees will enjoy good food and libations at the black tie–optional event.“Not only does the Foundation benefit provide members with the opportunity to socialize with their colleagues in an elegant atmosphere, they will also be able to learn more about the Foundation’s many programs to promote access to high-quality health care for people with mental illness,” said Saul Levin, M.D., M.P.A., APA CEO and medical director and chair of the Foundation’s Board of Directors. These programs and initiatives include the following:25 awards and eight fellowships and grants are given each year in the areas of research, career achievement, and early career advancement.More than 500 counties have passed resolutions in support of the Stepping Up Initiative, aimed at reducing the number of people with mental illness in jails.More than 80,000 school personnel across the country have been trained on the warning signs of mental illness through the school mental health education program and curriculum for middle and high schools known as Typical or Troubled?More than 1,200 judges have been trained on mental health issues that arise in the courtroom through the Foundation’s Judges and Psychiatrists Leadership Initiative.The Center for Workplace Mental Health reaches approximately 50,000 individuals through online publications, an estimated 9,000 through conferences and webinar presentations, and more than 200,000 through worksite programs.Built in 1865, the Union League house takes up an entire city block. In addition to its historical significance, the building boasts an impressive collection of artifacts, sculptures, and paintings that recount America’s history. Among its many treasures is the wooden lectern at which Lincoln issued one of the country’s most famous speeches, the Gettysburg Address. The League commissioned some of the artwork, including a portrait of Abraham Lincoln, during the Civil War. ■Tickets can be purchased for $250 each here. ISSUES NewArchived

Research on Optimization of Portrait Sculpture Data Based on 3D Image and Mobile Edge Computing

The traditional method of making portrait sculptures is hand-carving. The quality of sculpture is unstable, which mainly depends on the technical level of the sculptor. With the development of multi-coordinate numerical control processing technology and computer three-dimensional modeling technology, a new method of designing and making portrait sculptures has emerged. In order to improve the quality of sculpture and overcome the shortcomings of the existing scheme, a new optimization method for portrait sculpture data is proposed by combining mobile edge computing and 3D images. The paper first analyzes the existing portrait data collection methods based on 3D scanning and image reconstruction, and draws out the blind spots in the application of the existing data collection methods to the collection of portrait sculpture data. A method for data collection of portrait sculpture based on feature description is proposed. After determining the data optimization method, a portrait sculpture data optimization architecture is constructed through mobile edge computing technology. In order to verify the applicability of the method, the multi-angle and multi-dimensional simulation training test results show the efficiency and scalability of the realized sculpture data optimization method.

Images of the Grieving Christ in the Museum Collections of Saratov

An analytical review of church statues united by the plot “Christ in the Dungeon” from Saratov and the Saratov region museums is presented in the article. Using these examples, the author draws attention to variations of the image of Christ in the last hours before the crucifixion typical of the Russian province. Assessing the wide variety of interpretations of this plot, it is necessary to take into account that, in Russia, the statues of Christ in the dungeon were created mostly in provincial workshops where the craftsmen used engraved illustrations as the source and an example. For instance, the illustrations for the Piscator Bible [Theatrum Biblicum: 1646] had served as iconographic examples for many icon-painters and carvers since the 17th century. It should be noted that most often these engraved examples provided only an impetus for sculptors and were sometimes interpreted quite arbitrarily. These circumstances gave certain freedom to sculptors and carvers creating artistic images distinguished by sculptural diversity and vivid emotional character. The statues of Christ in the dungeon are typical of the Russian province and represent images combining some details of the iconographic versions of Ecce Homo and The Man of Sorrows. Ecce Homo is an image of suffering, awaiting the crucifixion Christ with traces of flagellation, with chained or tied hands, in the Crown of Thorns, in shackles and a purple robe. As the Man of Sorrows, Christ is presented thoughtful, with a bowed head. His hand is pressed to his cheek, the wounds from the spear and nails received at the time of the crucifixion are visible on the body. Having become a kind of connection between the three museums, there are nineteen artworks in the Saratov collection of sculptures with the plot “Christ in the Dungeon”. These statues were moved from one museum to another throughout the 20th century. Initially, this group of monuments was collected in a small Petrovsky Museum of Local Lore. In the summer of 1923, members of an ethnographic expedition removed the statues of Christ in the Dungeon from the surrounding churches. At the same time, artist F. Kitavin made very accurate watercolour sketches reliably capturing the colour features of the statues and their vestments. Currently, these watercolour sketches with explanatory inscriptions may be regarded as a documentary source.

