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精美的俄羅斯手工工藝品

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Have you ever been captivated by the miniatures in pieces of art? Some masterpieces seem to be pure perfection. This is especially sad to learn that Russia had riches but lost them in hard times for the country. There were so many perturbations in the history of Russia that it is hard to determine which one was the most devastating. But nobody will argue that Russian revolution of 1917 was the most ruining event, which had a crucial effect upon the culture of Great Russian Empire. Many unique collections of valuable items which were cherished in the course of centuries by noble families just vanished from the country within several months. Their houses were nationalized by Bolsheviks, the palaces were ransacked. The Western market was oversaturated with antiques from revolutionary Russia at that time

Fantastic items were dissolved in private collections abroad. Not able to put up with new regime, many Russians emigrated and took their valuable collections with them. Some items which were lost by Russia in those days still present value of universal importance. People collecting antiques are ready to pay millions at the auction for such things. Jeweled Faberge eggs are among these treasures, for instance Rothshild’s Faberge Egg was auctioned at Christie’s and was sold for £ 8,9 million. Russian imperial art is widely presented in the collection of the Hillwood Estate, Museum&Gardens, which is located in Washington, DC. Alongside with 80 Faberge pieces, one can find wonderfully decorated Imperial Catherine the Great Easter Egg.

Virginia Museum of Fine Arts contains a precious item – an egg made in rococo style, which was presented by last Russian Tsar Nickolas II to his wife. It dates back to 1903 and was created to mark the celebration of St. Petersburg foundation and is called Peter the Great Egg.

The special antiquarian style was formed in Russia in the 18th-19th century. It combined the style of ancient Russia, bright colors of enamel art, classic elements of icon writing. Sometimes the features of foreign school were borrowed too.

The pieces of art of Russian empire are presented in museums and private collections in different parts of the United States. Walters Art Museum in Baltimore was founded by the person who visited in the 1900 St Petersburg and got acquainted with Faberge collection.

Being in St Petersburg American collector Henry Walters found Russian antiques so amazing that acquired many pieces for his collection.

Like nowadays there was Faberge shop in Petersburg at Bolshaya Morskaya, 24 then which sold many wonderful pieces then. You can see the interior of the shop. There were other Faberge shops as well.

Karl Gustavovich Faberge
 

Peter Carl Fabergé known as Carl Gustavovich Fabergé (Russian: Карл Густавович Фаберже, May 30 1846 – September 24 1920) was a Russian jeweler, best known for the famous Fabergé eggs, made in the style of genuine Easter eggs, but using precious metals and gemstones rather than more mundane materials.

He was born in Saint Petersburg, Russia to the jeweller Gustav Faberge and his Danish wife Charlotte Jungstedt. Gustav Fabergé’s father’s family were Huguenots, originally from La Bouteille, Picardie, who fled from France after the revocation of the Edict of Nantes, initially to Germany near Berlin, then in 1800 to the Baltic province of Livonia, then part of Russia.

Carl and his younger brother Agaton were a sensation at the Pan-Russian Exhibition held in Moscow in 1882. Three years later, Czar Alexander III appointed him an official Court Supplier, as a reward for making him a splendid Easter egg to give to his wife. Thereafter, Fabergé made an egg each year for the Czar to give to the Empress Maria. The next Czar, Nicholas II, ordered two eggs each year, one for his mother and one for his own wife, Alexandra, a practice which continued from 1885 to 1917.

He became the Czar’s Court Goldsmith in 1885. The Imperial Easter eggs were a sideline; Fabergé made many more objects ranging from silver tableware to fine jewelry. Fabergé’s company became the largest in Russia, with 500 employees and branches in Saint Petersburg, Moscow, Odessa, Kiev and London. It produced some 150,000 objects between 1882 and 1917. In 1897 the Swedish court appointed Fabergé Court Goldsmith. In 1900 his work represented Russia at the 1900 World’s Fair in Paris.

