Alla V. Sukhova

Introduction. Since the early 1860s photographic practice has become an integral part of the scientific process and one of the main methods of ethnographic and anthropological research in Russia. In the course of preparations for the first Ethnographic Exhibition in Russia (1867), organized by the Society of Devotees of Natural Science, Anthropology and Ethnography (OLEAE), the Photographic Commission established by the Exhibition Committee (1866) developed a regulation on the execution of photographic portraits of the local population. In 1872 the first “instructions” in Russia for ethnographic and anthropological photography were published.

Materials and methods. The source for the preparation of the article was a collection of photographs collected by E.D. Felitsyn (1848-1903) and presented at the Anthropological Exhibition of 1879 in Moscow. Currently, it is stored in the funds of the D.N. Anuchin Research Institute and the Museum of Anthropology, M.V. Lomonosov Moscow State University.

Results and discussion. Photographs of representatives of two nationalities - Kabardians and Shapsugs, who lived in the Kuban region, are described and analyzed: the villages of Blechepsinsky and Khodzsky (currently the village of Blechepsin and the village of Khodz of the Koshekhablsky district of the Republic of Adygea), Khokhondukovsky and Kasaevsky (currently the village of Ali-Berdukovsky and the village of Khabez in the Khabezsky district of the Karachay-Cherkess Republic) and the village of Kudzhirsky in the Maikop district, that was located on the left bank of the river Farce and abolished in 1885. These are: 3 photographs of children (6 and 8 years old), 7 photographs of men (18-58 years old) and 5 photographs of women (18-60 years old). A description of the depicted national clothes is given, as well as a summary of literary anthropological information about the Kabardians and Shapsugs of this period.

Conclusion. The first published photographs of representatives of the two peoples of the North Caucasus living in the Kuban region in the second half of the 19th century make it possible to visualize some aspects of the historical information that scientists have at their disposal, to clarify the available anthropological, historical and cultural data on the Kabardians and Shapsugs, and also are an addition to the historical, archaeological, anthropological, genetic and ethnographic studies of the peoples of the North Caucasus. © 2023. This work is licensed under a CC BY 4.0 license.

Introduction. This publication is the second in a series of articles devoted to the description of the collection of photographs of representatives of the peoples of the Kuban region, and is devoted to the study of a part of the collection, including photographs of Karachays.

Materials and methods. The basis of the work was a collection of photographs collected by E.D. Felitsyn (1848-1903), presented by him at the Anthropological Exhibition of 1879 in Moscow and kept in the funds of Anuchin Scientific Research Institute and the Museum of Anthropology of Lomonosov Moscow State University.

Results and discussion. Photographs of the Karachays of the Batalpashinsky district (now the village of Batalpashinsky - the city of Cherkessk) are described and analyzed. Of these: two photographs of children (8 years old), four photographs of men (19, 37, 70 и 72 years old) and one photograph of a woman (57 years old). The authorship of the studied images has been established. All of them belong to the Russian photographer, the owner of one of the very first photo workshops in Tiflis, Vladimir Barkanov (1826-1892). A description is given of one of the famous dynasties of Karachay - the Krymshamkhalov princes, whose representative is depicted in the picture of the studied photo collection. A summary of literary anthropological information about the Karachavians of this period is presented.

Conclusion. The presented materials are unique, have scientific, historical and documentary value and significance, allowing to determine the authenticity of the person depicted in the photo, and its dynasty, as well as to obtain a lot of information about the typical realities of the depicted era, in particular, the features of his life, costumes, customs, environment habitats, as well as the implementation of a comparative anthropological and historical and cultural analysis. © 2023. This work is licensed under a CC BY 4.0 license

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