John Hewitt’s curatorial eye: art and poetry in the municipal galleries

ABSTRACTThis article examines the art writing of the poet, critic, and curator John Hewitt in mid-twentieth century Ireland and Northern Ireland. Hewitt’s promotion of modern art and artist collectives in Ulster through shifting definitions of internationalism and regionalism will be linked to the art writing of Herbert Read and the late poetry of W.B. Yeats. Taking an interdisciplinary approach to Hewitt’s poetry and art writing reveals the sustained imbrication of politics, poetry and the visual arts in his thinking. Hewitt’s ottava rima poem in response to Yeats, “The Municipal Gallery Revisited, October 1954”, will be reassessed with recourse to the context of the Municipal Gallery in Dublin and its mid-century sculpture collections. By identifying artworks within the Municipal Gallery poem, the article illustrates Hewitt’s broader dialogues with the late Yeats and the art scene in Ireland.

Images of the Grieving Christ in the Museum Collections of Saratov

An analytical review of church statues united by the plot “Christ in the Dungeon” from Saratov and the Saratov region museums is presented in the article. Using these examples, the author draws attention to variations of the image of Christ in the last hours before the crucifixion typical of the Russian province. Assessing the wide variety of interpretations of this plot, it is necessary to take into account that, in Russia, the statues of Christ in the dungeon were created mostly in provincial workshops where the craftsmen used engraved illustrations as the source and an example. For instance, the illustrations for the Piscator Bible [Theatrum Biblicum: 1646] had served as iconographic examples for many icon-painters and carvers since the 17th century. It should be noted that most often these engraved examples provided only an impetus for sculptors and were sometimes interpreted quite arbitrarily. These circumstances gave certain freedom to sculptors and carvers creating artistic images distinguished by sculptural diversity and vivid emotional character. The statues of Christ in the dungeon are typical of the Russian province and represent images combining some details of the iconographic versions of Ecce Homo and The Man of Sorrows. Ecce Homo is an image of suffering, awaiting the crucifixion Christ with traces of flagellation, with chained or tied hands, in the Crown of Thorns, in shackles and a purple robe. As the Man of Sorrows, Christ is presented thoughtful, with a bowed head. His hand is pressed to his cheek, the wounds from the spear and nails received at the time of the crucifixion are visible on the body. Having become a kind of connection between the three museums, there are nineteen artworks in the Saratov collection of sculptures with the plot “Christ in the Dungeon”. These statues were moved from one museum to another throughout the 20th century. Initially, this group of monuments was collected in a small Petrovsky Museum of Local Lore. In the summer of 1923, members of an ethnographic expedition removed the statues of Christ in the Dungeon from the surrounding churches. At the same time, artist F. Kitavin made very accurate watercolour sketches reliably capturing the colour features of the statues and their vestments. Currently, these watercolour sketches with explanatory inscriptions may be regarded as a documentary source.

Revealing Mithras’ Color with the ICVBC Mobile Lab in the Museum

The National Museum of Rome has an important collection of Mithraic sculptures found in the years 1973–1975 during the archaeological excavation under the early Christian basilica of Santo Stefano Rotondo on the Caelian hill in Rome. The sculptures excavated from this Mithraeum show many traces of gilding and polychromy, whose best example is the great bas-relief with Mithras slaying the bull discussed in this work. The analysis was conducted during a scientific campaign in the museum with portable instrumentation of the Institute for Conservation and Valorisation of Cultural Heritage, ICVBC mobile laboratory following a completely non-invasive approach. By means of a protocol based on the use of multispectral imaging, microscopy, X-ray fluorescence (XRF) and fiber optic reflectance spectroscopy (FORS), this study allowed to better understand the technique used and to make comparisons with other representations of Mithras slaying the bull.