In 1917, amidst the chaos of the October Revolution, he sold his shares in the company to his employees and fled Russia. He went first to Finland, with assistance from the British Embassy, and then to Wiesbaden, Germany making stops in Riga, Berlin, Frankfurt, Hamburg. Fabergé and his wife moved to Bellevue Hotel in Lausanne, Switzerland. When he died, he was buried beside his wife Augusta in the Cimetière du Grand Jas in Cannes, France.

Fabergé had four sons: Eugéne (1874-1960), Agathon (1876-1951), Alexander (1877-1952) and Nicholas (1884-1939). Agathon fled to Finland via Terijoki and Viipuri. He settled in Kulosaari in Helsinki and studied philately and died there. He and his wife Maria are buried at the Orthodox cemetery of Helsinki. Their son Oleg Fabergé (1923-1993) is also buried there.

His sons Eugené Fabergé and Alexander Fabergé founded the successor of Fabergé Co.; as of 1989 it was owned by the global cosmetics company Unilever and the jewelry license was given to the jeweller Victor Mayer. The Fabergé work master continues the legacy of the famous brand and is its sole legal successor. Sarah Fabergé and Tatiana Fabergé are the last surviving descendants of Peter Carl.

In 2007 the brands and trademarks associated with the Fabergé name were acquired from Unilever by a consortium of investment partners advised by Pallinghurst Resources LLP[1] (Pallinghurst Resources LLP is headed by ex-BHP Billiton CEO Brian Gilbertson and acts as investment adviser to a number of investors).

Fabergé is currently being re-established as a pre-eminent luxury brand. The Fabergé brand will be relaunched during 2009 [2], in conjunction with the launch of a newly rationalised and revised set of product lines, which will include fine jewelery and precious stones[3].

 
 

These decorative dishes date back to the 17th century. Peter the Great and his family are portrayed on the dish, which is of special interest to many Russian experts when they visit the museum.

The items tell us about history which is not written in the text-books. For instance, vase for aroma mix was made by French jeweler who lived in Russia at the second half of the 18th century. According to the legend, Catherine the Great presented it to her lover, Earl Grigory Orlov after she started to reign in Russia. There is even his monogram on the cover held by two angels.

Russian try to return back now most of the items lost at that period. For instance, the collection of Faberge eggs Malcolm Forbes collected was acquired by Victor Vekselberg and brought it back to Russia. The sum of the deal was estimated to be between 90 to 120 million dollars. It should be mentioned too that antiquarian business is very widespread in Russia as the history is rich and extraordinary. Antiquarian shops with marvelous items can be found in every ancient city.

Going back to Faberge collection, it should be said that the major part of Russian collection can be seen in the Kremlin Armoury, the oldest Moscow museum on the territory of the Kremlin.

