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Section 5. Museology
https ://doi.org/10.29013/EJA-20-2-154-157
Sadullaeva Zamira Ravshan Kizi, Basic doctoral (PhD) of the National Institute of Fine Arts and Design named after K. Bekhzod, Uzbekistan E-mail: 30041993@rambler.ru
SOFYA MIKHAILOVNA KRUKOVSKAYA -MUSEOLOGIST FROM TASHKENT
Abstract. In the article, the author explores the life and scientific activity of the famous Uzbek museologist Sofya Mikhailovna Krukovskaya. The scientist is the author of many scientific works. The main part of his scientific activity is connected with the State Museum of Fine Arts Uzbekistan. Information on Uzbek applied arts, studied by the scientist, is a valuable source in the study of the activities of the State Museum of Fine Arts of Uzbekistan in 1930-1960. In the article, for the first time, the archival materials belonging to S. M. Krukovskaya are put into scientific circulation by the author.
Keywords: museum employee, State Museum of Art of Uzbekistan, Sofya Mikhailovna Krukovskaya, scientific work of museums, art criticism, the status of art critics, exhibitions of decorative and applied art, department «Folk decorative and applied art», Union of Artists of Uzbekistan.
Activities Sofya Mikhailovna Krukovskaya — a From 1916 to 1917 I attended two courses at famous museum worker in Uzbekistan in the 1950- the Higher Women's Courses. Secondary educa-60 years was associated with the State Museum of tion S. M. Krukovskaya received at the Tver City Fine Arts of Uzbekistan. Women's Eight-Class Commercial School, which
She was born on February 27, 1896 [1] in St. Pe- she graduated in 1915 with honors. From 1916 to tersburg in a working-class family. Her father is 1917 she attended two courses at the Higher Wom-Mikhail Antonovich Krukovsky (1865-1936) — chil- en's Courses of Girye at the Faculty of History and dren's writer, geographer and ethnographer. After the Philology in Moscow. In 1918, she attended short-October Revolution in 1917, he became a museum term courses in extracurricular education at the worker. Mother—Krukovskaya (Bure) Sofya Karlo- University of Shanyavsky in Moscow. In 1950, she vna (1863-1943), in her youth she worked as an edi- graduated from the Institute of Marxism-Leninism tor of the magazine «Товарищ» ("Comrade"), then in Tashkent. In 1953, she graduated externally from as a translator, geography teacher; in Soviet times, a the Department ofArt Studies at the Department of library worker. After arriving in Tashkent, she was in History of Samarkand State University. charge of the library named after M. Gorky.
S.M.Krukovskaya. Tashkent. 1959 year.
Central State Archive of Uzbekistan.
R-2665, Inventory 3, case 15.
She began her career in 1916 in the All-Russian Zemstvo Union in Moscow and Kiev as a counter and bookkeeper. From 1918 to 1926 she worked as the head of the district library in the Ufa province (city Ufa); Librarianship instructor in the Ufa city department of public education; the head of the library section of the Ufa City Department of public education; Librarianship instructor in the Ufa Department of Political enlightenment of the Ufa Province; chief of the Aksakov State Russian Library in Bashkiria.
In 1926, after a divorce from her husband, she came to Tashkent to her mother, where at that moment she lived with her brothers. The first years in Tashkent she worked in the city's mass libraries: Uzbek cotton (1927-1928), named after Profintern (1928), Tashtram (1929).
In 1930 she moved to the State Public Library, where she worked until 1938, occupying successively the posts of extradition librarian, department head, head of the issuing and storage department, head of the mass department, and a bibliographer. At the same time, she gave lectures on reference and bibliographic work at library courses in Tashkent.
In December 1938, Sofya Mikhailovna was transferred to the scientific library of the State Museum of Fine Arts of Uzbekistan as a librarian. A year later, for her initiative in social-production work and the advancement of scientific and bibliographic work, she declared gratitude with entry in the work book, after which she was transferred to the position of senior research fellow, while simultaneously entrusting her with scientific work in the graphics room.
