Bakhadova Ksenia A. — restorer, category III; The Central Andrey Rublev Museum of Ancient Russian Culture and Art, restorer of the Scientific Restoration Department
E-mail: artprozekt@gmail.com

The article is devoted to the fate of ecclesiastical art objects in the occupied territory of Pskov during the period from 1941 to 1944, and also examines the post-war period of the return of displaced cultural property to USSR. The article examines the activities of the Einsatzstab Reichsleiter Rosenberg (ERR), as well as other German units whose interests included the transfer of valuables from the occupied territories. The main attention is paid to the activities of the staff of the Pskov Museum “Pogankin Chambers” — N. S. Blagoveschenskaya and V. S. Ponomarev — and the icon-painting workshop attached to the Administration of the Pskov Orthodox Mission. Based on the archival materials, the authors establish the scope of the icon-painting workshop’s activities: the materials used by the workshop staff are indicated; the products produced by the workshop are listed; and the specific items that were in demand in the shop at the Administration of the Pskov Orthodox Mission are identified. Attention is paid to the interaction between members of the Pskov Orthodox Mission and the occupation authorities in matters of ecclesiastical art. Special attention is given to the procedure for the evacuation of church valuables from Pskov to the canonical territory of the Baltic Exarchate, as well as the procedure for the removal of valuables by the staff of the Einsatzstab Reichsleiter Rosenberg. Based on archival data, it is possible to establish a list of removed icons, as well as to determine from which Pskov churches the objects of ecclesiastical art were taken. The authors also clarify the deciphering of the German marking of icons, which was previously performed by the staff of the Pskov Museum-Reserve.

“Pogankin Chambers” museum, church valuables, displaced art, Einsatzstab Reichsleiter Rosenberg, German marking of icons, Great Patriotic War, icon-painting workshop at the Administration of the Pskov Orthodox Mission, occupation of Pskov (1941–1944), Pskov icons, Pskov Orthodox Mission.

Koscheev Artem A. — candidate of Technical Sciences; Vladimir State University, Institute of Architecture, Construction and Energy, Associate Professor of the Department of Construction Production
E-mail: koshcheev.university@mail.ru

Repina Elizaveta A. — Vladimir State University, Institute of Architecture, Construction and Energy, Research engineer at the Department of Construction Production
E-mail: elizavetarepina64@gmail.com

Zakrevskaya Lyubov V. — candidate of Technical Sciences; Vladimir State University, Institute of Architecture, Construction and Energy, Associate Professor of the Department of Construction Production
E-mail: lvzak@mail.ru

This article presents the results of a study examining the influence of the artistic traditions of Finno-Ugric tribes on the Slavic architecture of Northeastern Rus'. The relationship between the construction of wooden and white-stone churches on the sites of pagan temples is demonstrated, and artifacts are found that indicate the Slavs' use of Finno-Ugric cultural characteristics. The relevance of this study stems from the need to study the Finno-Ugric heritage in the construction of stone churches in the Vladimir-Suzdal Principality. In analyzing the cultural heritage of the Finno-Ugric tribes, the works of previous authors, such as L. A. Garanin and V. A. Yurchenkov, are considered. The results of archaeological excavations on the territory of the historical core of the city of Vladimir and the Assumption Cathedral are analyzed. Based on the research, rational compositions of restoration composites were selected, and conclusions were drawn regarding the feasibility of using the proposed materials in the restoration of white-stone architecture. During the course of the work, a mathematical optimization model was created, the physical and mechanical properties of the historical material and the developed composite were studied, measurements of strength characteristics, the coefficient of linear thermal expansion (CLTE), and mycological studies were carried out, and the affinity coefficient of the structures was calculated.

Archaeological research, composite, decorative ornaments, Finno-Ugric heritage, restoration, structural affinity, Vladimir-Suzdal Principality, white stone.

