Introduction. The work is devoted to an extraordinary person - the sculptor and artist Ivan Illarionovich Sevryugin (1839-?), his contribution to the organization, holding and sculptural embodiment of the Anthropological Exhibition of 1879, which became the starting point in the development of anthropology as an exact and natural-historical science and the basis for the creation of the department and Museum of Anthropology.

Materials and methods. This study is based on the printed works of the second half of the 19th century, published by the Society of Amateurs of Natural History, Anthropology and Ethnography (OLEAE), in the research of which historical-typological and historical-descriptive methods were used. The main attention was paid to the analysis of materials and documents related to the preparation and holding of the First Anthropological Exhibition in Moscow in 1879. Archival documents from the Research Institute and the Museum of Anthropology and literary sources were also studied.

Results and discussion. The work examines the creative path of the sculptor and artist I.I. Sevryugin. Coming from a poor family of guild artisans, Ivan Illarionovich received an excellent education at the Moscow School of Painting and Sculpture. Studied under Professor N.A. Ramazanov. During his studies, he was repeatedly awarded for his work and upon graduation received the title of third-degree artist. Along with famous sculptors and artists, he took part in the production of collections of mannequins for the Ethnographic Exhibition of 1867. The most significant peak of his activity was the First Anthropological Exhibition of 1879. The development of the exhibition model, its sculptural embodiment, collection and preparation of exhibits (mounds, burial grounds, masks, busts, etc.), a trip to Paris and much more - all this shows him as an incredibly talented person who masters a variety of artistic and sculptural techniques, who was hard working and earned the highest praise from specialists.

Conclusion. Analysis of archival and literary sources showed that I.I. Sevryugin, being a talented artist and an excellent sculptor with a colossal capacity for work, took an active part in the preparation of the Anthropological Exhibition of 1879, and contributed to the solution of one of its main tasks - the popularization of anthropology in Russia. Thanks to his talent, he was able to express scientific ideas in artistic form. His works, exhibited in the gallery halls of the Exhibition, clearly showed the general public the unity of the biological and social in human nature. Collections created by I.I. Sevryugin, formed the basis of the sculptural fund of the photo-illustrative department of the Museum of Anthropology of Moscow State University. @ 2024. This work is licensed under a CC BY 4.0 license

Introduction. The cycle of publications on the historical and archaeological characteristics of osteological collections from the funds of the Anuchin Research Institute and Museum of Anthropology of Lomonosov Moscow State University continues in the article. The purpose of this work is to create an information base for paleoanthropologists studying collections from the burial grounds of the Chernyakhovskaya archaeological culture dated III – beginning. V centuries AD.

Materials and methods. This section provides a general description of the collections from the burial grounds of the Chernyakhovskaya culture, stored in the museum's funds. The materials considered were unearthed during excavations by Soviet archaeologists of the 1950s-1960s (E.A. Simonovich, G.B. Fedorov) on the territory of modern Ukraine and Moldova. The work uses all available publications of the authors of the excavations, as well as subsequent summary and analytical studies.

Results. The main part of the work presents information on the burial grounds of the Chernyakhovkaya culture of Zhuravka, Chernyakhov, Malaeshty. The geographical characteristics of the sites, the history of their research, and basic information about the archaeological context for the presented anthropological materials from these necropolises are given. The most common, standard features of the funeral rite are shown and burials with unusual features that fall out of the general framework are indicated. A number of burials have been identified, which are marked in the accounting materials as belonging to the Chernyakhovskaya culture, but, in fact, are not related to it.

Conclusion. The analysis of information about the three burial grounds allows us to consider them, to some extent, reference, standard for the Chernyakhovskaya culture at the main stage of its existence. A large collection from Zhuravka –143 storage units, as well as fairly large ones, 21 storage units and 20 storage units, respectively, from the burial grounds of Chernyakhov and Malaeshty allows to apply a wide range of anthropological and molecular genetic techniques. © 2024. This work is licensed under a CC BY 4.0 license.

Introduction. The centennial development of physical anthropology in China can be divided into three periods: 1) the initial period fr om the end of the 19th century to the founding of New China in 1949, when anthropology was imported from the West and gradually localized; 2) the unstable development period from 1949 to 1976, which was faced with a major restructuring of the discipline, the epoch of Sino-Soviet friendship, and a ten-year period of turbulence of the Cultural Revolution; 3) the period of rapid development after the reform and opening up of the country at the end of the 1970s.

Materials and methods. The author presents the history of anthropological exchanges between China and Russia over the past hundred years through the study of literature and photographic sources.

Results. Before the founding of New China, communications of anthropology between China and Russia was represented by S.M. Shirokogorov; after the founding of New China, it was represented by N.N. Cheboksarov; during the period of Sino-Soviet friendship, China adopted the suggestions of Soviet scientists and launched journals, translated and published monographs, and dispatched international students, Dong Tichen and Cui Chengyao, to study in the Soviet Union.

Conclusion. In this article, for the first time, a large number of old photographs from private collections have been released to show the life story of Dong Tichen, the first anthropologist who went to the Soviet Union to study and returned to China. After graduating from Beijing Normal University, Dong Tichen went to Moscow University to study anthropology and obtained his Ph.D. in biology in 1961. He became a lecturer in the Department of Anthropology at Fudan University, wh ere he was one of the earliest teachers of anthropology in New China. His research was pioneering and prospective, for example, his proposed taxonomic position of the Gigantopithecus was very forward-looking; he created a precedent in the study of dermatoglyphics in China and contributed to the foundations of anthropometrics. His return solidified the discipline of anthropology at Fudan University, and during his short life he trained several students who would become the mainstay of anthropology in the new China in the future. Unfortunately, he died in 1966, as a result of social unrest and change.

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Introduction. Etruscan-Italian fine art experienced a noticeable artistic influence from Greece. Iconographic types of the head and face were transmitted both through the import of finished Greek products and through the circulation of matrices and the artists themselves, which complicates the chronology and typology of monuments. P.J. Riis proposes to systematize the "evolution" of Etruscan terracotta styles by constructing a chronological series from the early archaic to the late classic [Riis, 1981]. The purpose of the work was to study the concept of P.J. Riis about iconography in Etruscan coroplastics and the creation of generalized morphological characteristics of local types (regional styles).

Materials and methods. Illustrated chronological tables from P.J. Riis and the method of composite portrait in digital version were used.

Results and discussion. P.J. Riis examined 352 types of images, their archaeological context geographically confined to Northern Etruria (Clusium), Central (Vulci, Volsinia), Southern (Caere, Veii, Falerii, Latium) and Etruscan Campania (Capua). The earliest production of Etruscan terracotta was concentrated in Campania, Southern and Northern Etruria, the first hellenized style of terracotta spread from Etruscan Capania into Southern Etruria. The composite portraits based on the combined samples of archaic art indicate the absence of significant sex differences. In the composite female portrait for all samples of the archaic period, a contribution of morphological elements of the types of Southern and Central Etruria is visually noted. The greatest contribution to the morphology of the face in the composite female portrait for all samples of the classical period was made by Central Etruria and Capua. The resulting composite portraits by region indicate the heterogeneity of facial iconography in the archaic and classical art of Central Italy and visualize the conclusions of P.J. Riis on the development of several local traditions of fine art style.

Conclusion. The classification of P.J. Riis is constructed in such a way that it assumes for its further completion with new archaeological data, so it can be considered as an attempt to create a “visual” history of the Etruscan portrait, at least part of it. © 2024. This work is licensed under a CC BY 4.0 license