In June 1941, S. M. Krukovskaya went on a scientific mission to Moscow and St. Petersburg. In August, after returning, and, in connection with the reduction of staff, he leaves his job. She has to work in various institutions of Tashkent. For example, from September 1941 to April 1942 he worked as a librarian at the Kafanov Club, etc.
Since 1943 he is a senior lecturer at the Samarkand State University. He reads special courses "Introduction to the Study of Art," Book Art "," Furniture and Costume Styles "at the Department of Art History of Samarkand State University and conducts museum practices (1945-48).
In April 1945 S. M. Krukovskaya returned to the State Museum of Fine Arts of Uzbekistan to her previous job, to the scientific library. A month later (in May), he was transferred to the position of department head, with the assignment of the duties of scientific secretary. In April 1951, he was temporarily transferred to the post of deputy director of the museum for science, while retaining the position of head of the department [2]. In June 1952, she began to perform her direct duties.
In 1966, S. M. Krukovskaya retired, devoting herself to literary criticism [3].
She dedicated the most fruitful stage of her life to the museum. Heading the department, published a number of brochures on the work of famous artists [4].
She began to study the folk arts and crafts of Uzbekistan after being appointed deputy director for science. Then she had a chance to coordinate the work of all the scientific departments of the museum, including the department of applied art of Uzbekistan. Therefore, this period is considered to be an important stage of its activity for us.
Among her popular science works in this direction, the popular science book "Meetings with Kokand", published in Tashkent in 1977, is of interest.
The manuscript of the book is now stored in the funds of the Central Archives of the Republic of Uzbekistan. and, of course, differs from the published version, as the latter was published with many abbreviations. The handwritten version described in detail of detail of her trip to Kokand, a meeting with folk artists and other important events. Materials of applied art are presented in the fifth chapter of the publication, where the main "hero" is the grandfather Dustmatov.
In other newspaper articles, she analyzes the state of some types of folk art of those years. For example, in the article "Exhibition of Artistic Porcelain", it is reported that an exhibition of the Samarkand ceramics master L. S. Turkevich was held at the State Museum of Fine Arts of Uzbekistan (1953), the works of which were made according to her sketches at the Dmitrievsky Porcelain Factory. "The main merit of the artist is the desire to create samples of national porcelain, for which she makes extensive use of the heritage of Uzbek folk art <...> Turkevich collects his patterns in wall paintings, in the art of ganch carving, and in household art — ceramics, copper stamping, embroideries. The great taste and tact in the use of various ornamental motifs of Uzbek folk art, their creative processing are characterized by the works of Turkevich" the author writes [5] .
In another article published in collaboration with I. Pritsa in 1959. "About our porcelain and our ceramics", the authors announce the opening of another exhibition at the State Museum of Fine Arts of Uzbekistan,— Tashkent ceramics and porcelain,— the work of masters of the ceramic department of the Republican Art College named after P. P. Benkov, ceramic artel named after P. Baranov and Tashkent porcelain factory. Listing the positive aspects of the exhibition, the authors note some errors: "You can't object to cobalt—the most noble color in china" — the article says. In combination with a white background and a gold outline, it gives the dishes a touch of elegance. But the increased and prevailing interest in it prevents the artists of the plant from looking for other color combinations in which no less successful solutions are possible, as evidenced by the products of Samarkand artist S. Rakova <...> We also think that the porcelain factory overloads cobalt products with ornaments. The ornament should be simpler, stricter, laconic" [6].
This article also addresses some theoretical questions. For example, the authors note that in the ornamental repertoire of porcelain products of the Tashkent factory, new, previously unknown pictorial motifs appear—portraits ofleaders, public figures and shock workers: "There are plot motifs on the dishes of the Tashkent porcelain factory. So, for the anniversary of poet Furkat (1858-1909), the factory made a set consisting of a dish, a vase, a teapot, a bowl for soups ("kosa") and a bowl for tea ("piyola") decorated with portraits of the writer. <...> it is impossible not to note the inexpressiveness of the portrait resembling a bad photograph. <...> plant artists need to find a better way to translate photographic material into the language of graphic lines" [6].
