terça-feira, 10 de março de 2015

О ПЕТРИКОВСКОЙ РОСПИСИ - Pintura Petrykivsky - história da cultura da pintura decorativa do povo ucraniano. - pinturas Petrykivka, que estão em museus, referem-se aos séculos décimo oitavo ao décimo nono.

Яркой страницей вошла декоративная роспись в историю культуры украинского народа. Далеко за пределами Украины известные имена народных мастеров села Петриковки Днепропетровской области. Ажурный, графически четкий орнамент, который в прошлом развивался как настенная роспись и декор бытовых предметов, сегодня широко используется в художественной промышленности, книжной графике, оформлении и.т.п.. Волшебный петриковский цветок расцвел на замечательному фарфоровом блюде, загадочным узором лег на шелковую ткань, ценным самоцветом засверкал на лакированной поверхности сувенирной шкатулки.


Своеобразный орнамент Петриковки имел давние традиции, свой пластический язык, технику и свой арсенал художественных образов. Из поколения в поколение передавались традиции росписи, самобытного, преимущественно растительного орнамента, который впоследствии все более совершенствовался. Бытовые вещи с петриковской росписью, которые находятся в музеях, относятся к ХУШ-ХІХ столетиям. Сам же орнамент ведет начало от старинной традиционной орнаментики, которая широко применялась в быте запорожцев, украшая жилья, начинку и оружие.



Современный петриковский орнамент характеризуется, прежде всего, как растительный, преимущественно цветочный. Он основывается на внимательном изучении реальных форм местной флоры и создании на этой основе фантастических, несуществующих в природе цветов (например, "лучка" или "кучерявки"). Широкое применение имеют мотивы садовых (георгины, астри, розы) и луговых (ромени, василька) цветов и ягод калины, клубники и винограда. Характерными являются также изображение листвы, которую называют "папоротником", бутонов и перистой ажурной листвы. Для петриковсих орнаменталистов характерные чрезвычайно точный глазомер и удивительная ловкость руки - все мастера рисуют без предварительно намеченного контура, не пользуясь ни одним измерительным инструментом. Виртуозность выполнения достигается письмом с помощью тоненькой кисточки из кошачьей шерсти. Кроме кисти, Петриковские мастера применяют стебли, щепочки, а ягоды и некоторые цветы рисуют просто пальцем.

fonte: @edisonmariotti #edisonmariotti http://petrikovskaya.dp.ua

colaboração - Natalya Kora

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história da cultura da pintura decorativa do povo ucraniano.

Pintura Petrykivsky

Tornou-se uma página brilhante na história da cultura pintura decorativa do povo ucraniano. Muito além Ucrânia nomes da região de vila artistas populares Petrikovka Dnepropetrovsk bem conhecido. Arabesco, padrão graficamente claro, que no passado foi desenvolvido como uma pintura de parede e decoração de artigos para o lar, é agora amplamente utilizados na indústria de arte, livros, gráfico, itp projeto .. Magia Petrikovsky flor floresceu no prato de porcelana maravilhoso, um padrão misterioso previsto na seda pano, uma valiosa jóia brilhou nas caixas de recordações superfície envernizadas.


Uma espécie de ornamento Petrikovka tinha uma longa tradição, sua linguagem plástica, técnica e seu arsenal de imagens artísticas. De geração em geração passada a tradição da pintura, original ornamento, principalmente vegetativo, que, posteriormente, foram desenvolvidos. Artigos para o lar com pinturas Petrykivka, que estão em museus, referem-se aos séculos décimo oitavo ao décimo nono. O mesmo padrão deriva do antigo ornamentação tradicional, que é amplamente utilizado na vida dos cossacos, decorando habitação, recheio e armas.


Petrikov padrão moderno se caracteriza principalmente como um vegetal, principalmente floral. Ele é baseado em um estudo cuidadoso das formas reais de flora e criação de locais nesta base de ficção, não-existente em cores da natureza (por exemplo, "cebola" ou "kucheryavki"). O uso difundido de motivos tem jardim (dália, aster, rose) e pastagens (Romany, cornflower) flores e bagas de Viburnum, morangos e uvas. Característica também são a imagem de folhagem, o que é chamado de "samambaia", gemas e penas folhagem rendilhado. Para petrikovsih ornamentistas característica olho extremamente preciso e surpreendente destreza - todos os mestres desenhar sem circuito agendada sem usar qualquer do instrumento de medição. Virtuosismo do desempenho alcançado por carta com um pincel fino de pêlo do gato. Além do pincel, aplique mestre Petrikovsky caules, lasca, e bagas e algumas flores apenas desenhar com o dedo.

"ISS-20" ( Museum "Space" área p. Nikulskoe Tutaevsky. ) -- 4 de outubro de 1957 o lançamento do primeiro satélite artificial da Terra, a partir dessa data começou a era espacial, ea partir desse dia é comemorado anualmente na Semana Espacial Internacional.



