copyright and in particular appliedart, with a substantial body of published cases and commentary. The Australian approach to the particular question of copyright for ‘appliedart’ derives from earlier English principles and thus reflects more than an idiosyncratic domestic choice. Australia was also
exhibited by museums across the country, they are displayed at exhibitions on the local, national and international level, and they are included in albums and catalogues.
Embroidering is one of the most accessible and therefore the most common types of appliedart among the Uyghurs of
MANUSYA: Journal of Humanities is a peer-reviewed journal that Brill publishes for Chulalongkorn University. The main objective of this journal is to provide an intellectual platform for researchers to publish their findings on various issues within the disciplines of history, philosophy, language, literature, music, dance, dramatic art, visual art, creative art, and applied art.
MANUSYA focuses on humanities issues related to Southeast Asia. However, submissions that examine broader phenomena and non-SEA related issues are also welcome. The journal follows a double blind peer review process, and contains research articles as well as book reviews.
This article examines questions related to dilettantism, typically defined in negative terms as engagement in an activity without proper professional training. However, this concept can also prompt a positive association, connoting freedom from inertia, ossified techniques, and professional stereotypes and clichés. The present article contends that dilettantism is especially necessary in transitional periods of art history. At such moments, innovations may arise more readily in intimate and amateur circles, rather than in professional contexts. Such a circle developed in the 1870s-90s among the community of artists who gathered around the prominent industrialist and philanthropist Savva Mamontov, a man of diverse talents, who astutely intuited new trends in art. This group of artists came to be known as the Abramtsevo artistic circle, after the name of Mamontov’s country estate located just outside of Moscow, where the vast majority of their artistic activities took place.
In Abramtsevo’s informal, creative atmosphere ideas for new aesthetic projects spontaneously materialized across a range of different artistic spheres—theater, architecture, decorative, and applied arts—in which members of the circle were essentially amateurs. But it is precisely in these areas that the artists would make their most significant contributions. Thus, the first seeds of a novel understanding of theatrical production as a single immersive entity were initially sown on the amateur stage of the Abramtsevo estate and subsequently fully blossomed in Mamontov’s Private Opera (1885-91; 1896-99), which played a foundational role in the development of Russian musical theater. The Church of the Spas nerukotvornyi [Savior Not Made by Human Hands], built by members of the Abramtsevo circle (1881-82), became the first exemplar of the Neo-Russian style in the history of Russian architecture, an important constituent of stil modern or Russian Art Nouveau. The activities of the kustar workshops in Abramtsevo—the carpentry workshop (1885) and the Abramtsevo ceramic studio (1890)—made a significant contribution to the development of the applied arts and industrial design in Russia, leading to their “rebirth” on a national level.
In 1788 Nestor Ambodik brought out a Russian edition of the well-known emblem book,
Symbola et Emblemata, originally published in Holland in 1705 under the auspices of Peter the Great. In particular, Ambodik added what was to be the first treatise in Russian on Emblems, heraldry and classical iconology.
The present edition is a facsimile of Ambodik's
Emvlemy I Simvoly, with a translation of his Russian text and an exhaustive index of all the 840 emblems. Anthony Hippisley also prefaces the edition with an introductory article throwing light on the sources of the emblem book and on its importance in eighteenth-century Russian culture.
The facsimile edition makes available to scholars a comparatively rare book that played an important role in the Russian Enlightenment and whose impact is to be seen in the Fine Arts, applied art and literature of the time.
omission is easy to identify: in the case of appliedart, the lengthy catalogue only names the manufacturers. 3 And, although its present location is unknown and no other records survive, this was very likely a product of the Abramtsevo carpentry workshops, listed under “Mme. E.G. Mamontoff” [i