‘The Revival of the Medal’

Abstract Alfred Lichtwark (1852–1914) was the first director (1886–1914) of the Hamburger Kunsthalle. At his personal instigation, a sculpture collection was founded. Focusing on contemporary sculpture, he became a pioneer in the museum world. Lichtwark aimed at introducing sculpture to a wider public: he considered contemporary medals and plaquettes to be the most suitable material for his purpose, and consequently he initiated the sculpture collection in 1891 by assembling ‘sculptures en miniature’ from Paris. In his practice he probed questions of the medals’ art historical context, as well as processes of making and display. When Lichtwark published his book on the revival of the medal – Die Wiedererweckung der Medaille – in 1897, his engagement and expertise in the field were already widely respected. While he is well known as an innovative museum director, his role as collector of contemporary sculpture has not been sufficiently appreciated. This paper suggests a re-evaluation of his achievements.

Un coleccionista desconocido en la corte de Alfonso XII: el marqués de Campo (1814-1889).

Jose Campo Perez was a very influential figure in the city of Valencia in the nineteenth century, as well as in the rest of Spain and even beyond its borders. Having been the Mayor of Valencia he became a senator in Madrid, and was appointed Marquis by Alfonso XII, in thanks for his work in suport of Alfonso’s accession to the throne. His character as a businessman, banker and politician is complemented by his role, unknown until now, as a philanthropist, architectural promoter, patron of the arts and art collector. Over decades, he gathered a large collection of paintings, sculptures, reliefs, tapestries and other valuables objects, which on his death were dispersed and partially lost, with the odd exception. This paper presents an introduction to this distinguished personality and his activity as an art collector.

Exhibiting Trauma: The Berlin Painting and Sculpture Collections Seventy Years after World War II, a Curatorial Reflection

For the Berlin Museums, the memory of May 1945 is linked to the loss of objects from their collections. In the days just before and after the end of the war, two fires in a bunker destroyed countless works of art that had been stored there for safekeeping. Over the course of 1945, large parts of the museum holdings came under control of the Allies. The majority of these works only returned to the then-divided Berlin in the 1950s. The effects of the war and the postwar period on the collections of the Berlin Museums are felt to this day. The Gemäldegalerie lost about four hundred paintings, the Skulpturensammlung a third of its holdings. Among the works that did return, many were severely damaged.

Preventive Conservation in an Outdoor Sculpture Collection

The Sculpture Park of Sisak Steelworks in Sisak, Croatia, holds 38 outdoor sculptures produced between 1971 and 1990 within the scope of the Sisak Steelworks Fine Artists Colony.1 The sculptures ar...

Aurel Stein and the Kiplings: Silk Road Pathways of Converging and Reciprocal Inspiration

Biographies of the renowned linguistic scholar and archaeological explorer Sir Marc Aurel Stein (1862–1943) inevitably yet briefly refer to the role played by John Lockwood Kipling (1837–1911), as curator of the Lahore Museum—with its extensive collection of ancient Gandharan Greco-Buddhist sculpture—in exciting Stein’s interests in and theories of what likely lay buried under the sands of the Taklamakan Desert. A more insistent focus on the coalescing influences in the Stein-Kipling relationship, including a subsequent line of evident inspiration from Stein to the internationally famed author and Nobel laureate Rudyard Kipling (Lockwood’s son; 1865–1936), helps to synthesize some of the highlights of Stein’s first expedition into the remote Tarim Basin of Chinese Turkestan, including and involving the forgeries manufactured by the Uyghur treasure-seeker Islam Akhun.