"ISS-20"
MKS-20















4 de outubro de 1957 o lançamento do primeiro satélite artificial da Terra, a partir dessa data começou a era espacial, ea partir desse dia é comemorado anualmente na Semana Espacial Internacional. Este evento é dedicado à exposição "ISS-20", que foi inaugurado em 7 de outubro no Museu "Space". A exposição é dedicada à criação e ao funcionamento da Estação Espacial Internacional.
A criação da Estação Espacial Internacional foi precedida da assinatura, em Junho de 1994 entre a Agência Aeroespacial Nacional dos Estados Unidos e do contrato Agência Espacial Russa "On the oferta e serviços para a estação" Mir "e da Estação Espacial Internacional." Programa ISS - um projecto conjunto da modernidade, que envolve 16 países. A principal área de pesquisa sobre o ISS incluem biologia, física, astronomia, cosmologia e meteorologia.
Aos visitantes da exposição será capaz de "ver" Space Station ISS, usando uma turnê de vídeo da estação, para conhecer alguns membros da tripulação espaço nas fotos submetidas. Espaço Emblem ISS 35/36, livro de poemas em miniatura ", Uma Odisséia no Espaço", que estava na estação com a equipe para causar grande interesse.
Em segundo lugar, depois de Sergei Krikalev, o cosmonauta russo que visitou a ISS se tornou Valery Tokarev, nosso conterrâneo, anos de escola que passaram na terra Yaroslavl, na cidade de Rostov. A exposição inclui fotografias da superfície da terra, chegou à ISS, o ônibus espacial Discovery parafuso destacável pertencente à sua máscara de oxigênio, o elemento de comunicação com a Terra, comida espaço.
Nossa referência:
 Museum "Space" área p. Nikulskoe Tutaevsky.
Como chegar: ônibus de st.Yaroslavl -Main na direção de Uglich, Great Village, Courbet, Myshkin.
Modo de funcionamento: 9:30-16:30 horas.
Off - segunda-feira e terça-feira.


fonte: @edisonmariotti #edisonmariotti http://www.yarmp.yar.ru/mks-20/#more-1062


ПЕДАГОГІЧНИЙ МУЗЕЙ УКРАЇНИ Національної академії педагогічних наук України ---- Museu Pedagógico UCRÂNIA Academia Nacional de Ciências Pedagógicas da Ucrânia

Віртуальна інтерактивна виставка «Погортайте «Кобзарик»




Віртуальна інтерактивна виставка «Погортайте «Кобзарик»



Image00001До дня народження Тараса Шевченка представляємо віртуальну інтерактивну виставку однієї книги – «Кобзарика», виданого «у 1913 році. Видання побачило світ у Петербурзі у друкарні братів В. та І. Линників (видавництво «Нашим дітям»).
Ви маєте можливість ознайомитися з електронною копією «Кобзарика», погортавши її у flash-форматі.
Image00002аХудожнє оформлення книги зробив український художник-етнограф Юрій (Георгій) Юрійович Павлович (1874-1947), який протягом 1896-1918 рр. жив у Петербурзі і працював бухгалтером банку.
Книга входить до колекції «Українська дитяча книга 1885-1923 рр.», що є складовою наукового об’єкту «Колекція стародруків Педагогічного музею України» (рукописи, стародруки та рідкісні видання 1477-1923 рр.), що становить національне надбання.

Бібліографічний опис: Кобзарик : [З малюнками Г. Павловича]. – [Петербург : Нашим дітям; Друк. Бр. В. і И. Линників, 1913]. – 16 с.

fonte: @edisonmariotti #edisonmariotti http://pmu.in.ua

Kozjanski Park - Etnološka dediščina --- Kozjanski Park covers an area of 206 sq. km. It has the status of regional park and it is also the largest regional park in Slovenia.


Etnološka dediščina

Click on the slide!

Številni objekti, ki imajo status etnoloških spomenikov ali dediščine, so plod ustvarjalnosti kozjanskega človeka kar daje velik pečat izjemnosti krajini, ki je vključena v zavarovano območje Kozjanskega parka. Etnološki spomeniki so območja, stavbe, skupine stavb, predmeti vsakdanje rabe in oblikovani izdelki, ki izpričujejo način življenja in dela Slovencev, pripadnikov italijanske in madžarske narodnosti ter drugih ljudstev na območju Slovenije. V Kozjanskem parku je 96 etnoloških spomenikov.

Pokrajino, ki je vključena v Kozjanski regijski park, zaznamujejo trije krajinski tipi, s katerimi so v soodvisnosti tudi tipi ljudskega stavbarstva, s katerimi se srečujemo. Praviloma so domačije skromne, tlorisna razmerja so podolžna, stavbe so zidane, prvotno lesene, postavljena v ali ob pobočja, nad kletmi. Strehe so dvokapne, strme, največkrat s čopi. Za velik del zavarovanega območja je značilna razpršena poselitev, ki je posledica silno razdrobljene posesti, redke so domačije v celku. 

