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quinta-feira, 6 de agosto de 2015

Contemporary Art Museum of Macedonia -- (Macedonian: Музеј на современата уметност)

The Contemporary Art Museum of Macedonia  is one of the largest and most complete national institution of the Republic of Macedonia. Located in the capital city of Skopje, the museum was founded in 1963 following the disastrous earthquake that hit the city. The building project was donated by the Polish Government.

The idea of ​​establishing such a museum vozniknala after the earthquake of 1963 and the large number of outstanding works of art as solidarity by international organizations, museums and individuals. In order to accommodate these gifts on February 11, 1964 a decision establishing the Museum of Contemporary Art. The number of donations and gifts has increased in recent years, and from 1966 to 1970 It was rented gallery space for holding exhibitions. Due to increased demand, in 1969, began construction of the new museum building, which was officially opened on November 13, 1970.

The building of the museum occupies a total area of ​​over 5,000 m2, and it consists of three connected buildings, which are arranged halls for temporary exhibitions, permanent exhibition space, lecture hall, library and archives and other facilities. The outdoor area around the Museum serves sprovedvanje various sculptural projects. [4] In the premises of the museum held exhibitions, events related to Macedonian and foreign art, debates, discussions with artists, film show and other cultural events. The museum also has valuable international collection, which gives a representation of the Macedonian contemporary art.

One of the galleries of the museum
Among the exhibited works, the museum presents various renowned artists of modernism and other artistic movements of the XX century. Among them include the following:

The collection is made up of two segments; international and national. The international segment of the collections reflects the modern art from almost all parts of the world. The larger part of the collection marks the art movements of the 1950s, 1960's and 1970s, although it contains also around a hundred works of the early modern art. The older exhibits are mainly highlighted by works of Emil Filla, Fernand Léger, and André Masson. The works of the internationally well-known artists are of special importance, such as: Pablo Picasso, Hans Hartung, Victor Vasarely, Alexander Calder, Pierre Soulages, Alberto Burri, Christo, Robert Jacobsen, Etienne Hajdu, Zoltan Kemeny, Robert Adams[disambiguation needed], Emilio Vedova, Antoni Clavé, and Georg Baselitz.

fonte: @edisonmariotti #edisonmariotti

Ethnographical exhibition of the Regional Museum of History of Pazardzhik

The Pazardzhik History Museum (Bulgarian: Регионален исторически музей - Пазарджик) is a history museum in Pazardzhik, Bulgaria. It is located at 15 Konstantin Velichkov Square.

The ethnographical exhibition of the Regional Museum of History in Pazardzhik is set up in the biggest Baroque house from the Bulgarian Revival Period in Pazardhik constructed in 1850 by master builders from Bratsigovo. The house belonged to Nikolaki Hristovich, a rich merchant from Pazardzhik. It was declared a national monument of architecture and culture by virtue of publication in State Gazette, issue No 25 of 1998.

The house has 18 symmetrically arranged rooms. The panel doors and the artistic decoration are particularly interesting. 

The ethnographical exhibition was opened in 1974. It embodies the rich spiritual and material culture of the people of Pazardzhik in the period up to the mid-20th century.

The architecture of residential and public buildings is shown on the first two floors: pictures and models of residential buildings from different towns and villages in the region are displayed. A large map of the Pazardzhik Region with models of typical houses is shown in the centre of the exhibition hall. Three of the halls of the museum are devoted to the typical interior of the rural houses.
Different pieces of equipment used for the processing of cotton, flax, hemp and wool tell about the characteristic home crafts of Pazardzhik and the region. Central spot is given to the home loom.

A reconstruction of Panagyurishte shoemaker’s shop from the beginning of the 20th century can be found in the museum. The tools of the master shoemakers are also displayed. Other halls of the museum house reconstructions of a frieze-weaving (tailor’s) shop and a furrier’s workshop.

Visitors will find reconstructions of the living-room and the drawing-room of a poor urban family in one of the halls on the second floor. Authentic objects from Pazardzhik were used for the reconstructions. 

In another hall visitors will see the living-room of a rich urban family where the focus is on household goods bought abroad. These include a beautiful charcoal-pan used for the heating of the room, plush tablecloth, Vienna chairs, crystal mirror, etc. A copy of the portrait of Nikolaki Hristovich, owner of the house, is kept in this room. The original was painted by artist Stanislav Dospevski.

Exhibits of traditional costumes and clothes of the region can be found on the second floor of the Ethnographic Museum. Authentic formal national costumes from the Rhodope, the Plain, and the Sredna gora (Middle Forest) parts of the region are put on display in the vertical showcases. Bracelets, earrings, buckle belts, rings, and other adornments used as formal clothing accessories are arranged in the small horizontal showcases.