補(bǔ)充資料:選自“百度百科”,

俄羅斯彩蛋

俄羅斯珠寶有比較悠久的歷史,比如一個名叫法貝熱的天才俄國金匠創(chuàng)造了令人目眩神迷的沙皇彩蛋,他用自己的巧思將原來平凡的彩蛋變成了一個華麗的傳奇。
彼得·卡爾·法貝熱1846年出生在圣彼得堡,他的父親古斯塔夫·法貝熱在那里兢兢業(yè)業(yè)地經(jīng)營著一間小小的銀器和珠寶作坊,從未想到自己的小店有朝一日會變成俄國首屈一指的珠寶行,被俄國和歐洲各國皇族所追捧??枴しㄘ悷嵩诮邮指赣H的珠寶店之前做足了準(zhǔn)備,他先在德國德累斯頓一家商業(yè)學(xué)校學(xué)習(xí)了幾年,之后又到歐洲各國游歷。到1872年他接下家族那爿小小的珠寶作坊時,已經(jīng)有了豐富的商業(yè)知識和非凡的藝術(shù)眼光,準(zhǔn)備大干一場了。那時,法貝熱家的珠寶店和別家并無太大不同,大家都一樣做著圣彼得堡上流社會的生意。年輕的法貝熱經(jīng)過思考后認(rèn)為,只有獨(dú)樹一幟才能讓法貝熱珠寶揚(yáng)名于世。當(dāng)時俄國權(quán)貴們在珠寶首飾方面的品味著實(shí)令人不敢恭維,在他們眼中,珠寶價值主要還是取決于尺寸和重量,個頭越大,分量越重,就越能吸引艷羨的目光。就在這種華而不實(shí)、競相擺闊的風(fēng)氣中,法貝熱和弟弟一道,發(fā)動了一場小小的革命——當(dāng)然不是政治革命,而是藝術(shù)風(fēng)格的革命。為了與其他珠寶商區(qū)別開來,法貝熱將重點(diǎn)由珠寶的克拉數(shù)轉(zhuǎn)移到對藝術(shù)創(chuàng)造性和工藝水平的追求上。
他一改過去珠寶店一味堆砌名貴材料的做法,大膽使用陶瓷、玻璃、鋼鐵、木材、小粒珍珠等材料。法貝熱最注重的是設(shè)計,他的作品體現(xiàn)出歌德、文藝復(fù)興、巴羅克、新藝術(shù)等多種風(fēng)格,有的作品甚至有強(qiáng)烈的現(xiàn)代感,預(yù)見了20世紀(jì)的簡單幾何線條和簡約風(fēng)格。當(dāng)他的對手們還守著傳統(tǒng)的白色、淡藍(lán)色及粉紅色等顏料不變的時候,法貝熱卻銳意創(chuàng)新,起用了黃、紫紅、橙紅和各種各樣的綠色——總共有超過140種全新的顏色。法貝熱還將到年末尚未售出的所有產(chǎn)品全都?xì)У簦@是法貝熱最偉大的一點(diǎn),他從不重復(fù)自我。
而懂得巧妙地推銷自己也正是法貝熱所擅長的。雖然他原本只是一個珠寶和金器工匠,他卻懂得抓住每一個機(jī)會。在得到沙皇賞識之前,他努力爭取到皇帝藝苑工作,在那里見識了皇室歷代傳下來的各種奇珍異寶,同時做一些修補(bǔ)和估價工作。這段經(jīng)歷使他贏得了同行的承認(rèn)和贊許,并于1882年獲邀參加泛俄展覽會。法貝熱竭盡所能,做了一批精美的珠寶參展,他得到了豐厚的回報——一枚金質(zhì)獎?wù)?,多家報紙對他進(jìn)行了報道;更重要的是,沙皇亞歷山大三世和他的妻子瑪利亞·費(fèi)奧多羅芙娜皇后也來參觀了展覽,并被別致的法貝熱展品所吸引。
1886年,法貝熱得到一個珠寶匠人所能得到的最高獎賞:被封為“皇家御用珠寶師”。1885年,他接到了那個著名的訂單:沙皇命令他為皇后做一枚復(fù)活節(jié)彩蛋。