V Kozjanskem regijskem parku je potekal v letih 1999 – 2002 sistematičen popis stavbne dediščine, v okviru katerega je bilo do sedaj obdelanega nekaj manj kot polovica celotnega parka, evidentiranih več kot 3057 objektov in dokumentiranih 1161. Pri gradbenih materialih močno prevladuje kombinacija kamna in lesa, dokaj pogosta je še vedno tudi lesena gradnja. Med kritino prevladuje opečna, dokaj pogost je betonski zareznik in seveda salonitna kritina iz 70.let, ki je takrat najpogosteje nadomeščala slamo.
Podsreda, Levstikov mlin
Ugodne razmere so botrovale k temu, da so se ob Bistrici v preteklosti naseljevali mlinarji kot uporabniki vodne sile reke. Nemogoče je določiti čas, kdaj se je mlinarska dejavnost prvič pojavila ob reki Bistrici, saj je pisnih pričevanj zelo malo. Leta 1972 je bilo ob reki Bistrici 14 mlinov, ki so občasno poganjali svoja kolesa, danes pa občasno delujeta le še dva: Levstikov in Kukovičičev mlin. Prvo omembo Levstikovega mlina najdemo v zapuščinskem inventarju mlinarja Martina Levstika, podsredškega podložnika, iz leta 1801. Levstikova domačija obsega poleg mlina še gospodarsko poslopje s hlevom, kaščo, ki danes služi bivanju, in novo hišo. V stavbi mlina so bili nekdaj tudi stanovanjski prostori. V mlinu stojita dva mlinska mehanizma, ki sta z osjo povezana s pogonskima kolesoma. V enem meljejo pšenico za belo, v drugem pa ostala žita za zmesno moko. Nekdaj je bilo stanovanje v levem delu stavbe, v desnem pa mlin. Danes gospodari na kmetiji Miran Levstik z ženo Sonjo. V mlinu za lastne potrebe še vedno meljejo. Obiskovalcem, ki si želijo mlin ogledati, prijazno odprejo vrata in zavrtijo tudi mlinska kolesa. V hiši je vedno na voljo tudi moka in okusni domači mlinci. Celovito prenovo Levstikovega mlina je v letih 1988 – 90 izvedel Kozjanski park.


Podsreda 3 - Kukovičičev mlin
Domačija Kukovičičevih obsega poleg glavne stavbe, ki je mlin in stanovanjska hiša hkrati, še hlev s senikom, shrambo za vino in sušilnico koruze, svinjak, kovačnico in objekt, ki je istočasno garaža, drvarnica, svinjska kuhinja. Del kmetije je tudi »gorca«, vinograd z lesenim hramom. Arhitekturna podoba mlina, enonadstropne stavbe, je skoraj v celoti ohranjena. Stavba je bila zgrajena v sredini 19. stoletja. Na severnem delu obsega mlin odprt prostor polovice stavbe obeh etaž. Mlin še vedno deluje, v njem pa so spravljeni vsi mlinarski pripomočki. Tudi ta mlin ima mlinske kamne posebej za zmesno in posebej za belo moko. Stanovanjski prostori so razporejeni v južnem delu stavbe pritličja in v prvem nadstropju. Kot posebnost želimo omeniti tudi ohranjen s šibjem pleten dimnični prostor za sušenje mesa.
Podsreda, Slovensko-bavarska hiša
Nasproti farne cerkve sv. Janeza Krstnika v Podsredi stoji stara kaplanija, regionalno značilna trška hiša, prvič omenjena v 17. stoletju. Leta 1996 je bila s pomočjo Kozjanskega parka, Bavarsko–slovenskega društva in fare Podsreda preurejena v Slovensko–bavarsko hišo, ki pa je shajališče slovenskih in bavarskih prijateljev ter številnih obiskovalcev Kozjanskega parka. Je tudi izjemen prireditveni in razstavni prostor, kjer se na leto izmenjata vsaj dve razstavi, ob velikonočnem in adventnem času pa se v njenih prostorih odvijajo ustvarjalne delavnice, ki pritegnejo k ustvarjanju tako mlajše, kot tudi starejše prebivalce Kozjanskega parka in širšega območja.
Kozje, Kroflnov mlin
Ob izteku Bistrega grabna stoji Kroflnova domačija z dvema poslopjema, hišo z nekdanjim mlinom in gospodarskim poslopjem, stisnjena na ozko polico med potokom in skoraj previsno steno strmega hriba Kozjeka. Nekoč je bila dom mlinarja, kleparja – špenglerja, mizarja in delavca v bližnjem industrijskem obratu. Do prve polovice 19. stoletja je tu stala še žaga. Obnovljena je bila med leti 1998 in 2000. V nekdanjem stanovanjskem delu je na ogled stalna muzejska zbirka.

Bizeljsko - Vitna vas, etnografska zbirka Sušnik
Etnografska zbirka je dolgoleten plod skrbnega zbiranja kmečkega orodja Marije Sušnik in je v njeni hiši tudi nameščena. Ob ogledu lahko spoznamo, katera orodja je in še uporablja kmet pri svojem obdelovanju zemlje. Izredno skrbno je zbrano orodje za obdelavo vinske trte. Zbirka je na vpogled slehernemu turistu, krajanu, skratka je osnovni sestavni del turistične ponudbe na Bizeljskem.



