Actual Problems of Theory and History of Art conference is an international academic forum held biannually by Lomonosov Moscow State University and Saint Petersburg State University, supported by major Russian museums. The conference takes place alternately in Moscow and Saint Petersburg. In Saint Petersburg, the State Hermitage Museum acts as its permanent partner. In 2018, the conference is held in Moscow, with the State Tretyakov Gallery as partner museum.    The conference is dedicated to a wide range of issues related to history and theory of visual arts and architecture, conservation and interpretation of Russian and international cultural heritage, and interaction between academic science and museum experience. The chronological scope of this interdisciplinary forum spans from prehistoric era to contemporary stage. The conference welcomes art historians, culture theorists, archaeologists, art conservators, museum practitioners, and other humanities scholars whose research areas include architecture, visual and decorative arts.

The Actual Problems of Theory and History of Art conference is an international academic forum held biannually by Lomonosov Moscow State University and Saint Petersburg State University, with support from major Russian museums. The conference alternates between Moscow and Saint Petersburg, with the State Hermitage Museum serving as its permanent partner in Saint Petersburg. In 2018, the conference will take place in Moscow, partnering with the State Tretyakov Gallery. This conference addresses a wide range of issues related to the history and theory of visual arts and architecture, the conservation and interpretation of Russian and international cultural heritage, and the interaction between academic research and museum practice. The chronological scope of this interdisciplinary forum spans from the prehistoric era to contemporary times. The conference welcomes art historians, cultural theorists, archaeologists, art conservators, museum practitioners, and other humanities scholars whose research areas include architecture, visual arts, and decorative arts.

《Actual Problems of Theory and History of Art》会议是由莫斯科国立大学和圣彼得堡国立大学主办的国际学术论坛，每年举办两次，得到了俄罗斯主要博物馆的支持。会议在莫斯科和圣彼得堡交替举行。在圣彼得堡，冬宫博物馆是其永久合作伙伴。2018年，会议在莫斯科举行，特列季亚科夫画廊作为合作博物馆。会议专注于与视觉艺术和建筑的历史与理论、俄罗斯和国际文化遗产的保护与解读，以及学术科学与博物馆实践之间的互动等广泛问题。该跨学科论坛的时间范围涵盖从史前时代到当代阶段。会议欢迎艺术史学家、文化理论家、考古学家、艺术保护者、博物馆从业者以及其他人文学科的学者，研究领域包括建筑、视觉艺术和装饰艺术。

Actual Problems of Theory and History of Art

The article analyzes the changes of an image of the monuments of ancient and medieval architecture during conservation or restoration works. Special attention has been paid to the recent condition of the town of Ani (Turkey), the medieval Armenian capital abandoned ages ago. It has been concluded that not only the restoration but sometimes even the conservation of a monument could change its image. Obviously, each case of restoration works needs a philosophical conception in terms of whole town or ensemble. We need a strategy for the protection of Ani, where dozens of ruins and fragments of constructions still remain. This strategy cannot proceed from international legal documents only.

Kazaryan Armen Yu.

Architectural Object on an Archaeological Site: The Transformation of an Image during the Restoration Process

The exploration of the nature of space and of spatial archetypes has been very important in ancient Greek thought and art, including ancient theatre. Focusing on Aeschylus’ Prometheus Bound (PB) and Euripides’ Bacchae (B), this paper investigates the aspects of the following archetypes as they emerge in Athenian tragedy: 1. Architectonic space earlier than, as well as contemporary with Euripides, as conceived and represented through his sophisticated architectonic awareness and imagination. 2. The role of mountains, as exemplified through Cithaeron and the Caucasus, theaters of tragic epiphanies of gods Dionysus and Prometheus in B and PB respectively. Both tragedies unfold in the earthly sphere, even if in Prometheus Bound the troupe is divine. However, while Cithaeron lies in the heart of the Greek world forming a natural background to the city of Thebes in Boeotia, the Caucasus lies on its edge. Alluring Dionysus, the master of Cithaeron in Bacchae, represents moral and natural powers that threaten defiant humans, while tormented Prometheus epitomizes divine support for human dignity and wellbeing. 3. An interpretation of the city of Thebes in Boeotia as the locus of many Athenian tragedies. 4. Also, a brief reference to the aesthetic categories of the sublime, the beautiful and the uncanny, as they appear in ancient drama. Philosophical exploration of morality and beauty are reverberated in the vigilant concern with the moral aspect of splendor.

Argyro Loukaki

Architectonic and Rural Space in Ancient Greek Tragedy: Examples from Aeschylus and Euripides

古希腊悲剧中的建筑与乡村空间：埃斯库罗斯和欧里庇得斯的例证

This essay focuses on a group of medieval textiles produced during the 11th–12th century in the workshops of Islamic Spain. Nevertheless, they were transported into the Occident and were conserved in church treasuries. These textiles are characterized by the decoration motifs of oriental style, such as the adaptation of the grand medallions, the images of mythical animals, and the iconography of sovereigns. The luxurious Islamic textiles were utilized, in the liturgical contexts, as chasubles or shrouds; nevertheless, it is highly probable that these textiles were originally used in architectural contexts in the Islamic world. It is supposed that the function of these reconstructed textiles relates to their original use. The conception of soft architecture in the new sphere intersected with the original function of textiles.

