Museum of Fine Arts

Purpose: The study compares the quality performance of craft SMEs in Peru based on their adoption of environmental sustainability practices, using Total Quality Management (TQM) dimensions. Methodology/Approach: A comparative analysis was conducted using 262 responses from craft SMEs, evaluating six TQM dimensions. Findings: SMEs oriented towards environmental sustainability practices outperformed others in all quality dimensions, except for Process Control and Improvement. Research Limitation/Implication: The study is limited to craft SMEs in Peru. Originality/Value of paper: This study highlights the positive link between environmental sustainability and quality performance in the craft sector. It not only advances the current knowledge but also provides policy recommendations to promote quality and sustainability in SMEs.

Fighting Shadows chronicles the life of Miguel Valdez, an esteemed eighth-degree black belt and martial arts instructor in the Dallas-Fort Worth area. The documentary delves into the hardships and victories he has endured, from a congenital eye disease that left him legally blind by the age of 18 to a 35-year battle with alcoholism that began at the age of 10 due to a tumultuous upbringing. Despite facing a near-death experience from liver failure, Miguel demonstrated remarkable resilience, successfully managing his business and teaching classes with only limited peripheral vision. His knowledge, energy, and perseverance have shaped his students into some of the finest black belts in the United States of America.

Die Siebzigerjahre des 20. Jahrhunderts bilden einen Zeitraum, in dem die Gestalt der Ausstellungen japanischer Holzschnitte und die Prozesse, durch welche diese entstanden, einen grundlegenden Wandel erfuhren. Bisher bestimmten kleinformatige, untereinander mehr oder weniger gleichwertige Initiativen, die meist aus privaten Sammlungen hervorgegangen waren, das Bild. Anfang der Siebziger stiegen dann große amerikanische Museen mit aufwendig konzipierten Präsentationen in das Feld ein und veränderten dessen Gefüge so für immer. Die Anforderungen, was eine Ausstellung bieten sollte, wurden durch diese Megaprojekte, die auf mehreren Ebenen neue Dimensionen annahmen, neu gesetzt. Indem nun vermehrt große Institutionen die inhaltliche Richtung vorgaben, übten diese Ausstellungen, die von Häusern veranstaltet wurden, die im Bereich Ukiyo-e exzellent ausgestattet waren, einen nachhaltigen Einfluss auf das Feld aus. Insgesamt verlagerte sich der Schwerpunkt in den folgenden Jahren nach Amerika. Das Phänomen, dass sich große amerikanische Museen wie das Art Institute of Chicago, das Philadelphia Museum of Art oder das Museum of Fine Arts in Boston in Ausstellungsprojekten engagierten, ergab sich aus der historisch starken Position, die diese Einrichtungen seit Anfang des 20. Jahrhunderts im Bereich japanischer Holzschnitt besaßen. Der Besitz umfassender Bestände, die ihnen Philanthrop*innen und Sammler*innen zu Beginn des 20. Jahrhunderts vermacht hatten, begünstigte die Vorrangstellung dieser Institutionen. Die Siebzigerjahre stellen den Zeitpunkt dar, zu dem diese Museen das erste Mal aus diesem Erbe schöpften und sich international als Kompetenzzentren profilierten.

This article presents worked ambers from the 17th century originating in princely collections now preserved in the Museum of Applied Arts in Budapest. This small but significant group of mostly unpublished artworks consists of five pieces. One can be linked to Miklós Jankovich, perhaps the best known figure in 19th‑century Hungarian art collecting. The amber tankard in the Budapest Museum was recently identified as once being part of his rich and diverse collection, which had become scattered to the winds over time. The closest analogy to this unfortunately damaged and fragmented work, which may be attributed to the Königsberg workshop of Jacob Heise, is found in the British Museum. The other four amber artworks all originate in the Esterházy princely treasury in Fraknó. This Schatzkammer, formed by the end of the 17th century, contained selected treasures that were transported from Burg Forchtenstein to the Museum of Applied Arts in Budapest in 1919, where the public could view them in separate rooms as part of a deposit between the two World Wars. Among them was an amber crucifix, a tankard, and two objects connected to Königsberg masters (Johann Kohn and Jacob Heise). In addition to the tazza attributed to Kohn, a particularly significant rarity is the carved bowl bearing the inscription Jacob Heise and the date 1663. During the siege of Budapest in World War II, the treasury suffered severe damage due to a bomb hit. Of the sensitive amber works, the crucifix was destroyed and is now only known from archival photos. The rest shattered into small pieces and is incomplete. One of the authors of the article is Gábor Juhász, the senior metalwork conservator of the Museum of Applied Arts. Gábor has been a long time participant in the restoration process which started over seventy years ago. He recently began the challenging restoration of these delicate amber (and other mineral) fragments using modern, new (3D) methods.