1885年是俄國沙皇亞歷山大三世登基20周年,在這一具有特殊意義的復(fù)活節(jié)里,亞歷山大三世想給心愛的妻子——皇后瑪利亞·費(fèi)奧多羅芙娜準(zhǔn)備一份特別的節(jié)日禮物。亞歷山大三世召來一名年輕的珠寶設(shè)計師,他就是法貝熱。法貝熱被沙皇相中是因為這位年輕人的作品曾經(jīng)吸引過瑪利亞的眼光。在復(fù)活節(jié)當(dāng)天早上,法貝熱向亞歷山大三世呈上一只外表看上去簡單無奇的復(fù)活蛋。但出乎眾人意料的是,白色琺瑯外層的蛋殼里面竟然有黃金做的雞蛋,雞蛋里面是一只小巧的金母雞,金母雞肚子里還有一頂以鉆石鑲成的迷你后冠和一個以紅寶石做成的微型雞蛋。一只小小的復(fù)活節(jié)彩蛋里隱藏的數(shù)層“機(jī)關(guān)”給皇后帶來了無比的驚喜,瑪利亞對法貝熱的禮物愛不釋手。揮酒千金為博紅顏一笑的亞歷山大三世,馬上下諭令要求法貝熱以后每年設(shè)計一只復(fù)活節(jié)彩蛋呈貢,并要求每只彩蛋必須是獨(dú)一無二,而且必須讓皇后歡喜不已。精湛工藝再加上與生俱來的藝術(shù)原創(chuàng)素質(zhì),令法貝熱從紙醉金迷的宮廷生活中借來創(chuàng)造靈感,年復(fù)一年地勝任挑戰(zhàn),為俄國兩朝沙皇與皇后設(shè)計了50只獨(dú)具匠心的復(fù)活節(jié)彩蛋藝術(shù)精品。法貝熱自此成為沙俄宮廷的御用藝術(shù)家,他把半生的精力服務(wù)于沙皇。
馬車模型陪襯的一枚加冕彩蛋構(gòu)思精巧、做工華麗的法貝熱彩蛋將珠寶藝術(shù)提升到了文藝復(fù)興以來裝飾藝術(shù)的最高水平。在1900年的巴黎世界博覽會上,沙皇彩蛋首次公開展出,讓評委大吃一驚,法貝熱的盛名由此遠(yuǎn)播整個歐洲。法貝熱成了時髦和高貴的同義詞,擁有一件法貝熱產(chǎn)品不單是為欣賞,更是一種地位的象征。貴族們互相攀比,幾乎每一件私人的物品都必須經(jīng)過法貝熱之手,才能稱為珍品。每當(dāng)沙皇和皇后出訪或在俄國四處巡游時,總是隨身帶著裝滿了法貝熱珠寶的箱子,以備在適當(dāng)?shù)臅r候送給別人做禮物。到1896年尼古拉二世繼位的時候,俄國沙皇大部分禮物都出自法貝熱之手。
除了圣彼得堡總部,法貝熱在莫斯科、敖德薩、基輔都設(shè)有工作坊,也在倫敦設(shè)了分行。在鼎盛時期,法貝熱公司員工多達(dá)500人,為俄國首屈一指的珠寶行。這時的法貝熱已經(jīng)顯示出了杰出的管理才能。由于訂單太多,他從各地乃至各國請來頂級工藝大師,讓他們共同為法貝熱工廠服務(wù)。而他本人負(fù)責(zé)為公司制定目標(biāo)、提供設(shè)計,以及制作產(chǎn)品目錄。所以,盡管法貝熱的名字已經(jīng)等同于沙俄帝國那些奢華精美的珠寶,但實(shí)際上,沒有任何一件作品是由他的手親自做出來的。沙皇彩蛋也是集體合作的成果:首先經(jīng)過前期詳盡的策劃,完成草圖和模型;然后由金匠、銀器匠、上釉工匠、珠寶工匠、玉石工匠和石工等人進(jìn)行討論、綜合,各出奇謀,接著才分配到法貝熱屬下的工廠進(jìn)行加工。
1918年羅曼諾夫王朝覆滅后,法貝熱的家產(chǎn)被充公,部分還遭到洗劫。法貝熱和他的家人登上最后一輛前往里加的外交列車離開了俄國,但他們誰也沒想到,他們再也沒能回到自己深愛的故鄉(xiāng)。
革命后不久,羅曼諾夫王朝的財產(chǎn)被新政府沒收。以前屬于皇室的金、銀、珠寶和畫像,包括大部分復(fù)活節(jié)彩蛋被一一記錄在冊,打包后被運(yùn)到克里姆林軍工廠。有一些彩蛋在皇宮遭到洗劫時流失了。當(dāng)時唯一沒被發(fā)現(xiàn)的彩蛋是圣喬治勛爵彩蛋,這也是法貝熱制作的最后一枚彩蛋。皇太后是1916年在圣彼得堡的克里米亞收到這份禮物的,她再也沒有回到圣彼得堡,而當(dāng)英國的巡洋艦打到那里時,瑪利亞才撤退。她隨身帶著這枚彩蛋和其他一些貴重物品,乘坐英國的戰(zhàn)船馬爾波羅號從雅爾塔逃亡到大不列顛帝國。圣喬治勛爵彩蛋也成為她最珍視的彩蛋。
