Музеи мира - World museums (стр. 2 из 2)

In the 1970s, it resumed its academic activities, and today is again home to the Department of Near Eastern Languages and Civilizations and to the University's collections of Near Eastern archaeological artifacts. These artifacts comprise over 40,000 items, including pottery, cylinder seals, sculpture, coins and cuneiform tablets. Most are from museum-sponsored excavations in Iraq, Jordan, Israel, Egypt, Cyprus, and Tunisia. The Museum is dedicated to the use of these collections for teaching, research and publication of Near Eastern archaeology, history, and culture.

Tareq Rajab Museum

The Museum was built up and run privately by the Rajab family. It was opened to the general public in 1980. The Museum is divided into two main sections of Islamic Art:

SECTION A

This Section deals with calligraphy, pottery, metalwork, glass, wood, ivory and jade carvings of the Islamic world. Early calligraphy is presented in a separate small room, showing pages from the Holy Qur'an, dating back to the first three centuries of the Islamic period. It also contains an early dated Qur'an written on parchment, dating to 393AH/AD1002. Later examples display calligraphic panels., inscriptions which were cut, or in brail script.
A collection of Holy Qur'ans from small to large examples.
A treatise of the 9th century scholar al-kindi on optics.
A page fragment from the timurid Prince Baysunqur's Qur'an.

Pottery
The pottery section presents the full history of this art form, starting from pre-Islamic time up to the 19th century. So far the only known dated piece of this type of pottery. It is decorated with a beautiful written kuffic inscription, giving a quotation from the the Holy Qur'an. So far the earliest known ceramic object with a Quranic inscription.

Metal Work
The large selection of metalwork on display includes objects from the Umayyad period onward. Among them a 7th - 8th century AD bronze ewer, and an early incense burner. Seljuq, Ghaznavid and Ghurid period metalwork is well represented by ewers, flasks, oil-lamps and incense-burners. Of the later periods several bowls, ewers and trays are shown.

Glass Work
Islamic glass of the early periods are demonstrated by a number of vessels, including perfume flasks, medicine bottles and beakers. Some of these have cut, others applique or trailed decoration. The ivory carvings include an indian musical instrument, a so-called "Sarinda", pen-boxes and another musical instrument from ottoman Turkey, a Kemence.

Jade
The exhibited jades are all from Mughal India and date from the 17th and 18th centuries, including an extremely rare red and white jade as well.

Arms and Armour
The arms and armour is shown in several display cabinets and one room is specially dedicated to the swords and daggers of the Near and Middle East. There is also a special and extremely rare object, a ceremonial shield, carved out of buffalo hide, made at Ahmadabad in India during the 16th century.

Lacquer work
Islamic lacquerwork is presented in a special cabinet and it includes a 14h Mamluk box, a late 14th or early 15th century Qur'an stand, or Rahla, a signed and dated Kashmir mirror-case and many Qajar pen-boxes and mirror-cases.

SECTION B

This part of the Museum deals with the costumes, textiles, embroideries and jewellery of the Islamic world, but also includes relevent objects from Tibet, Nepal and Bhutan.
The objects are exhibited in the following order:
The gulf countries: Kuwait, Bahrain, the United Arab Emirates, Oman and the Yemen.

The exibited objects include jewellery, costumes and textiles of these countries. This is followed by a detailed display of folk jewellery of other near and Middle Eastern countries and also of India, Nepal, Tibet and Bhutan.

The collection is particularly rich in Syrian and Palestinian costumes, while its folk jewellery is perhaps one of the richest and largest in the world.

In both sections of the museum there are large numbers of swords, daggers, some old Islamic fire-arms and gun-powder holders.

Likewise, an outstanding collection of musical instruments from almost every part of the Oriental world are exhibited.

There is a special collection of jewellery, which once, so it is claimed, belonged to the last Emir of Bukhara.

