No. 4 (35) (2024): On the 100th anniversary of the Omsk Regional Museum of Fine Arts named after M.A. Vrubel
On the 100th anniversary of the Omsk Regional Museum of Fine Arts named after M.A. Vrubel

Issue No. 4 (35) of The Art of Eurasia journal is dedicated to the centenary of the oldest museum in Siberia, the Omsk Regional Museum of Fine Arts named after M.A. Vrubel. We extend our congratulations to our colleagues and express our profound gratitude for their unwavering dedication, which has yielded invaluable insights presented in the “Forum” section. A century is a considerable span of time, during which the museum has traversed a lengthy and challenging trajectory. Established in 1924 as the City Museum of Fine Arts, the regional museum takes pride in its collection, which encompasses approximately 26,000 works of Russian and foreign art, spanning the period from the 2nd millennium BC to the present. The publications of the “Forum” section dedicated to the museum's anniversary are unified not only by an affinity for art, but also by a meticulous professional examination of each work, whether a painting, graphic, sculpture, or decorative and applied art object. The articles presented in the journal are not merely descriptive; they also analyse the technique of execution and stylistic features of the works, as well as the historical context of their creation, the biography of the authors, and the influence of cultural and social factors. Additionally, this issue of the journal features studies on Christian art in the section “Eurasian Heritage”. These include an analysis of the embossed icon covers of Vietka (Republic of Belarus) and contemporary monumental mosaics in churches in Russia and Serbia. The section entitled “Art of the 20th – 21st Centuries” enables the reader to embark on a journey from Crimea to Mongolia, traversing the work of emerging artists and renowned masters alike. It also serves to honour the memory of those who, despite the arduous circumstances they faced, laid the foundations for artistic traditions and mentored aspiring artists. The section “In Storerooms and Expositions of Museums and Art Galleries” offers analytical reviews of exhibitions of Buddhist art and Dulevsky porcelain.

Forum

Lyudmila K. Bogomolova
46–65
The beginning of the creative path of Omsk futurist Viktor Ufimtsev: on the problem of studying early works from Omsk collections
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Farida M. Bureeva
66–75
Two from the same sheet: attribution of male etched portraits of the first third of the 18th century from the collection of the Omsk Regional Museum of Fine Arts named after M.A. Vrubel
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Igor A. Glazov
76–91
Mantel clock from the collection of the Omsk Regional Museum of Fine Arts named after M.A. Vrubel: problems of study and attribution
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Irina G. Devyatyarova
92–105
Painting by Russian artists from the collection of Petrograd collector Alexander Korovin in the Omsk Regional Museum of Fine Arts named after M.A. Vrubel
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Sergey S. Dukhanov, Svetlana V. Izotenko
106–121
Fundamentals of Architecture in Omsk Khudprom: study of works on the organisation of space
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Mikhail V. Ermola
122–137
From thirty porcelain shards: the history of attribution of a vase from the collection of the Omsk Regional Museum of Fine Arts named after M. A. Vrubel
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Victoria P. Efimenko, Ekaterina V. Gordeeva, Vitaly V. Semikin, Irina V. Konova, Ekaterina R. Chernova
138–151
The attribution of paintings by K.A. Korovin as an example of museums research cooperation
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Natalia V. Muratova
152–167
Portraits by N.Y. Tretyakov in the 1950s – 1980s from the graphic collection of the Omsk Regional Museum of Fine Arts named after M.A. Vrubel
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Elena M. Reutova
168–181
On the experience of attribution of Western European paintings of the 18th and 19th centuries from the Omsk Regional Museum of Fine Arts named after M.A. Vrubel
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Vladimir F. Chirkov
182–199
“Farewell of Slavianka” by N.M. Bryukhanov: on the history of the creation, existence, and study of the painting
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Dictionary of Buddhist Iconography by Lokesh Chandra

Lokesh Chandra; Sophia M. Belokurova
330–335
Mahadeva
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