Photographs, texts and various objects from the everyday life provide information about the customs and the holidays of the people from the region. 
In the folklore room visitors can see musical instruments typical of the Pazardzhik Region.
Information materials and souvenirs are sold at the museum.

fonte: @edisonmariotti #edisonmariotti


Berestye Archeological Museum where Belarusian archaeologists unearthed the ancient settlement of Berestye (Brest) and the archeological museum has been set on the excavated ruins.

Brest [City] Archeology

The are remnants of wooden houses of the 14th century standing along three main streets, barns and shops of the craftsman. Plenty of everyday things made of iron, leather and fabrics have been excavated there. All of them are exhibited at the museum. The museum is not at all big, but extremely interesting. 

Excavation site. 
Photo Credit: Michael Mina Excavation site.
Photo Credit: Ethan Levine

Description and History
The Berestye Archeological Museum is the only place in Europe, where visitors can view a unique archeological site of a medieval East Slavic city. It is located within the Volyn fortification of the Brest Fortress (Brest, Belarus), on the spot of the age-old Slavic settlement. 

Ancient baseball.
Photo Credit: Ethan Levine

In the early 1980's a modern structure of concrete, glass and aluminum in the shape of a huge roof was erected over the archeological site, featuring a magnificent treasure of East Slavic wooden structures dating back to the 13th century. These structures were amazingly preserved under a mantle of impervious layers of earth. The excavated log cabins appeared to be tall and numerous enough to imagine the general view of the structures, streets and even the city layout. Therefore the Berestye archeological site is considered to be the most noteworthy among similar sites of east Slavic nations. 

The museum houses a vast collection of artifacts, dating back to the 11th - 14th centuries.These artifacts were excavated between 1968 -- 1981 by Belarusian archaeologists under the supervision of the prominent archaeologist Dr. Pyotr Fyodorovich Lysenko. For a long time, Dr. Lysenko has been researching the archeological monuments on the territory of Belarus that date back to the times of Kievan Rus.

At the 1,800 square meters site, the archaeologists excavated over 200 wooden houses and service buildings, making up three streets. In addition, over 40,000 artifacts were discovered. The cultural layer, consisting of debris of buildings and various remarkable artifacts, exceeds 7 meters in depth. 

Thus, Berestye proved to be a thriving European city at the cross roads of 2 great European trade routes. 

The history and culture of Berestye is derived from both archaeological excavations and from literary sources. The first record about Berestye, dating back to 1019, was found in the primary Russian document, The Chronicle of Nestor. 

Originally Berestye covered an area of about 3.5 - 4 hectares (8 - 10 acres) and its population totaled 1,500 - 2,000 people. The city was a stronghold on the border of the East Slavic and Polish lands. It was enclosed by ramparts and ditches. In the late 13th century a big castle was constructed with a brick defense tower dominating over it. At the same period a stone church was constructed in Berestye. The city streets were arranged in a gridiron pattern. Being situated at the confluence of the Mukhavets and Bug Rivers, Berestye was an important market city and a big crafts center at the cross roads of several cultures. 

-- Description and History contributed by Oleg Medvedevsky, Brest, 2 March 2005.

fonte: @edisonmariotti #edisonmariotti

Museu de Zhejiang exibe antigas peças de porcelana -- The General Information section provides a broad range overview of Zhejiang University.

Uma exposição de peças que representam mais de 2.000 anos de história da porcelana chinesa está aberta ao público no Museu Provincial de Zhejiang, em Hangzhou, sudeste da China.

Focalizada na "Rota Marítima de Porcelana", a exibição apresenta 185 relíquias culturais de porcelana criadas e exportadas desde a antiga Dinastia Han até a Dinastia Qing, que terminou em 1911.

As peças foram emprestadas pelos Museus de Macau, de Guangdong e de Arte de Hong Kong.

A exposição ainda mostra a influência chinesa no desenvolvimento das artes dos países asiáticos e europeus.

fonte: @edisonmariotti #edisonmariotti


Introduction to Zhejiang University

The General Information section provides a broad range overview of Zhejiang University.

The University Motto: Zhejiang University encourages all its faculty members and students to follow the spirit of "pursuing the truth, being rigorous and earnest, exerting oneself for never-ending progress, and pioneering new trails". In short, the university motto is "Seeking the Truth and Pioneering New Trails".