The Living Art Museum

The Living Art Museum owns a very large collection of art and source material, donated by members of the Living Art Museum Association and others. When the museum was founded, a provision was incorporated in its Organization Charter, stipulating that its members would donate one work upon joining the Association and subsequently every few years. These provisions have not been strictly observed, as it soon became evident that storage space, as well as funds for the preservation and maintenance of the art collection were insufficient. Furthermore, one of the main objectives of the Living Art Museum, that of collecting contemporary art, has encouraged the official/state-owned art museums to pay more attention to contemporary art. Nevertheless, the Living Art Museum owns a fairly extensive art collection and has succeeded in preserving a unique part of Iceland's art history. For example, the Museum owns the largest artists books collection in the country, one of the world's largest collections of the work of German-Swiss artist Dieter Roth, as well as works by most members of the SÚM Group, Jón Gunnar Árnason, Magnús Pálsson, Hreinn Friðfinnsson, the brothers Sigurður Guðmundsson and Kristján Guðmundsson, Róska, Arnar Herbertsson, Magnús Tómasson, Gylfi GIacute;slason, Sigurjón Jóhannsson, Hildur Hákonardóttir and Guðbergur Bergsson.

The Museum owns works by many of the nation's best-known younger artists and the collection is growing steadily. The collection also includes works by some 50 foreign artists, such as Joseph Beuys, Pieter Holstein, Richard Hamilton, Dorothy Iannone, Jan Voss, Wolf Vostell, Douwe Jan Bakker, Emmet Williams, Robert Filiou, Nini Tang, Peter Angermann, John Armleder, Geoffrey Hendriks, Jan Knap, Alan Johnston, Peter Mönning, Bengt Adlers and Franz Graf.

All works of art in the Museum's possession are selected by the artists themselves and not by specialists of art institutions. A catalogue of the art collection of the Living Art Museum is accessible on a digital database.

The Prince of Wales Museum of West India

In the early years of the twentieth century, some prominent citizens of Bombay decided to set up a Museum with the help of the government to commemorate the visit of the Prince of Wales. One of the resolutions of the committee at its meeting on June 22, 1904 was, "The building should have a handsome and noble structure befitting the site selected, and in keeping with the best style of local architecture."

The committee spared no effort to realize this dream. On March 1, 1907, the then government of Bombay handed over to the museum committee a spot of land known as the "Crescent Site", situated at the southern end of the present Mahatma Gandhi Road. After an open competition for the design, George Wittet was commissioned to design the Museum building in 1909. George Wittet had collaborated with John Begg in the construction of the General Post Office building. His other works in Bombay include the Court of Small Causes and the magnificent Gateway of India.

The National Museum of History (Brazil)

The National Museum of History, pertaining to the Ministry of Culture, created in 1922, is one of the most important museums in Brazil with 287.000 items that include the largest numismatic collection in Latin America.

The architectural complex where the museum is situated had its origin in the Santiago Fort, located at the former Calaboose Point, one of the strategic points for the defense of the city of Rio de Janeiro.

The National Gallery of Canada

The National Gallery of Canada, a visual arts museum of international stature, holds its collections of art in trust for all Canadians. The mandate of the National gallery, as set out in the 1990 Museums Act is: to develop, maintain and make known, throughout Canada and internationally, a national collection of works of art, historic and contemporary, with special but not exclusive reference to Canada; and to further knowledge, understanding and enjoyment of art in general among all Canadians.

The Museum of Moroccan Arts

The imposing silhouette of the Dar el Makhzen dominates the Tangier kasbah.

Formerly the governor's palace, it was built in the XVIIth century and is laid out around a splendid patio decorated with enamelled faience.

The Museum of Moroccan Arts is housed in the prince's apartments which are indeed princely: painted wooden ceilings, sculpted plaster work and mosaics, all of them exquisite.
A worthy setting for works of art from all over Morocco, which are honoured as prestigious ambassadors of their regions.

