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This volume addresses new theoretical approaches in visual and memory studies that prompted to rethink of the photography of Russian Turkestan of the nineteenth and early twentieth centuries. Attempts to relate the visual unknown documentations to postcolonial criticism also opened up new interpretive arenas, helping to decentralize the analysis of the history of photography. The aim of this volume is to interpret photography as a specific tool that reifies reality, subjectively frames it, and fits it into various political, ideological, commercial, scientific, and artistic contexts. Without reducing the entire argument to the binary of ‘photography and power’, the authors reveal the different modes of seeing that involve distinct cultural norms, social practices, power relations, levels of technology, and networks for circulating photography, and that determined the manner of its (re)use in constructing various images of Central Asia. The volume demonstrates that photography was the cornerstone of imperial media governance and discourse construction in colonial Turkestan of the tsarist and early Soviet periods. The various cases show the complex mechanisms by which images of Turkestan were created, remembered, or forgotten from the nineteenth until the twenty-first century. The book should appeal to scholars of the Russian Empire and Central Asia; of history of photography and visual culture; of memory studies. It should be appropriate for use in upper-level undergraduate courses, and even a broader public.
This book illuminates the crucial role photography played from the very beginning of the Russian colonial presence in Central Asia and its entanglement with the orientalist legacy that followed. Inessa Kouteinikova examines these under-studied materials while also addressing the photographic market and reception of photography in the Russian Empire, the position of the popular press, the place of public exhibitions and emergence of the first ethnographic museums that took pace from Moscow to Tashkent during the time of the Russian conquest. This book embraces the dominant mode for representing the new colonial territories in the mid-late-19th-century Russia, by outlining the technical, commercial and artistic milieus during the Golden Age of Russian orientalism. The book will be of interest to scholars working in art history, history of photography and Russian studies.
Examines the images, hopes, and fears that were evoked during China’s century-long subservience to external powers.
The following pages are not offered to the reader as a history of the invasion of Russia by Napoleon. They are but the statement of the basis of observation on which M. Verestchagin has founded his great series of pictures illustrative of the campaign. These pictures are now to be exhibited in this country, and the painter has naturally desired to show us from what point of view he has approached the study of his subject-one of the greatest subjects in the whole range of history-especially for a Russian artist. The point of view is-inevitably in his case-that of the Realist; and this consideration gives unity to the conception of his whole career and endeavour. He has ever painted war as it is, and therefore in its horrors, as one of its effects, though not necessarily as an effect sought in and for itself. He has tried to be "true" in all his representations of the battle-field. His work may thus be said to constitute a powerful plea in support of the Tsar's Rescript to the Nations in favour of peace. My meaning will be best illustrated by a short sketch of M. Verestchagin and his work, as painter, as soldier, and as traveller.
Selling Russia's Treasures documents one of the great cultural dramas of the twentieth century: the sale, by a cash-hungry Soviet government, of the artistic treasures accumulated by the Russian aristocracy over the centuries and nationalized after the October 1917 revolution. An astonishing variety of objects, from icons and illuminated manuscripts to Fabergé eggs and Old Master paintings, entered the collections of wealthy Westerners like Andrew Mellon and Armand Hammer in the 1920s and 30s. Written by the leading experts in the field and long regarded as the definitive book on the subject, the original Russian edition of Selling Russia's Treasures is sought after scholars and laymen alike. Now, for the first time, it is made available in English, in a revised and expanded edition that includes a new chapter on the secret files of the Hermitage, previously considered lost, as well as new research on the sale of religious art, and of twentieth-century French masterworks from the Museum of New Western Art. Numerous color plates reunite long-dispersed works in a virtual museum that illustrates the powerful blow inflicted on Russia's cultural heritage by these secretive sales, and rare photographs and archival documents help bring this buried history to light.
In Russia's cultural memory, the Caucasus is a potent point of reference, to which many emotions, images, and stereotypes are attached. The book gives a new reading of the development of Russia's perception of its borderlands and presents a complex picture of the encounter between the Russians and the indigenous population of the Caucasus. The study outlines the history of a region standing in between Russian reveries and Russian imperialism. (Series: Studies on South East Europe, Vol. 19) [Subject: History, Russian Studies, Ethnology]
This book is about the principal writings that shaped the perception of Turkey for informed readers in English, from Edward Gibbon’s positing of imperial Decline and Fall to the proclamation of the Turkish Republic (1923), illustrating how Turkey has always been a part of the modern British and European experience. It is a great sweep of a story: from Gibbon as standard textbook, through Lord Bryon the pro-Turkish poet, and Benjamin Disraeli the Romantic novelist of all things Eastern, followed by John Buchan's Greenmantle First World War espionage fantasies, and then Manchester Guardian reporter Arnold Toynbee narrating the fight for Turkish independence.
Vasily Vereshchagin (1842 -1904) was a Russian soldier, painter and traveller. He was born to a lesser noble family and sent to the Tsarskoe Selo military academy in 1850, 8 years old. in 1853, 11 years old he joined the Sea Cadet Corps in St Petersburg. He graduated in 1861 but left military service to attend the Imperial Academy of Fine Arts. In 1863 he won a medal from the academy for his Ulysses Slaying the Suitors. In 1864, he went to Paris, 22 years old, where he studied under Jean-Léon Gérôme. In 1867 he was invited to accompany General Konstantin Kaufman's expedition to Turkestan. He was granted the rank of ensign. His heroism at the siege of Samarkand from June 2-8, 1868 resulted an award of the Cross of St George (4th class). Having jointed the diplomatic corps, Vereshchagin was posted throughout Central Asia, and his artistic skills matured. In 1871 he set up a studio in Munich and it was here the initial "Turkestan Series" was painted.
Russian Rule in Samarkand examines the structures, personnel, and ideologies of Russian imperialism in Turkestan, taking Samarkand and the surrounding region as a case-study. The creation of a colonial administration in Central Asia presented Russia with similar problems to those faced by the British in India, but different approaches to governance meant that the two regimes often stood in stark contrast to one another. While the Russian administration was characterised by corruption and inefficiency, British rule in India was often more violent, and its subjects much more heavily taxed. Opening with the background to the political situation in Central Asia and a narrative of the Russian conquest itself, the book moves on to analyse official attitudes to Islam and to pre-colonial elites, and the earliest attempts to establish a functioning system of revenue collection. Uncovering the religious and ethnic composition of the military bureaucracy, and the social background, education and training of its personnel, Alexander Morrison assesses the competence of these officers vis-à-vis their Anglo-Indian counterparts. Subsequent chapters look at the role of the so-called 'native administration' in governing the countryside and collecting taxes, the attempt to administer the complex systems of irrigation leading from the Zarafshan and Syr-Darya rivers, and the nature and functions of the Islamic judiciary under colonial rule. Based on extensive archival research in Russia, India, and Uzbekistan, and containing much rare source material translated from the original Russian, Russian Rule in Samarkand will be of interest to all those interested in the history of the Russian Empire and European Imperialism more generally.