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In the 11th century, Kiev closely adhered to the Byzantine traditions in producing the first Russian enamels. Progress was interrupted by the Mongol invasions in the 13th century. There was, however, a revival of the arts in the 16th century, and during the 17th century the Kremlin Armory in Moscow and various northern trading centers emerged as major bases for the manufacture of liturgical and secular enamels, while the program of westernization initiated by Peter the Great in the early 18th century attracted foreign artisans who brought their own techniques to the capital, St Petersburg. The 19th century closed with a dichotomy of styles: classicizing, courtly traditions flourished in St Petersburg, as demonstrated in the art of pre-eminent master Carl Faberge. However, Moscow served as the heart of the Russian Revival movement, and the vibrantly colored and exotic-looking revival enamels are also prized by collectors today.
First Published in 1998 , The Dictionary of Enamelling is the first book to provide a comprehensive guide to this most diverse of the decorative arts.Indispensable for anyone interested in the evolution of enamelling technique, the book includes some 400 entries covering every aspect of its history. There are entries on key pieces, individual enamellers, designers, schools, techniques, and the major achievements are described in every era. The knowledge and insight of Erika Speel’s account are supported and enhanced by a brilliantly researched collection of 200 illustrations, 100 in colour, portraying the most dazzling and important pieces, a unique visual record of enamelling history. The Dictionary of Enamelling will be invaluable to people who collect, study, create and enjoy enamels.
This volume gathers together 17 articles published over the last 30 years, together with one appearing here for the first time. Their focus is primarily on enamel, the brilliant and colourful art form for which the Byzantines were famous throughout the medieval world, but sculpture and glyptics also figure. The author examines not only works which have retained the form in which they were first created, but others which have had their original Byzantine elements re-used, often by artists in the West. While most of the works featured here have been known to scholars before, one was unknown prior to its first publication in 2006.
In the politically and militarily complex world of the medieval Eastern Mediterranean people and entities of different ethnic, religious and linguistic backgrounds came into close contact at many different levels, from everyday dealings in the marketplace to high diplomacy between competing states, thus providing scope for fertile cross-cultural interaction and permeation. This collective volume examines aspects of intercultural communication as reflected in Byzantine, Latin and Arabic documentary sources originating from or relating to the Eastern Mediterranean and ranging from the eleventh to the fifteenth centuries. Twenty essays examine a variety of archival sources for the Latin East, explore chancery traditions in the culturally diverse society of Frankish Cyprus, and trace modes of communication and exchange between Byzantium, Islam and the West. Contributors are: Jean Richard, David Jacoby, Benjamin Z. Kedar, Michel Balard, Peter Schreiner, Michel Balivet, Catherine Otten-Froux, Svetlana V. Bliznyuk, Brenda Bolton, Karl Borchardt, Nicholas Coureas, William O. Duba, Charalambos Gasparis, Hubert Houben, Angel Nicolaou-Konnari, Johannes Pahlitzsch, and Kostis Smyrlis.
Paula Israelewicz, the Russian-born linguist and librarian has made available to Western readers, in an English translation, Reminiscences of a Russian Antiquarian Bookseller, the memoirs, written at an advanced age by eldest Moscow book dealer L.A. Glazer. The volume recounts Glazer’s sixty years’ experience in the book world of his time and place. Throughout the eight chapters, Glazer gives the reader a detailed account of his encounters with booklovers in all walks of life; noted bibliophiles, scholars, bookmen and bibliographers, writers, actors, musicians and also students whom he inspired with an interest for books. The many ‘treasures’ and private collections handled by Glazer during his long career are described in the book, mostly Russian works from the 16th to the 20th century, writings of Russian authors such as Pushkin and many others. The beginning of Glazer’s career coincided with a period after the revolution. For the Western reader it is interesting to realize that even under the Soviet regime ‘normal’ life went on in the milieu dedicated to books. Perhaps reading and book collecting constituted an ‘escape’ from the troubles of daily life, the persecutions of the Stalin era, and the horrors of World War Two.