In English and in RussianMore than 20 years after the pyramid built by Ieoh Ming Pei in the Napoleon courtyard of the Louvre, which was inaugurated in 1989, and the annexation of the Richelieu wing, formerly occupied by the French Ministry of Finances, the Louvre has just been given a new extension. On the 18th of September 2012 indeed, President François Hollande officially opened the new department of Islamic Arts, of which the Louvre has one of the largest collections in the world

Islam in the modern world, 2017

ахмуд Шабистари-один из видных представителей классического суфизма в рамках его персоязычной традиции. О жизни этого выдающегося мыслителя почти ничего не известно. Отдельные сведения, достоверность которых невозможно проверить, мы можем почерпнуть лишь из биографий, написанных такими иранскими исследователями, как Ахмад Муджахид 1 , Самад Муваххид 2 , Амин Ахмед Рази, Хаджи Лотфалла бек Азер, Реза Кули Хан Хедаят 3 , Мухаммад Али Табризи, Мухаммад Али Тарбият 4 и другими 5. Краткие биографические данные 1 Шайх Махмуд Шабистари. Гулшан-и раз. Ба кашф ал-абйат ва арджа' ба дах шарх-и чапи ва фарханг-и Гулшан-и раз. Ба ихтимам-и Ахмад Муджахид ва дуктур Мухсин Кийани.

Виноградов А. Ю. Афонский храм или арабский дворец? Крестово-купольный триконх и новая архитектурная идентичность империи // В кн.: Византий и Византия: провинциализм столицы и столичность провинции / Под общ. ред.: А. Ю. Виноградов, С. А. Иванов. СПб. 2020. С. 91-127., 2020

The question of the origin of the triconch of “Athonite type” — an inscribed cross on 4 free-standing supports with additional apses from the south and north — still causes a heated debate in the scholarship. The purpose of this article is to draw attention to monuments of this type outside the Balkans. It is very likely that the Triconch hall and the church of the Archangel Michael, built for the Emperor Theophilos by Ioannes Grammatikos and the architect Patrikios, had probably such a plan, possibly following an Arabic model, which, in turn, goes back to the Late Antique examples. The early churches of this type in Asia Minor (Islamköy and Sarıca Kilise), dating to the early 10th century, show its common and “prestigious” character, which led to its spread not only to the Balkans, but also to Russia.

130-летний юбилей русского и советского архитектора Бориса Михайловича Иофана (1891-1976) дает новый повод для осмысления архитектурного наследия 1920-1940-х гг. в нашей стране и в мире. Победа в конкурсе на проект Дворца советов работы Б.М. Иофана в 1932 году обозначила поворот в истории архитектуры ХХ века, который до сих пор вызывает полемику. Эклектическое здание, соединившее классическую монументальность и утопическое видение города, демонстрирует многоплановый характер мастера. Проект не был реализован, но стал противоречивым символом своей эпохи. Биография архитектора выделяет его среди современников: после учебы и работы в Одессе, Петербурге, Риме и Москве, не примкнув ни к одному из архитектурных объединений и течений, он оказался ключевым участником важнейших архитектурных событий своего ТЕЗИСЫ ABSTRACTS I Роль Б.М. Иофана в архитектуре СССР The Role of Boris Iofan in the architecture in USSR 1 Патти Федерика, архитектор, преподаватель, независимый исследователь, Турин, Италия

Вопросы всеобщей истории архитектуры /Questions of the History of World Architecture, 1 (22), 2024