Hrastje 1, Štadlerjeva hiša
Štadlerjeva hiša je bila zgrajena leta 1795, o čemer priča letnica na masivnem prečnem tramu v "hiši" v pritličju. Takratni lastnik, ki je bil prav tako Janez, kot je današnji, je dal poleg letnice 1795 v tram vrezati tudi monogram IHS, s katerim se je zavaroval pred hudimi duhovi in nesrečo, pozabil pa ni tudi na svoje ime, ki ga je neznani tesar zaokrožil malo po svoje - IANES ShTOGLER. Gre za priimek, ki se je ohranil vse do današnjih dni, v malce drugačni obliki. Stanovanjska hiša sodi med najstarejše datirane hiše na območju občine Šmarje pri Jelšah in je v literaturi opredeljena kot »kmečki dvorec«, saj se želi poudariti pomen stavbe, ki po zasnovi in likovni dekoraciji izstopa iz povprečja in priča o bogatem posestniku. Stavba ima bogato arhitekturno dekoracijo, fasada je oblikovana z motivom dvojnih pilastrov, pročelje je somerno, posebej poudarjen je srednji del s portalom. Malce bolj zapletena je oblika kamnitega portala, ki ga krona preklada v obliki jarma (lahko bi ga označili kot podsredški tip portala). To formo so prevzeli iz arhitekture visokega baroka in nima nikakršne zveze z živino.V pritličju imajo okna enostavne okenske obrobe v malti. Obrobe oken v nadstropju pa imajo profilirane police, nad preklado dvojno baročno valovnico. Talna zasnova je tradicionalna, z veliko vežo, črno kuhinjo ter bivalnimi prostori. Pritličje je z nadstropjem povezano z notranjim stopniščem. Tloris nadstropja je tradicionalno zasnovan, vzdolž zadnje fasade poteka lesen gank. K domačiji sodi tudi velik »marof«, gospodarsko poslopje s kamnitim portalom in uokrivljenimi linami. Približno četrtina marofa je izvedena v lesu, ostalo pa so sezidali z opeko in kamnom. Štadlerjeva hiša v Hrastju nas opozarja, da so si pogosto hiše bogatih kmetov v različnih krajih zelo podobne, saj včasih bolj kot regionalne vplivajo socialne silnice.



Križe 5
Domačija predstavlja tipičen, a danes redek primer kmečkega stavbarstva iz konca 19. stoletja v tem predelu Kozjanskega. Posebno vrednost daje kompleksu stavb dejstvo, da v njihovi neposredni bližini ležijo njive, travniki, pašniki, vinograd, sadovnjak in gozd. Vsa pripadajoča zemljišča se navezujejo neposredno na poslopja in so z njimi tesno povezana. Tako predstavlja domačija zaokroženo celoto, saj odlično ponazarja ljudsko stavbarstvo in daje nazorno podobo o načinu življenja določenega sloja kmečkega prebivalstva. Domačija je od smrti zadnje lastnice (okoli 1980) nenaseljena. Objekti in zemljišča niso vzdrževani. Domačijo tvorijo stanovanjska hiša, hlev, kašča, skedenj in zidanica. Dediči nimajo več interesa, da bi na kompleksu živeli, saj so stalno naseljeni drugje. Ker je domačija zapuščena, so posamezni objekti in njihova okolica prepuščeni zaraščanju. Kompleks bi se moral v celoti ohraniti in nadalje razvijati ter postati del zgodovinske pričevalnosti o načinu graditve objektov in življenju na kmetiji.


Brezovica, Repnice
Repnice so jame, skopane v kremenčevem pesku, ki ga je na območju Bizeljskega pred milijoni let naplavilo Panonsko morje. Peščene luknje spadajo med avtohtono naravno, zgodovinsko, etnološko in kulturno dediščino tega območja in predstavljajo zanimivost ob Bizeljsko-sremiški vinski turistični cesti. Domačini so v kremenčev pesek s krampom in lopato izkopali jame različnih velikosti. Razen pri vhodu, ki je repnico varoval pred zunanjimi vremenskimi vplivi in je moral biti še posebno utrjen, niso uporabili gradbenih materialov. Ime so dobile po repi, ki so jo ljudje poleg ostalih pridelkov shranjevali v njih. Zaradi stalne vlage 95% in temperature 8º C, so bile v preteklosti najprimernejši prostor za shranjevanje poljskih pridelkov. Danes jih ponekod še vedno uporabljajo za shranjevanje poljščin, večinoma pa so namenjene za zorenje in hrambo vina. Visoka vlaga v jamah ni primerna za hrambo vina v lesenih sodih, zato vinogradniki shranjujejo vino v nerjavečih posodah in steklenicah. Obiskovalcem ponudijo degustacijo značilnih vin bizeljsko-sremiškega vinorodnega okoliša. Za ogled je trenutno odprtih šest repnic: Repnica pri Najgerju, Repnica pri Balonu, Repnica Graben, Repnice Pudvoi, Repnice pri Kelherju in Repnice pri Kovačičevih.


Podsreda, Apnenica
Apnenica pripada družini Javeršek. Ohranjena je kupna pogodba med Martinom Javerškom in njegovim sinom Antonom, v kateri je zapisano, da Martin prepušča posestvo sinu. Oče Martin je obdržal svoje »koše« za žganje apna, zato je sin Anton postavil novo, večjo apnenico prav blizu reke Bistrice. Ob enkratnem žganju apna je dobil v tej novi apnenici 16.000 kg apna. Apnenica je gorela tri dni in tri noči. Za enkratno žganje je pogorelo 32 m2 drv. Anton je žgal apnenico povprečno osemkrat na leto. Leta 1912 je svojo »apnarijo« prijavil kot obrt. Apnarstvo je bilo dejavnost, ki je družini prinašalo znaten vir dohodka v preteklosti. Apnenica je zadnjič gorela leta 1973, zakuril jo je Antonov pravnuk Drago. Tridesetletno obdobje, v katerem se apno ni več žgalo, je povzročilo, da se je apnenica počasi začela rušiti, preraslo jo je grmovje in drevje. S finančno podporo Ministrstva za kulturo in v sodelovanju z Zavodom za varstvo kulturne dediščine iz Celja smo v Kozjanskem parku Javerškovo apnenico rekonstruirali. Z rekonstrukcijo želimo obuditi in ohraniti spomin na že skoraj pozabljeno obrt.