The north is represented by firearms decorated with marquetry and its pottery bearing subtle motifs of flowers or feathers, while from Rabat come the shimmering carpets with their characteristic central medallion...
the Fez room is quite dazzling... silks with their subtly shifting highlights, superbly bound illuminated manuscripts with the finest calligraphy, centuries-old dishes decorated in the most brilliant colours, from golden yellow right through the famous "Fez blue".
From the miniscule to the monumental, the Moroccan Museum of Arts is an entire universe of beauty.

Albany museum

The Albany Museum is a provincial museum funded by the Department of Sport Art and Culture of the Eastern Cape and is an affiliated research institute of Rhodes University. The Museum today consists of a family of six buildings which includes the Natural Sciences Museum, the History Museum, the Observatory Museum, Fort Selwyn, the Old Provost military prison and the Drostdy Arch.

The Albany Museum, the second oldest museum in southern Africa, was founded on 11 September 1855, growing out of the Graham's Town Medical-Chirugical Society (later called the Literary, Scientific and Medical Society). Between 1859 and 1882 the Town Clerk of Grahamstown, Mr Glanville, served as the first Curator and he was succeeded by his daughter, Miss Mary Glanville until 1895 when Dr Selmar Schonland became the first director of the Museum. Initially the Museum was housed in several small facilities around Grahamstown, including the top floor of the City Hall, before moving to its permanent home in Somerset Street in 1902. This building now houses the core block of the present Natural Sciences Museum.

With Dr Schonland, came the historic ties which the Museum has with Rhodes University. In 1902 he addressed the Cape Parliament, speaking for the establishment of a university in Grahamstown, and persuaded the trustees of Cecil Rhodes's estate to pledge funds for the establishment of Rhodes University College. When the College was established in 1904 Dr Schonland became its first professor of Botany. In 1910 Dr Schonland was succeeded as director by Dr John Hewitt.

John Hewitt's research lay in the fields of vertebrate zoology and archaeology. He undertook archaeological excavations at the Wilton and Howison's Poort type sites. During this period Grahamstown's long-standing affair with fishes started. In 1930 Dr J.L.B. Smith, Senior Lecturer in Chemistry at Rhodes, identified and catalogued the Museum's marine fish collection. The following year Mr Rex Jubb sent the first small collection of freshwater fishes from Southern Rhodesia (now Zimbabwe) to the Museum.

On the 6th September 1941 the Museum suffered a devastating fire with a great loss of exhibited material. Fortunately the library and most of the research collections were saved. In 1952 the Museum's collection of fishes was loaned to the University's Department of Ichthyology. Three years later the Museum celebrated its centenary and, in 1957, its staff became Provincial employees.

Dr John Hewitt retired the following year, and was succeeded by Dr Tom H. Barry. During Dr Barry's tenure of five years the Hewitt and Rennie Wings were added to the Natural Sciences Museum and the 1820 Settlers Memorial Museum (now called the History Museum) was built.

The period between 1965 and 1977, the directorship of Mr C.F. Jacot Guillarmod, was one of consolidation. The National Collection of Freshwater Organisms was transferred from the CSIR to the Museum. The Early Stone Age site at Amanzi was excavated and re-excavations were done at Wilton and Howison's Poort. Fort Selwyn was restored by the Cape Provincial authority and handed over to the Museum in 1977.

In 1977 Mr Jacot Guillarmod was succeeded by Mr Brian Wilmot and it was at this time that the Museum entered a new period of growth. De Beers Consolidated Mines Limited purchased and restored the Observatory and the Priest's House and donated them to the Museum. The Old Provost military prison was restored by the Cape Province.

The freshwater fish collections of the Transvaal and Cape Nature Conservation authorities, the Natal Museum and the South African Museum were transferred to the Albany Museum (the latter two on loan) making it the largest collection in southern Africa. Museum staff started teaching short courses at the University and, in 1983, the Museum became an Affiliated Research Institute of Rhodes University. The close relationship with the University was expanded with the consolidation of the herbaria of the two institutions and the formation of the Selmar Schonland Herbarium, housed in the Natural Sciences Museum.