It can be assumed that such an experimental search for masters in porcelain formed the basis for their colleagues in the workshop - masters in ceramics of the Artel named after Baranov. Confirmation can be found in the "Ceramics of Uzbekistan" collection of the State Museum of Fine Arts of Uzbekistan. The museum in different years, - in three batches, received the production of the Artel.
The first time in 1949 the museum received eight items: four — samples of household ceramics, the rest — architectural majolica; for the second time in 1957, fifteen household ceramics were brought; for the third time in 1958, thirteen objects were received, of which seven new modern motifs are found.
They include — portraits of specific person, images of architectural monuments characteristic of easel painting, which is understandable, "contemporary themes", as a new phenomenon in the figurative nature of the then traditional decorative and applied art, first formed in porcelain, then stepped over into ceramics.
In addition to scientific activity, Sofya Mikhailovna took an active part in the cultural and public life of the republic. Repeatedly traveled to various regions of Uzbekistan on a business trip. Before workers in factories; in the clubs of state farms and collective farms for workers, she read lectures on the history of domestic and world art, on the creativity of leading artists and craftsmen.
Among the archival documents, in the museum's personal fund, we found a manuscript of her
speech in the Union of Artists of Uzbekistan on the topic "About criticism and critics" (unfortunately, we couldn't establish a date). In presenting her thoughts, she pays the attention of those present to such important issues — the issue of training critics in the fine arts: "I consider it absolutely fair staging the question about the role of criticism, for the critic, as an advanced and cultured person, as he should be, sees further and understands deeper than the <...> artist, <...> and the critic must have professional literacy ..." [7].
Summarizing, we note that the articles and notes of S. M. Krukovskaya on decorative and applied art of Uzbekistan, and on museum work in general, although not much, but give a real picture of the mu-seumification of monuments of material culture of Uzbekistan in those years. In publications of small volume, she boldly analyzes the creative process, and, noting the shortcomings, gives methodological recommendations for their elimination. Her other publications also help modern scholars better understand the historical picture of the practice of the State Museum of Fine Arts of Uzbekistan in the period 1930-60.
References:
1. Autobiography of S. M. Krukovskaya and typewritten copies with signature.- Central State Archive of Uzbekistan, LF-No. 2665, inventory No.1, unit no.116.- C.11 (pages 11 and 12 are written on a typewriter. It also has its ink signature marked "For Library named after Navoi. 1977".
2. See: the original of the work book of S. M. Krukovskaya since 1930 and a typewritten copy of the work book.- Central State Archive of Uzbekistan, LF-No. 2665, inventory No.1, unit no. 111.
3. Autobiography of S. M. Krukovskaya and typewritten copies with a signature.- Central State Archive of Uzbekistan, LF-No. 2665, inventory No.1, unit no.116.- P. 12.
4. For details see: State Museum of Fine Arts of Uzbekistan. Booklets 1954, 1968 The number of sheets -7.- Central State Archive of Uzbekistan, LF-No. 2665, inventory No.1, unit item No.30.
5. Newspaper "Tashkentskaya pravda". No.266 dated November 11, 1953 - Central State Archive of Uzbekistan, LF-No. 2665, inventory No.1, unit no. 26.
6. Newspaper "Tashkentskaya pravda", No. 143 ofJune 22, 1959 - Central State Archive of Uzbekistan, LF-No. 2665, inventory No.1, unit item No. 46.
7. Newspaper "Tashkentskaya pravda", No. 143 ofJune 22, 1959 - Central State Archive of Uzbekistan, LF-No. 2665, inventory No.1, unit item No. 46.
8. Central State Archive of Uzbekistan, LF-No. 2665, inventory No.1, unit no. 104.- C. 1.