Podsreda, Nežina hiša
Enocelično »kočo« je leta 1934 postavil Anton Javeršek. Velik napušč pred kočo je Anton Javeršek namenil zavetju pred slabim vremenom ob delu v apnenici ter kot prostor za orodje. Nežina hiša je gospodarsko-stanovanjski objekt, ki je bil zgrajen leta 1934, ko so Javerškovi gradili apnenico in je kasneje služil kot hiša, v kateri je živela Neža Slatner. To je bila neporočena ostarela šivilja, ki je dolga leta šivala za vse člane Javerškove številne družine, najverjetneje že v času gospodarjenja Antona Javerška in nato za njegovega naslednika Martina, ki je posest prevzel leta 1938. Neža je šivala vse do odhoda iz koče v dom za ostarele v Vojniku, kjer je leta 1958 umrla. S finančno podporo Ministrstva za kulturo in v sodelovanju z Zavodom za varstvo kulturne dediščine Slovenije, OE Celje smo v Kozjanskem parku izvedli obnovitvena dela.
Lesično 15, Fiket
Stanovanjska hiša je visokopritlična zidana stavba podolžnega tlorisa z delno vkopano kletjo oziroma dvema lokaloma v katerih sta bili strugarska delavnica in kovačnica. Stavba je nastala leta 1837, letnica z rimskimi številkami je vrezana v kamnit vhodni portal s preklado (na njej letnica) in nadsvetlobo (na njej N 18). Hiša je zasnovana somerno, ima tradicionalno tlorisno razporeditev notranjih prostorov. Zgrajena je v baročni tradiciji. Fasadna polja so členjena s pilastri, okna imajo okenske obrobe, izvedene v apneni malti. Do nivoja pritličja vodijo na glavni fasadi enojne betonske stopnice, ograja je zidana iz kamna. Nad podestom izstopa iz ostrešja frčada, ki jo nosita dva lesena stebriča . Hiša še ima ohranjeno črno kuhinjo, ki je prehodna in vodi pred dvoriščno fasado. Le-ta ima delno odprt notranji hodnik, ki se v enem delu izteče v stranišče, v drugem pa v manjše gospodarske prostore. Hodnik ima dva arkadna loka, ki ju podpira trebušasti stebrič, izdelan iz kamna. Dostop na hodnik je po lesenih stopnicah in podestu, čez katerega je potegnjena strešnica, ki jo podpirata dva vitka stebriča. Hiša je posebnega pomena zaradi svoje lege nasproti podružnične cerkve svetega Urha, pa tudi kot rariteta glede svoje zasnove, saj sta v njeni bližini le še dve podobno zasnovani stavbi. Stavba je last Kozjanskega parka, ki pripravlja program oživitve spomenika





fonte: @edisonmariotti #edisonmariotti http://kozjanski-park.si/en/culture/ethnoogical-heritage






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Ethnological heritage

Numerous buildings that gained a position of ethnological monuments or heritage are the products of local creativity. This gives the imprint of exceptionality to the landscape, which is included in the natural protected area of Kozjanski Park.

Ethnological monuments are areas, buildings, groups of buildings, everyday objects and other products that express the lifestyle of Slovenian, Italian and Hungarian people and of other nations living in this area. There are 96 ethnological monuments in Kozjanski Park.

The region included in Kozjanski Park is characterised by three landscape types, inter-dependent with folk architecture types. As a rule we could say that the homes are moderate, the proportion on the ground plans are lengthwise, the buildings are made of stone, originally made of wood, situated either into or next to the hillside, above the cellars. The sloping roofs are very steep, mostly equipped with “čop”, (a roof detail). For most part of the protected area, the dispersed settlements are typical, as the consequence of highly dispersed estates. It is not very usual for farmers to have all their estate around their houses.

From 1999 to 2000 Kozjanski Park carried out a systematic inventory of architectural heritage. 3057 objects were listed. 1161 were documented. As regards to building material, the biggest part is a combination of stone and wood, and quite often only wood is used. Fire-baked bricks are the most frequent roofing material, followed by concrete bricks and of course Salonit roofs (asbestos and concrete), which in that time substituted the straw.

Podsreda, Levstik mill
Favourable conditions contributed to the settlement of millers at the river Bistrica. Here they could use the waterpower of Bistrica. It is impossible to specify the time when millworks first came to the river Bistrica, since no written testimonials have been found. In 1972, there were 14 mills situated along the Bistrica that ran occasionally. Today, two of them are still running periodically: the Levstik and the Kukovič mill. The Levstik mill was first mentioned in the legacy inventory of the miller Martin Levstik, a serf of Podsreda from the year 1801. Today, the Levstik Mill also includes farming facilities with a stall, a granary, which is today used for living, and a new house. People used to live in the old mill. Two mill mechanisms are standing in the mill and they are connected to the driving wheel with an axis. With first mechanism the wheat is ground for white flour. In second one, other grains are ground for mixed flour. The residential part used to be on the left side of the building and the mill was on the right. Today Miran Levstik with his wife Sonja runs the farm. The mill is used only for their personal needs. They kindly open the mill and run the wheels for visitors that come to see them. They also offer flour and delicious home-made “mlinci” (flat cakes). A complete renovation of the Levstik Mill was carried out by Kozjanski Park between 1988 and 1990.