Armenian architecture of the 12th-14th centuries and in particular of the period of the Zakharids' power, is distinguished by large-scale construction, a variety of constructive methods, new and rich sculptural decoration. Among the decorative means of the era inlays of multi-colored stone tiles stand out, as well as their relief imitations on big solid slabs. Such mosaic sets mainly adorned the portals of churches and secular buildings, as well as altar elevations and plafonds. Armenian masons used tuff tiles in the form of stars, rhombuses, polygons, etc., which were smooth or decorated with ornamental and sometimes figurative carving. Decor of the stone mosaics had certain local manifestations, determined by the tuff rocks of the area, the capabilities and traditions of the capital's architectural school, as well as the tastes of the ruling princes in each region of Armenia. Compositional schemes of the stone inlays, the tiles’ patterns and animal images on some examples echo simultaneous Islamic ceramic tiles, the mass production of which was especially established in Iran. For the first time, parallels between Armenian stone sets and ceramic tiles were revealed by J. Orbeli, based on discoveries in the capital Ani. The artistic and stylistic commonality of these mosaics was founded primarily on close trade and cultural contacts with the Near East countries. At the same time, the variety of inlay types and their imitations in Armenia testifies for formation of a distinctive local school, largely due to the abundance of various stone in the country and the centuries-old traditions of working with it.

ЭНОЖ. Вып. 3 (77). Византия-Христианский Восток-Россия. Проблемы истории и культуры. Т. 10. , 2019

Actual Problems of Theory and History of Art, 2016

The article is focused on the problem of infiltration of architectural ideas of Italian Renaissance in the building practices of French classicism. It deals with the phenomenon of a rotunda in the residential architecture of Europe in modern times. The path of its evolution is traced from the "pièce à italienne" to "salon à la française". The domed rotunda was borrowed from Italian temple architecture and won dwellings in France of classical and neoclassical periods: from palaces and townhouses to pavilions. The article presents numerous examples: buildings, fulfilled and unfulfilled projects, the training projects of the Royal Academy of Architecture and School of Bridges and Roads. The architectural module with the domed rotunda became widely spread in architecture around the world.

Intangible cultural heritage as space for multidisciplinary interaction. International review , 2018

The paper analyzes cultural policies for ICH using the example of some European countries, State Parties of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage. In particular, the special attention is paid to measures and programmes related to research, safeguarding, ICH promotion, knowledge transfer and education. Besides, the article considers the legislative base and special provisions concerned ICH safeguarding. The proposed review certificates that the safeguarding of the intangible cultural heritage has become not only the important direction but an integral, and often a critical, part of cultural policies of state parties of the UNESCO Convention 2003. Keywords: intangible cultural heritage, UNESCO Convention, ICH safeguarding, cultural policy http://demcult.org/nematerialna-kulturna-spadshhina-yak-4/

The Actual Problems of History and Theory of Art, 2014

Built in Florence in the late Trecento, Palazzo Davanzati belongs to the period of transition from the medieval architecture to the architecture of Renaissance. Social changes that took place at that time caused a new attitude towards the way of life and are reflected in the secular building. Palazzo shows the world of its owners — a huge merchant family — who had adopted the courtly lifestyle. It is evident that there formed the type of palazzo that unified the functions of a feudal castle and a house of a rich popolano and drew on the experience of the Roman insula, which would be important for the development of the architecture of the 15th c. Not being fully Renaissance palace, palazzo Davanzati is still corresponding to the ideals of the Renaissance theorists, unifying fortification with regularity of forms and hu-manistic orientation. Comparison with earlier and later samples demonstrates an innovative functional architectural design and reveals the role of the building

Sphere of culture

The editorial board of the journal presents a conversation of Vladimir Ionesov (Doctor of Culturology, Professor, Samara State Institute of Culture) with Ilgiz Fazulzyanov, a well-known Russian artist and jeweler. The issues of aesthetic transformation of national traditions in modern applied art are discussed on the example of the jewelry collection Samarkand. The article reveals the peculiarities of artistic design in jewelry art, the aesthetics of the historical heritage of Samarkand, and the interaction of the past and the present in the dialogue of cultures and time as well as semantic, stylistic and value attitudes in the creative design of modern jewelry art objects. National artistic traditions are considered as a source of high inspiration, a generator of new cultural practices and actual creative work.