هذا موضوعٌ قديم جديد، هو موضوع قديمٌ؛ لأنّ المشتغلين بالدرس اللغوي التفتوا إليه منذ وقت مبكّر، وخاضَ في بحثه الكثير من علماء العربيّة ودارسيها القدماء والمحدثين، وهو جديدٌ بالنظر إلى ما توصّلت إليه جهود هؤلاء العلماء والدّارسين من آراء، وما تمخّضت عنه من نتائج يمكنُ أنْ تكون هي الأخرى مدار بحثٍ جديد، ومثار أفكارٍ طريفة، ومن ثَمَّ شرعتُ في كتابة هذه الصّفحات لمناقشة مجموعة من القضايا والمسائل التي تخصُّ صيغ التكثير والمبالغة في العربيّة، وبعضًا ممّا قيل فيها وطُرِحَ، فوجدتُ قسمًا منها لا يقوم على أساسٍ رصين، وقد توافرت أدلّة وحجج عدّة لتضعيفها ورفضها وردّها، وتصويب الأمر قدر الإمكان، مستعينًا على ذلك أحيانًا بالدّلالة المعجميّة للصيغ والمواد، وبإجراء بعض الإحصاءات أحيانًا أخرى، على حين أفضت دراسةُ القسم الآخر، والإفادة منه إلى استنتاج مجموعة آراء تسهم بطريقة أو أخرى في فهم الكيفيّة التي تبرزُ من خلالها دلالة المبالغة في الصيغ، وترتبطُ بهذا طرق اشتقاق هذه الصيغ وتطوّرها، فضلاً عن محاولة حلّ بعض الإشكالات التي تتعلّق بهذه الصيغة أو تلك، فكان أن انقسم البحث على موضوعات عدّة خُصِّصَ عددٌ منها للصيغ الفعليّة التي قيلَ أنّها تدلُّ على التكثير كـ(فَعَّلَ)، و(افْعَلَّ، وافْعَالَّ)، وعالجَ الآخر القضايا المتعلقة بصيغ المبالغة في الصفات ودلالتها وشيوعها واشتقاقها،ومن هذه الصيغ (فَعْلان) و(فَعِل)، و(فَعِيل)، و(فَعَّال) وغيرها.

The independence of Kazakhstan and its state sovereignty became important reforming factors in the new social fabric and worldview of the nation, its culture and art, the main component of which is the replacement of former political ideals and the mythologization of its own past. In Kazakhstan, official and unofficial art lives side by side and is displayed in various exhibition venues, which avoids a mindset of opposition and allows for art historians and curators to create divisions by preference. In Kazakhstan, there is a long-overdue need for serious comprehension of, and fixation on, artistic initiatives. Here, we are not regarding ‘fixation’ as the photography and videography of events; we need something different – analysis of the work of individual researchers, painting a picture of the direction of research and the development of the creative side of art criticism institutions in Kazakhstan. This article is an attempt to understand the realities of 21st-century Kazakhstani fine art. It is important to determine the most important institutions and bring the achievements of art criticism in Kazakhstan to the global community, based on the work of individual researchers. Aiming to grasp and examine the main directions and goals of contemporary art critics, we have discovered the individual directions and themes of leading researchers, which serves as a basis for the revealing the characteristic traits of art criticism in Kazakhstan through the prism of individual knowledge and passions.