Podsreda 3 - Kukovičič mill
The home of the family Kukovičič includes, besides the main building that is a mill and the residence at the same time, also a stall with a barn, a wine chamber and a drying loft for maize, a pig stall, a blacksmith’s workshop and a facility which is a garage, woodshed and a kitchen for preparing cattle fodder. A part of the farm is also a “gorca” – a small hill, where a vineyard and a wooden house are situated.

The architectural image of the mill, which is a one-storey house, is almost completely preserved. It was built in the middle of the 19th century. In the northern part the mill there is an open room that runs through one half of the building and both storeys. The mill is still operating and all equipment for millwork is preserved. The mill also has separate millstones for white and mixed flour. The residence is situated in the southern part of the building on the ground and first floor. As a speciality we would also like to mention a smokehouse for meat drying, which is made of rods.

Podsreda, Slovene-Bavarian house
Opposite the Parish Church of St. John the Baptist in Podsreda stands an old curate’s house, which is a typical regional market town building, first mentioned in the 17th century. In 1996, with the help of Kozjanski Park, the Slovenian-Bavarian Society and the parish of Podsreda, the house was restored into the Slovenian-Bavarian house, which is now a gathering point for Slovenian and Bavarian friends and for numerous visitors of the Kozjanski Park. It is also an exceptional place for events and exhibitions. At least two exhibitions take place annually and at Easter and Advent season creative workshops are organised. The workshops attract younger and older people from Kozjansko and other regions.
Kozje, Kroflnov mill
At the end of the stream Bistri grabn stands the Kofl home with two buildings – a house with the former mill and a farm building, squeezed on a narrow shelf between the stream and the overhanging rock wall of the Kozjek hill. Once it was the home of the miller, tinsmith –“špengler”, joiner and worker in the nearby industrial factory. Till the first half of the 19th century a sawmill had stood here. The home was renovated between 1998 and 2000. In the former residence part there is a permanent museum exhibition.
Bizeljsko - Vitna vas, etnographic collection Sušnik
The ethnographic collection of farming tools by Marija Sušnik is a result of careful collecting that lasted long years. The collection can be seen in her house. When visiting, we can see which tools are still used by the farmer for cultivation. Special care was given to the collection of the tools for vine cultivation. Everyone who visits this region should see the collection. Moreover, it is a basic part of the tourist offer in the area of Bizeljsko.

Hrastje 1, Štadler house
The Štadler house was built in 1795, which is shown by the date on the massive transverse beam in the “house” on the ground floor. The owner in that time, whose name was Janez, as is the name of the today’s owner, engraved into the beam beside the year 1795 also the monogram IHS, with which he protected himself from evil spirits and misfortune. He even remembered to add his name, but the unknown carpenter rounded the name in his own manner up – IANES ShTOGLER. This surname has preserved itself till today yet in a somewhat different form. The residence house counts among the oldest dated houses in the area of the municipality of Šmarje pri Jelšah and it is defined within the documentation as a “rural palace”. With this the significance of the object is emphasised. Because of its structure and pictorial decorations, it stands out of the average and proves the wealth of the owner. The building has a rich architectural decoration; the front is formed with a motive of double pilasters. The front is symmetrical with a specially emphasised middle part with the portal. The form of the stone portal is more complicated; crowned by a crossbeam in the form a yoke (we could classify it as a Podsreda portal type). This form was taken from the architecture of high Baroque and has nothing to do with the cattle. On the ground floor the windows have simple mortar window borders. The window borders on the first floor have profile shelves and a baroque wavy line above the crossbeam. The floor structure is traditional with a large entrance hall, a black kitchen and living quarters. The ground floor is connected to the first floor by an inner staircase. The ground plan of the floor is traditionally structured. Along the whole length of the back front runs a wooden gallery. The estate also possesses a »marof« i.e. a farming building with a stone portal and framed notches. Approximately one fourth of the marof is made of wood; the rest was built with bricks and stone. The Štadler house in Hrastje suggests that the houses of rich farmers in different settlements are sometimes very similar, as the social influences are stronger than the regional.

Križe 5
This home represents a typical example of rural agriculture from the end of the 19th century. A special added value to the complex of the buildings is the fact that there are farmlands, meadows, pasture land, vineyards, orchards and forest in the immediate vicinity. All land connected to the estate is directly at the buildings and it is strongly bound with the complex. Thus, the estate represents a concluded whole, and it shows the rural architecture excellently. It gives a clear impression about the lifestyle of a certain class of rural population. The estate has been abandoned since the death of the last owner (around 1980). The buildings and the land have not been maintained. The estate is formed by the residence house, stall, granary, barn and vineyard house. The heirs have no interest to live on this complex as they permanently live elsewhere. Since the estate is abandoned, some buildings and their surroundings are very much overgrown. The complex should be preserved as a whole and should be further developed. It should become a part of the historic expressiveness of building construction art and farm life.

Brezovica, Repnice
Repnice are caves, dug into pebble sand, which was deposited by the Pannonian Sea. The sand holes belong among the original natural, historical, ethnological and cultural heritage of this region and represent a point of interest on the vine and tourist road of the region Bizeljsko-Srem. The local people dug holes in the pebble stone with a pickaxe and spade. Except at the entrance of the hole, which protected the hole from outer influences, no other building material was used. The entrance needed to be especially reinforced. The original name of these holes is “repnica – turnip hole” and the name originates from the fact that people stored turnips among other crop in these holes. Because of the constant humidity of 95% and a temperature of 8º C, these holes were the most suitable place for storing the crop. Today they are sometimes still used for storing the crops but mostly they are used for ripening and storing of wine. The high humidity does not allow the storing of wine in wooden barrels. This is why the farmers store the wine in stainless steel containers and glass bottles. Here visitors can taste the most typical wines of the vine region of Bizeljsko and Srem. Six “turnip holes” are open to the public at the moment: the repnica at Najger, the repnica at Balon, the repnica Graben, repnice Pudvoi, repnice at Kelher and the repnice of Kovačič family. 