Kiryanova Olga G. — The State Research Institute for Restoration, junior research associate of the Scientific and Organizational Department
E-mail: psk-ok@mail.ru

The article analyzes the prerequisites for the creation of church museums in pre-revolutionary Russia, and also identifies their role in preserving the artistic heritage at the present stage. The problem of the unsatisfactory condition of the objects of Russian material culture, especially the works of medieval religious art, became acute for Russian society in the early 19th century. A significant number of such artifacts were located in Orthodox churches and monasteries. Church vestries and libraries were the main places where icons, illuminated manuscripts and books, works of decorative and applied art, and textiles intended for liturgical use, as well as items that were not intended for church use but were valuable for historical or memorial reasons, were stored. Unfortunately, the long-term lack of a systematic approach from the Church to the monitoring of condition of this part of the country's cultural heritage, as well as the lack of an objective understanding of the value of these artifacts for Russian history and culture, has sometimes led to their loss. The concerns of the scientific community, as well as the most educated part of the Orthodox clergy, have led to public initiatives to establish museums. In the first half of the 19th century, the Church's own efforts to preserve and display its Orthodox heritage became increasingly relevant. The most notable items were transferred from churches and sacristies to museums and antiquities collections established by various church organizations for the purpose of preservation, study, and exhibition. However, the process of establishing a network of church museums was interrupted by the events of 1917 and was only resumed in the second half of the 20th century. Currently, the Russian Orthodox Church has approximately three hundred museums, mostly of a complex storage, where the artistic heritage is stored and presented.

Antiquities museum, artistic heritage, church museum, cultural heritage, icon, Patriarchal Chamber of Church Art, religious art, Russian Orthodox Church.

Khrebtova Yulia V.  — The State Research Institute for Restoration, Head of the Department of Scientific Restoration of Works of Applied Art
E-mail: julia_pgr@yahoo.com

Smolenchuk Elena V. — artist-restorer of fabric works of the 2 category, The State Research Institute for Restoration, junior researcher of the Department of Scientific Restoration of Decorative and Applied Arts
E-mail: jlensmol@yandex.ru

The article examines the perspectives of research and restoration of a group of chemical textile materials within the existing disciplinary matrix. Historical textiles of the modern and contemporary periods, made from chemical fibers, have properties that, to varying degrees, differentiate them from natural textile materials of organic origin. They impact their aging processes and lead to a different approach to organizing storage, restoration, and conservation. Within the scope of this article, it is proposed to consider all historical textile materials from the perspective of their basic properties, which determine the fundamental technologies of their production, manufacturing, finishing, and subsequent use. A group of hydrophilic properties, specific to the natural textile materials, is considered as a key to for determining the existing restoration techniques. Hydrophilic properties dictate the reaction to fluctuations in temperature and humidity, which provoke shrinkage processes and primary mechanical wear, and also form the basis for selecting restoration techniques. Based on the hydrophilic properties, attention is focused on two main groups of historical materials that also exhibit different reactions to temperature exposure. This allows to limit the group of hydrophobic textile materials, which require separate work on selecting and justifying restoration methods that go beyond existing approaches. The primary focus is made on the group of hydrophilic, chemically manufactured hydrated cellulose fibers, which are close to natural materials in their properties. Using this type of fiber as an example, the article examines the aspects of the materials' reaction to moisture exposure and the potential for further monitoring and experimentation to select restoration techniques.

Shuravina Marina A. — Udmurt Federal Research Center of the Ural Branch of the Russian Academy of Sciences, leading specialist of the Department of Historical Research at the Institute of History, Language, and Literature
E-mail: mixmar97@mail.ru

In the field of scientific restoration, the most “acute” issue is still the issue of the intervention into the object. Over the course of more than a century, several methodological schools, basic principles and areas of work have already been formed in Russian restoration, but the theoretical aspects of conservation and restoration procedures remain poorly understood due to the special focus of scientific papers on the description of applied techniques. This work is an attempt to define the main task of restoration, the boundaries and the relationship between, as it may seem, similar terms such as “renovation”, “reconstruction”, “conservation”, “repair”. The purpose of this work is to analyze the problem of “what is allowed” in restoration. The article examines the main documents and domestic publications, devoted to the terminology of conservation and restoration and the possibility of the “surgical” intervention into the object; indicates some features of the preservation of objects of historical and cultural heritage that need treatment. Special attention is paid to the differentiation of the perception of the term “restoration” in public and scientific circles. It is concluded that there are several factors in the use of the term “restoration” that limit actions related to the object. Among them: the object of the treatment is an artifact with a confirmed historical and cultural significance; an absence of terms and definitions; a recognized by the scientific community methodology or (when developing a new methods) the use of materials corresponding to the basic principles of restoration, a qualified master restorer. The article also confirms the need for individual consideration of each restoration object and the importance of collegial decision-making on complex issues.

Archeology, artifact, conservation and restoration work, historical and cultural heritage, historicism, monument unveiling, principles of restoration.