Ruibo Yu

Exotic Textiles from Medieval Christian Church Treasuries: Circulation, Utilization, and Integration

中世纪基督教堂宝库中的异域纺织品：流通、利用与融合

The article is dedicated to the questions of the attribution of two large architectural blocks, which were parts of a Doric entablature of one building, discovered in 1937 in Myrmekion. Until the present day, these fragments remain the most prominent examples of Doric architecture found at the archaeological site. These details were dated to the late Classical period based on the available comparative material. Researchers used nine Doric structures from the 4th to 3rd centuries BC as analogies for their analysis, focusing on the proportions of architectural elements. Modern data processing capabilities allow for a broader range of analogies and a more comprehensive analysis of changes in a significantly larger number of features. This work examines more than 60 Doric structures dated from the 4th to 2nd centuries BC as comparative material and evaluates their differences in entablature design. During the analysis, the most significant datable criteria and their distribution among the sample objects were determined. As a result, a comprehensive picture of the regional and chronological characteristics of Doric structures from the Late Classical and Hellenistic periods was obtained. The identified analogies allowed for the dating of the architectural fragments from Myrmekion to the second half of the 3rd century BC.

Vladimir P. Kolosov

On the Dating of the Architectural Monuments of Hellenistic Myrmekion

关于希腊化时期米尔梅基翁建筑遗迹的年代问题

The complex of the Roman forum in Tergeste (modern Trieste) includes an element uncommon for the architecture of the Early Roman Empire — propylaea with projecting wings and rich sculptural decoration. This monument, some elements of which were discovered as early as in the 17th century, has extensive historiography, thanks to step-by-step archaeological research, complicated by the fact that the propylaea were built into the medieval belfry of the Cathedral of Trieste. The article develops and complements previously made observations regarding the architecture and decoration of the propylaea, combining semantic analysis of the reliefs with the analysis of the architectural form which seems unique not just for Northern Italy but for the Roman Imperial architecture of the 1st century in general.The first hypothesis supposes that this form originated from such representative Athenian monuments of the Classical period as Mnesikles’ Propylaea and the stoa of Zeus Eleutherius, where projecting wings with columns appeared for the first time. However, considering the territorial and chronological distance and the absence of evidence for a specific link between Tergeste and Athens, it might be assumed that this form refers to Hellenistic propylaea. Nevertheless, we should note that, regarding their plan and proportions, most of those gates with projecting wings have very little in common with the compact plan of the Trieste monument — rather, they resemble long stoae. The article attempts to trace the possible origins of this architectural form in the Roman and Hellenistic world, analyze its possible variations and meanings, taking into account the relief decoration of the monument.

Ekaterina M. Mikhailova

Propylaea of the Roman Forum in Tergeste: Origins and Meanings of the Architectural Form

特杰斯特罗马广场的普罗皮莱亚：建筑形式的起源与意义

One of the characteristic features of the Rheno-Mosan iconography in the 12th century is an appeal to typological logic in the selection and systematization of the episodes that form a pictorial cycle. Among the themes that are repeatedly encountered in the surviving cycles and in a number of scattered fragments, there is the scene of marking the door with the letter Tau (Ex 12:22). Based on the analysis of the iconographic cycles of the surviving or reconstructed works of Rheno-Mosan art, the article attempts to characterize the compositional and semantic role in the pictorial cycle of the subject under consideration. This episode is one of the most frequent prototypes, however, it is presented in different ways in different groups of objects (it is often used in the iconography of crosses and is not found in currently known portable altars). The connection with the theme of the Cross as a saving sign brings this episode closer to another Old Testament type, the scene from the prophecy of Ezechiel about marking the sign on the foreheads, which is reflected in the iconography of these two scenes (at the level of attributes and inscriptions) and is comprehended in the general solution of the iconographic program. In addition to works of art, the article mentions textual sources of the 12th century, in which the subject under consideration is interpreted in a number of other typological scenes.

Publication Information	Publisher: Saint Petersburg State University，Publishing cycle: ，Journal Type: journal，Open Access Journals: No
Basic data	Year of publication: 2011，Proportion of original research papers: 0.00%，Self Citation Rate:N.A.， Gold OA Rate: 0.00%

Actual Problems of Theory and History of Art

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Architectural Object on an Archaeological Site: The Transformation of an Image during the Restoration Process

Architectonic and Rural Space in Ancient Greek Tragedy: Examples from Aeschylus and Euripides

Exotic Textiles from Medieval Christian Church Treasuries: Circulation, Utilization, and Integration

On the Dating of the Architectural Monuments of Hellenistic Myrmekion

Propylaea of the Roman Forum in Tergeste: Origins and Meanings of the Architectural Form

Architectonic and Rural Space in Ancient Greek Tragedy: Examples from Aeschylus and Euripides

Exotic Textiles from Medieval Christian Church Treasuries: Circulation, Utilization, and Integration

On the Dating of the Architectural Monuments of Hellenistic Myrmekion

Propylaea of the Roman Forum in Tergeste: Origins and Meanings of the Architectural Form

Aaron Marking a House with a Tau Cross: Typological Significance of the Scene in Rheno-Mosan Art of 12th Century

ISSN	2312-2129
h-index	5