Podsreda, Lime pit
The lime pit belongs to the family Javeršek. The sale contract between Martin Javeršek and his son Anton still exists. It says that Martin leaves the estate to his son. The father kept his “baskets” for burning lime so the son Anton set up a new and bigger lime pit right next to the river Bistrica. In one burning he could produce 16.000 kg of lime. The lime pit was burning for three days and three nights (32 m2 of firewood were needed for one burning). Anton was burning lime approximately eight times a year. In 1912 he registered his “lime production” as a craft. The production of lime was an activity which brought a substantial source of income to the family. The lime pit burnt for the last time in 1973 and it was burnt by the Anton’s great-grandson Drago. The thirty year period when no lime was burnt here caused the collapse of the lime-pit and the pit was overgrown by bushes and trees. With financial help of the Ministry of Culture and in co-operation with the Institute for Cultural Heritage Protection from Celje we reconstructed the Javeršek lime pit here in Kozjanski Park. With this reconstruction we wish to revive and preserve the memory of this almost forgotten craft. 

Podsreda, The house of Nežina 
This single celled »cottage« was built by Anton Javeršek in 1934. The large projecting roof before the cottage was intended for protection from bad weather when working at the lime pit and for storing the tools. The house of Neža is an object for residence and work, which was built in 1934, when the family Javeršek built the lime pit. Later, it was used as a house, where Neža Slatner lived. She was an unmarried elderly seamstress, who was sewing for long years for all the members of the numerous Javeršek family. She probably began to work for them during the time of Anton Javeršek and then also in the time of his successor Martin, who took over the business in 1938. Neža sewed till she went into the home for the aged in Vojnik, where she died in 1958. With the financial help of the Ministry of Culture and in co-operation with the Institute for Cultural Heritage Protection in Celje we managed the reconstruction works here in Kozjanski Park.

Lesično 15, Fiket
This single celled »cottage« was built by Anton Javeršek in 1934. The large projecting roof before the cottage was intended for protection from bad weather when working at the lime pit and for storing the tools. The house of Neža is an object for residence and work, which was built in 1934, when the family Javeršek built the lime pit. Later, it was used as a house, where Neža Slatner lived. She was an unmarried elderly seamstress, who was sewing for long years for all the members of the numerous Javeršek family. She probably began to work for them during the time of Anton Javeršek and then also in the time of his successor Martin, who took over the business in 1938. Neža sewed till she went into the home for the aged in Vojnik, where she died in 1958. The residence house is a raised ground floor building made of stone with a lengthy ground plan and with partly buried cellar i.e. with two parts where a wood turner and blacksmith used to have their workshops. The building was constructed in 1837. The year is engraved in roman numbers into the stone entrance portal with a crossbeam (the inscription) and a skylight (N 18). The house is designed symmetrically and it has a traditional order of the interior according to ground plan. It was built in the baroque tradition. The front panels are divided with pilasters; the windows have borders, made of lime mortar. Single concrete stairs lead to the ground floor level, and the railing is built of stone. Above the platform there is a “frčada” (roof structure) standing out of the roof. The structure is carried by two wooden pillars. The house has a preserved black kitchen, which leads to the courtyard front. The courtyard has a partially open inner corridor, which ends in the lavatory on one side and in small household rooms on the other. The corridor has two arches, supported by a bulbous stone pillar. The access to the corridor is provided by wooden stairs and a platform, covered with roofing tiles that are supported by two slim pillars. The house has a special significance also because of its location opposite the Church of Saint Urh. It is rare also due to its structure, since in vicinity only two similar buildings can be found. The building is owned by Kozjanski Park, which is currently preparing a revival plan for this monument. With the financial help of the Ministry of Culture and in co-operation with the Institute for Cultural Heritage Protection in Celje we managed the reconstruction works here in Kozjanski Park.










Drinking About Museums

We're talking about museums, and beer is involved.


This is home base (at least for the moment) for the #drinkingaboutmuseums community. If you're hosting an event, or looking to attend one, or are just generally interested, post here. We're all pretty nice folks.




Lisa WorleyDiscussion - 13:44


The Austin Museum Partnership is #drinkingaboutmuseums on Wednesday, March 18, at 5:30 PM at Scholz Garten (1607 San Jacinto). If you're in town for#sxsw2015 ,


fonte: @edisonmariotti #edisonmariotti 

Lula Leaves Aside Creation of New Museum in the Center of São Paulo

FROM SÃO PAULO

An ambitious project of former president Lula da Silva, the "Memorial da Democracia" museum, is on standby.

It was intended to occupy an area of 4,300 square meters in the center of São Paulo, with items of Lula's personal collection, but now it will become a website.

The "Memorial da Democracia" would be an interactive museum which would tell the story of Brazilian democracy.

It had been one of Lula's plans since 2010, when he left office.

But the crisis begun by the Federal Police investigations in the Car Wash Operation scared away traditional donors and the presence of a group of homeless people in the area that had been reserved, as well as legal obstacles, led to the cancelation of the plan.