Zhejiang University Art and Archaeological Museum under Construction

On the afternoon of November 5, the groundbreaking ceremony of Zhejiang University Art and Archaeological Museum was held at the construction site of the museum on Zijingang campus. The museum covers an area of 50 acres and a building area of 25,000 square meters. To be open in 2015, the museum is designed to be a high-level international art history teaching museum in terms of its function, space and facilities. The museum is designed by the internationally renowned museum design agency Gluckman Mayner Architects.

The project of Zhejiang University Art and Archaeological Museum was proposed by Zhejiang University and internationally renowned art historian, honorary professor of Princeton University Fang Wen. Prof. Fang is the founder of research on Chinese art history in western world and is committed to the development of Chinese art history. In recent years, Fang has provided important support and guidance to the construction of Zhejiang University Art and Archaeological Museum. On this special occasion, he sent a congratulatory letter for the groundbreaking ceremony.

In his letter, Mr. Fang Wen said that Zhejiang University Art and Archaeological Museum bears the dreams of their generation of Chinese scholars and their anticipation for the next generation. He was looking forward to the completion of China’s first world-class teaching museum of art history at Zhejiang University. “For more than half a century, Chinese art history developed from zero in the western world and experienced a difficult process of continuous improvement. Our generation of scholars witnessed and contributed to the process. Now it’s time for study of Chinese art history to return to the motherland. It has become a top priority to popularize education of art history and to build high standard teaching museums of art history at Chinese universities.”

President Yang Wei said, “The commencement of construction of Zhejiang University Art and Archaeological Museum marked not only the construction of west Zijingang campus, but also an important step in cultural inheritance and innovation.” The inheritance of civilization and promotion of culture are important missions of a modern university. A high-level university museum will provide teachers and students with access to exploration of world civilization, and will have a positive and far-reaching impact for the improvement of levels of the university and city, the development of humanities and social sciences, and promotion of public cultural literacy. Yang expressed the expectation that the museum can be built into a landmark project and would expand collection resources, carry out high-level research, strengthen publicity and promotion, improve efficiency, and facilitate the sharing of teaching and research resources so as to make itself a first-class academic institution with international and regional impact.

What is the concept of a teaching museum? Will it be free in the future? What are the treasures of the museum? Miao Zhe, Director of Zhejiang University Art and Archaeology Research Center, interpreted “Our ideal art and archaeological museum”.

Miao Zhe explained that understanding art history is an important way to correctly understand the diversity of human civilization and globalization. With two themes of “art history” and “teaching”, Zhejiang University Art and Archaeological Museum differs from other public museums in its collection and functions. It not only displays collections; more importantly, it will teach people how to use physical historical materials. In other words, it’s committed to enhance people’s visual literacy skills on the basis of providing visual resources. For students on campus, they can complete a large number of art history courses at the museum, enhancing their visual literacy skills. For the public, the museum will provide more historical information about collections from a professional perspective. “In this perspective, Zhejiang University Art and Archaeological Museum doesn’t have any greatest treasures because the treasures here are the information that can interpret history. Here, bronze and clay mold for manufacturing bronze are equally important.” To this end, Zhejiang University Art and Archaeological Museum will take it as a long-term goal to cover collections of all human civilizations and different eras of art, and will be open to the public for free in an appropriate means. Both porcelains and porcelain tiles will be displayed. It will also provide educational activities such as lectures, seminars, movies, performances and so on.

"To understand past civilizations we mainly rely on written historical records and physical historical materials such as works of arts. Traditionally people attach more important to written historical records. But museums, especially teaching museums, focus on and emphasize physical historical materials, which is about visual literacy.” According to Miao Zhe, major American universities including Harvard, Yale, Stanford and Princeton all have teaching museums of art history. Educational institutions of other countries follow suit in building teaching museums of art history.

"The building of Zhejiang University Art and Archaeological Museum is related to the educational reform in recent years and is an important aspect of strengthening general education at Zhejiang University. Zhejiang University Art and Archaeological Museum is the first teaching museum in domestic universities.”

The Martyrs’ Memorial and Museum, Jordan

John Winterburn finds a censored version of Jordan’s military history at the country’s national army museum.

Sarh al-Shaheed, The Martyrs Memorial, sits like an acropolis on the hill overlooking the capital city, Amman. From the outside it is austere, presenting an almost featureless façade of gleaming white stone broken only by a band of polished black basalt inscribed with gold lettering; words from the Quran on the subject of martyrs and martyrdom.

In front of the building is a large forecourt, and two Long-Tom (155mm M1) field-guns are positioned pointing over the city on silent sentry duty, symbolically reinforcing the power and authority of the place and protecting the memory of the martyrs. The possibility that these guns may have been the ones to shell Tel Aviv and Jerusalem in Jordan’s disastrous participation in the 1967 Six Day War is forgotten here and never mentioned within the museum.