在列寧的命令下,全部的珠寶和彩蛋被送往莫斯科。在克里姆林軍工廠黑暗的儲藏室的通道里,一些珍寶遺失了,現(xiàn)在沒有人知道它們在哪里。在那里,裝有彩蛋的柳條箱仍然保存完好,甚至沒有開封,克里姆林的軍隊守衛(wèi)著它們。但當(dāng)斯大林上臺后,列寧對俄國文化遺產(chǎn)保護(hù)所做的努力卻被打消了。為了換得西方經(jīng)濟(jì)支持他的新政權(quán),斯大林用這些珍貴的俄國皇室遺物去交換。1927年,這些珠寶在其他地方被重新發(fā)現(xiàn)。對于新政權(quán)來說,他們認(rèn)為用這些珠寶去換得經(jīng)濟(jì)支持是最自然不過的。于是這些珍寶被取了出來,進(jìn)行估價,最后賣給西方。
由于和腐朽的羅曼諾夫王朝有著如此密切的關(guān)系,一開始,法貝熱彩蛋的價值一直被低估。在他逃亡前,法貝熱的兒子阿格松被革命黨人抓了起來,然后又被暫時釋放,幫助新政權(quán)評估沒收來的皇室珠寶和寶石的價值。但阿格松隨后又被關(guān)了起來,因為他們發(fā)現(xiàn)很難按照他說的價錢把這些珠寶賣出去。
莫斯科克里姆林軍工廠的負(fù)責(zé)人為了保護(hù)這些珍貴的藝術(shù)品盡了他們最大的努力——甚至冒著被處決的危險。但在1930年至1933年之間,還是有14只沙皇復(fù)活節(jié)彩蛋被賣出并被運(yùn)出俄國。第一件出賣的物品是被派到巴黎和倫敦的大使帶出去的。那個成功得到大多數(shù)法貝熱復(fù)活節(jié)彩蛋的人叫阿曼德·漢墨,他在美國非常有名。他是一名成功的企業(yè)家,西方石油公司的總裁,而且是列寧的私人朋友,他父親是美國共產(chǎn)黨的創(chuàng)建人。意識到這些文化瑰寶的湮沒,阿曼德·漢墨這位杰出的企業(yè)家和社會慈善人士在20世紀(jì)30年代初期帶了10枚彩蛋去美國。漢墨創(chuàng)辦起企業(yè),并努力推廣這些彩蛋。但在那個經(jīng)濟(jì)低迷的年代,即使是最強(qiáng)大的美國金融家也遭遇了很大的危機(jī)。一名漢墨的朋友曾不無譏諷地說:“無疑,這些法貝熱彩蛋是非常美麗的,但那可以吃嗎?”
1931年,漢墨帶著數(shù)千件法貝熱藝術(shù)品來到紐約,為俄國新政權(quán)出售這些珍品。但那時,大家都沒有錢,經(jīng)濟(jì)大蕭條,沒有人對這些藝術(shù)品感興趣。直到漢墨突然想到把這些珍寶寄放在百貨商場里銷售。他帶著它們穿過整個北美,從東海岸到西海岸,經(jīng)過每個大城市時都會找到當(dāng)?shù)氐拇笊虉?,向它們的?jīng)理吹捧這些藝術(shù)品,說他怎樣發(fā)現(xiàn)了這些珍寶,并保證它們一定會受到人們追捧的。
在美國,早期有5位主要的法貝熱作品收藏者。盡管,一開始在拍賣行,每枚法貝熱彩蛋只能賣到400或500美元,但幾十年過去了,這些彩蛋已被視為最寶貴的藝術(shù)珍品之一?,F(xiàn)在,每枚彩蛋的價格都在數(shù)百萬美元之上。
羅曼諾夫王朝的宮殿里,曾有過數(shù)千件法貝熱的藝術(shù)珍品。如今,這些珍品大部分都散落在世界各地的收藏家手里或博物館里。法貝熱沙皇復(fù)活節(jié)彩蛋一共有50枚,現(xiàn)在只有10枚仍收藏在克里姆林宮,有8枚不知所終。
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