An exhibition of a masterpiece from Al Thani collection and contemporary objects, showing the ways of transformation of Antique motives in early Islamic art.

Naukovij vìsnik budìvnictva, 2019

Cf. abstract and paper p. 48 sq

A collection of articles on the history and archaeology of Tadjikistan commemorating the 80-th anniversary of professor Yusuf Yakubov. Including an article by Smirnova and Nikitin on a rare islamic mausoleum excavated at the site of Karron, Darwas, South Tadjikistan. p. 94-102

This booklet is addressed to the trainees of the Leon Levy Archaeological Restoration Laboratory in Dushak (Turkmenistan) who participated in the training course, but also any other institutions and museums in Turkmenistan and Central Asia interested in the conservation of ceramics. It provides a basic theoritical knowledge about ceramic material, its deterioration and conservation, and also an illustrated section concerning the different stages of conservation and restoration of archaeological ceramics. This booklet represents the theoretical background to practical work undertaken by the trainees during the course.

Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”

До сих пор не вполне ясны причины возникновения острой конфликтной ситуации между защитниками архитек­турного наследия и сторонниками модернизации городов. И те и другие апеллируют к историческому опыту. Действи­тельно, была традиция поддержания преемственности, но известна и другая традиция, согласно которой уничтожать старое и создавать на его месте новое считалось делом нуж­ным и прогрессивным. Возникает парадоксальный вывод о том, что охрана наследия требует разрушения одного из устоев традиционной культуры. В данной статье предлагается рассматривать обозначенную проблему, исходя из призна­ния исторически беспрецедентной новизны сложившейся культурной парадигмы. Анализ отношения к сбережению и обновлению старых построек и планировок в исторической ретроспективе приводит автора к заключению о том, что в Новое и Новейшее время новаторские устремления стали чрезмерными, агрессивными, сокрушительно-революци­онными. Сегодня настало время отказа от радикального обновления историческог...

Актуальные проблемы теории и истории искусства: сб. науч. статей., 2021

Vladimir Shchuko (1878–1939) was one of the leading Russian architects of the first half of the 20th century. The article identifies all the buildings and projects of the master with Italian allusions, defines their prototypes, and studies their role in the general architectural context. Shchuko was the first architect who introduced the Palladian façade with the giant order into the Russian architecture (in his second house of Markov in St. Petersburg, 1910–1911). In the design of the Burtsev house (1911), Shchuko proposed an original interpretation of the Palazzo Tiene by Palladio. The architecture of the Moscow Bank in St. Petersburg (1915) was oriented at the Palazzo Massimo by Peruzzi. The three Schuko’s mansion projects of 1912, 1915, and 1916 published here for the first time reflect his interest in Palladian villas and Basilicas. The project of the State House of Abkhazia (1932) develops the theme of exedra façade from the Palazzo Colonna Barberini in Palestrina, which was used later in many Soviet sanatoria. The Ashgabat theatre (1934) is his most interesting orientalist project based on Venetian forms. The article also emphasizes the striking affinity of certain Shchuko’s buildings with the 1930s Italian architecture. The article concludes that Shchuko was the second Russian architect in terms of the frequency of references to Italian motifs, conceding only to famous Zholtovsky. However, he was the first one in terms of the variety of used prototypes.

Scientific Yearbook "History of Religions in Ukraine", 2021

Статья посвящена музейным предметам исламского культурного наследия в коллекции Львовского музея истории религии. Исследование обусловлено необходимостью раскрытия информационного потенциала артефактов группы “Металл”. В названной группе произведения торевтики и ритуальные предметы, что обусловило междисциплинарный характер работы. Результатом исследования является установление функциональной принадлежности музейных предметов; выдвинуты гипотезы по их хронологии и локализации. Ключевые слова: музейные предметы, Львовский музей истории религии, ислам, атри- буция, торевтика

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