More than just a museum, the building is a memorial to those, The Martyrs, who gave their lives in the service of Jordan since 1915, a place where ‘the nation celebrates its victories and the state displays its history’, and honours the Hashemite dynasty in Jordan.

Built on the orders of the King Hussein bin Talal, the father of modern Jordan, it was designed by the Jordanian born architect Victor Adel Bisharat and inaugurated on 25 June 1977, a date that coincided with the 25th anniversary of nation building under the king. The design of the building means that visitors are shepherded ever-upwards, climbing to the higher levels of the museum. This carefully choreographed movement symbolises the transcendence of martyrs’ spirits. The building’s large interior space and external appearance are a style-reference the Ka’aba, the holiest place for Muslims, in Mecca.

The museum space within the memorial comprises three interior walls or wings each hung with exhibits presenting the Great Arab Revolt, the foundation of the Emirate of Transjordan and the Arab Legion, and the development of Jordan’s armed forces. This is history as that state wishes it to be portrayed, with victories celebrated and defeats forgotten. The Ottomans are portrayed as enemies and five centuries of their heritage are erased from memory as Jordanian history is depicted to begin with the Great Arab Revolt, followed by the subsequent accomplishments of the Hashemite dynasty.

To enter the building the visitor climbs up white steps from the forecourt and enters a wide doorway in the centre of the wall, gaining access to the large hall decorated with the standards of the Jordanian Army units. From here one is directed to a ramp which gently ascends along the internal walls of the building, past the cabinets housing military artefacts associated with Jordan’s history. The visitor is guided along a walkway passing displays that begin with the Great Arab revolt against the Ottoman empire and initiated by Sharif Hussein of Mecca, the great-great-grandfather of the present King, Abdullah II.

Sharif Hussein’s portrait is shown alongside some of his belongings including an ivory walking stick and the silk ikal, together with photographs of four of his sons, and images of the Ka’aba, reinforcing the Hashemite link with Mecca. There are exhibits of old weapons, including pistols and rifles used at the time of the revolt, beside which is a cabinet of photographs of the Turkish-held fortified garrison railway station complex at Ma’an which was attacked by Arab forces in April 1918. It was briefly taken but never held by the Arab forces during the revolt, a fact glossed over in the display which includes short sections of damaged railway track and explosives.

Continuing upward you pass other historic displays and head towards toward more contemporary exhibits. The cabinets hous curious agglomerations of Turkish uniform, British radio equipment, US-made weapons, groundsheets, signalling lamps, Turkish cavalry swords, and camel saddles together with photographs of Glubb Pasha and the Jordanian Army in the 1950s. One particularly interesting artefact is a complete copy of the Quran printed on a single sheet of paper; another reference to the importance of the Hashemite-Islamic heritage.

As the ramp ascends further, the cabinets show badges of rank and formation signs, and the honours medals awarded to the army. Several examples of uniforms are on view including one worn by the late King Hussein.

At the top of the building is a walled roof garden, but access is restricted by large glass panels. Itself like a large museum cabinet, this enclosed ceremonial space is for the privileged. At its centre stands a small olive tree; the tree of life and peace. Beside it sits a golden pitcher from which the King and visiting dignitaries can sprinkle water on the tree in a ritual that places the martyrs’ remembrance at the heart of the country’s military ceremonial. The public are able to stand and look through gold tinted glass doors, but are not permitted to touch, walk around, or read the black panels inscribed with the names of the martyrs.

If one has a couple of hours to spare in Amman, on the way to or from the airport or Jordan’s many other historic sites, then a visit to this memorial and museum will be of interest particularly to military historians. Visiting this remarkable building is stimulating and helps one understand a little about the rare Middle Eastern memorialisation of conflict and the concept of ‘martyrdom’, as opposed to the remembrance of the ‘fallen’ in the western Europe’s memorials.

The museum’s collections are limited and narrate a sanitised view of history, but the best exhibit is the building itself and its immediate environment. Looking at its design, position, and symbolism will leave you with an understanding of the importance of the country’s military and their Hashemite pedigree to the modern state of Jordan.

Further Information
Sarh al-Shaheed, the Martyr’s Memorial, is located next to the Sports City Stadium, gate 4, in the Shmeisani district, 5 km northwest of Al-Balad (downtown), Amman.
It is open everyday, 8am-4pm, and is closed Friday. Entry is free of charge.
Tel. + 962 6 566 4240

fonte: @edisonmariotti @edisonmariotti