ABSTRACTNumerous studies have shown that metagenomics has opened up a new dimension in reading the contents of archaeological remains as time capsules. Corn mummies are ritual objects made in ancient Egypt by forming human-shaped figures made of cereal grains grown in a mixture of water and earth. We performed metagenomic analyses on samples from a corn mummy dated to the second half of the 3rd century BC. Alongside a number of clearly modern contaminants, we identified organisms that cannot be excluded as being of historical origin. Besides considerable amounts of bacterial sequences belonging to the generaBacillus, Mesobacillus, Metabacillus, Neobacillus, Niallia, PeribacillusandPaenibacillus, we also found traces of plants, animals, and humans. Sequences assigned to the genusTriticumshowed the highest similarity to ancientT. turgidumssp.dicoccumspecimens from Egypt and the southern Levant. The fragments identified as of Lepidopteran origin showed the greatest similarity to the genomes of the Sphingidae. Analysis of the human-derived sequences revealed L3 (mtDNA), E and J (Y chromosome) haplotypes, which are common lineages in Africa today.

In 1983, the Museum of Modern Art in Bogotá established its Department of Architecture, a curatorial unit that was active until 1995. During that time, twenty exhibitions were presented, and eight of them were monographic shows. While at the start, the department focused on European architects, later on, more emphasis was placed on Colombian architecture. This emphasis echoed two significant events in Latin American architectural culture: first, the Seminars of Latin American Architecture, and second, the editorial series SomoSur. These two events encouraged exhibitions with a strong commitment to study, present, and celebrate Colombian architecture from diverse architectural traditions. Through archival research and interviews, this paper examines the intellectual reverberations between seminars, publications, and exhibitions. It highlights the use of monographic exhibitions and how they were channels for the continuous flow of ideas in the construction of Colombian architectural history.

The study aims to analyze the impact of political circumstances, repressions of the 1930s, and the Nazi occupation of Kyiv on Serhii Hiliarov's scholarly work and political trajectory. The main goal is to identify how historical circumstances influenced Hilyarov's work at the Khanenko Museum, teaching at the Kyiv Art Institute, and art research under the pressure of totalitarian regimes. Methods. This is qualitative empirical research, based on a critical analysis of primary and secondary sources including interrogation protocols, Hiliarov’s articles, lectures, and works by contemporary historians. The research incorporates documents from the Bohdan and Varvara Khanenko National Museum of Arts, the Central State Archive of Public Associations of Ukraine, and the Central State Archive-Museum of Literature and Art. The subject is examined within the context of the Bolshevik consolidation of power in Ukraine during the 1920s, the repressions of the early 1930s, and the Nazi occupation of Kyiv from 1941 to 1943. Results. The research clearly identifies the events in Serhii Hiliarov’s life that influenced the integration of Bolshevik and Nazi ideological narratives into his articles and lectures. Notably, his arrest in 1933 marked a turning point after which Hiliarov increasingly incorporated Bolshevik ideology into his work. With the establishment of the Nazi occupation administration in 1941, he selectively included elements of Nazi propaganda in his writings. Conclusions. Serhii Hiliarov sought to focus on academic and teaching activities, striving to maintain objectivity even under political pressure. During the 1924–1932 period, his work largely avoided overt politicization. However, this period also revealed his dissatisfaction with the Bolshevik regime, reflected in conflicts with students and opposition to the sale of artworks by Derzhtorg. These events culminated in his arrest in 1933, after which Hiliarov began producing works aligned with the ideological demands of the authorities. We believe this shift resulted from fear of further repression and pressure from the GPU. Hiliarov’s activities during this period illustrate not only forced collaboration with the regime but also his strategic use of the ideological context to preserve his ability to conduct scholarly work. This approach enabled him to continue studying art while working at the Khanenko Museum and teaching art history. This survival strategy proved useful during the Nazi occupation of Kyiv from 1941 to 1943. On the one hand, Hiliarov openly criticized Bolshevik policies in Kyiv. On the other hand, he adapted to the new conditions to continue his professional work and safeguard the Khanenko Museum’s collection.