The first module of the website will be launched next month. It covers the period between 1964 and 2002.

Translated by THOMAS MUELLO






Apu Gomes/Folhapress/Divulgação 
The ambitious project of former president Lula da Silva is now on standby



fonte: @edisonmariotti #edisonmariotti http://www1.folha.uol.com.br/internacional/en/brazil/2015/03/1600136-lula-leaves-aside-creation-of-new-museum-in-the-center-of-sao-paulo.shtml

Deux Roms exposés dans un musée suédois

Ce couple de mendiants pose comme œuvre d’art, alimentant le débat sur les limites de la dignité humaine.

Les deux Roms posent le 2 février 2015 dans une pièce du musée Malmö Konsthall, dont l'un tient une pancarte disant «J'ai deux enfants et ils n'ont pas de maison où vivre. J'ai besoin de votre aide. Merci.» (Photo Albin Balthasar. AFP)





Le Sud-Africain Brett Bailey avait choqué avec Exhibit B, cette exposition rappelant les zoos humains coloniaux, désormais c'est un musée suédois qui fait parler de lui. A Malmö, deux Roms de 26 et 28 ans sont exposés dans un musée municipal d'art contemporain, le Malmö Konsthall. Ils sont assis en silence dans des coins opposés d’une salle quasi vide tapissée de quelques coupures de journaux sur les problèmes sociaux, à la lumière tamisée, sur fond de musique douce. Pour voir l’œuvre, il faut traverser un couloir sombre où des écrans disent : «Aujourd’hui vous n’êtes pas obligé de donner».SUR LE MÊME SUJET


Peu de visiteurs restent dans la pièce plus de quelques secondes. «On se sent un peu mal à l’aise. Je n’ai pas réussi à me concentrer quand j’étais dans la salle», dit un visiteur, Pär Körsell. «La pauvreté était si près. Ça m’a gênée», en déclare une autre, Ann-Margret Oftedal.

Pour Anders Carlsson, directeur artistique de l’Institutet, groupe qui a piloté l’exposition, le but est justement de provoquer un questionnement sur l’attitude face aux mendiants, rares avant l’afflux de Roms de ces dernières années. La mendicité est légale en Suède et, à Malmö, ils seraient 150 à faire la manche, selon une association rom. L’arrivée de Roms et de nombreux immigrants dans le pays scandinave s’est accompagnée d’une percée des Démocrates de Suède (SD), un parti anti-immigration. «En tant qu’artiste je peux offrir un espace où les gens peuvent rechercher pourquoi ils tolèrent autant ces injustices qui enfreignent en fait leur propre morale», explique Anders Carlsson.
15 EUROS DE L'HEURE




Luca Lacatus, charpentier roumain de 28 ans qui a quitté un village du nord de la Roumanie, a été approché, avec sa petite amie Marcella Cheresi, alors qu’il mendiait dans les rues de Malmö, la troisième ville suédoise. De 30 à 60 couronnes (3,25 à 6,50 euros) récoltés sous la pluie ou le vent, ils ont quadruplé leur revenu journalier en se contentant de poser deux heures. «Ça vaut mieux que d’être dans la rue. Dehors il fait froid et les gens ne sont pas aussi sympas qu’ici. Et il n’y a pas besoin de parler beaucoup», dit Luca Lacatus à l’AFP, interrogé grâce à un traducteur. Les quelque 15 euros qu’il gagne par heure doivent l’aider à rebâtir une maison dont il dit qu’elle a été incendiée il y a deux ans. Cela a amené les services sociaux à lui prendre deux de ses quatre enfants, les deux autres partant vivre chez des proches. Marcella Cheresi, 26 ans, enceinte du premier enfant du couple, avait aussi des enfants d’un premier lit : deux, qui vivent chez sa sœur.

Luca Lacatus tranche avec les clients habituels du restaurant du musée, généralement des intellectuels de gauche. «Les gens ici se sentent plus désolés pour nous que ceux dans la rue», remarque-t-il.
AMENER LES RICHES À POSER

Comme attendu, l’œuvre a fait polémique. Le président de l’association qui représente les 10 000 Roms suédois de Malmö, Erland Kaldaras, voit de meilleures manières d’évoquer la dure condition des immigrés roumains, comme par exemple de médiatiser l’action d’organisations «sérieuses, bien implantées qui travaillent sur ces questions au quotidien». «Ça nous ennuie, nous Roms qui vivons en Suède, de voir nos frères et sœurs assis dans la rue à mendier», reconnaît-il.

D’autres ont estimé que le visiteur n’apprenait rien sur les questions que pose la difficulté pour ces citoyens de l’UE d’accéder à un logement décent et un travail. «L’exposition n’est pas sur leur vie ou la façon dont ils ressentent la pauvreté et la misère, elle est sur la manière dont nous ressentons la mendicité», a déploré Aaron Israelson, rédacteur en chef d’un magazine vendu par des sans-abris. Une journaliste et polémiste de gauche, Kajsa Ekis Ekman, a affirmé que la véritable subversion aurait été d’amener des riches à poser. «Si des gens avaient vu leur patron assis à demander l’argent ils auraient vraiment dû réfléchir», a-t-elle écrit dans le quotidien ETC.



fonte: @edisonmariotti #edisonmariotti http://www.liberation.fr/monde/2015/03/09/deux-roms-exposes-dans-un-musee-suedois_1217188