This book illuminates the crucial role photography played from the very beginning of the Russian colonial presence in Central Asia and its entanglement with the orientalist legacy that followed.
Inessa Kouteinikova examines these under-studied materials while also addressing the photographic market and reception of photography in the Russian Empire, the position of the popular press, the place of public exhibitions and emergence of the first ethnographic museums that took pace from Moscow to Tashkent during the time of the Russian conquest. This book embraces the dominant mode for representing the new colonial territories in the mid-late-19th-century Russia, by outlining the technical, commercial and artistic milieus during the Golden Age of Russian orientalism.
The book will be of interest to scholars working in art history, history of photography and Russian studies.
Author(s): Inessa Kouteinikova
Series: Routledge History of Photography
Publisher: Routledge
Year: 2022
Language: English
Pages: 224
City: New York
Cover
Half Title
Series Page
Title Page
Copyright Page
Contents
Acknowledgements
Introduction
Brief Outline of the Chapters
Chapter 1 - Photography on Our Side
Chapter 2 - Albumania à la Russe
Chapter 3 - Ethnographic Dissonance: Russia's First Colonial Exhibitions
Chapter 4 - Craftsman of Ethnography: Samuil M. Dudin
Chapter 5 - The Art of Photographic Ethnography: Vasilii Vereshchagin
Chapter 6 - Perusing Different Goals in Central Asia: Russian and Foreign Explorers and Their Photographic Interests
Conclusion
Notes
1. Photography on Our Side
Inorodzy and Nationdom
How to Portray the Inozemzy?
Photographic Developments and Adaptability
Photography and the Turkestan Press
Between Training and Order
Missionaries and Photography
Notes
2. Albumania à La Russe
The Album's Principal Commissioner
Turkestan Chronicle as Album and Its Principle Gatherers
Geography of the Album
Kaufman's Primary Assistants
Aleksey Kun
Nikolai Nekhoroshev: Inventing Turkestan Ethnographic Portraiture
Album's Major Achievements
Notes
3. Ethnographic Dissonance: Russia's First Colonial Exhibitions
Turkestan Exhibited: First Russian Ethnographic Exhibition, 1867
New Challenges: Polytechnic Exhibition, 1872
Ethnography Expands: Turkestan Exhibition (1890) and Central Asia Exhibition (1891)
Notes
4. Craftsman of Ethnography: Samuil M. Dudin
Personalities, Programmes and Visions behind Russian Ethnographic Sciences
The Storehouse of Asiatic Gems
Emerging from Obscurity: Central Asian Collections - First Asiatic Displays in Russia and Tashkent
Samuil Dudin: The Image of the Ethnographic Curator
Impetus for Developing and Expanding Local Islamic and Ethnographic Collections
Dudin's Cosmopolitanism and "Going Native"
Cultural Accumulation and Expansion of Asiatic (Islamic) Collections
The People Museum in Tashkent
Scientific Colonisation: Asiatic Museum
First Official Collection of Islamic Art in Moscow
Central Asia's Master Photographer: Conclusion
Notes
5. The Art of Photographic Ethnography: Vasily Vereshchagin
The Two Worlds of Russia
Photographic Tyranny
Dissonance and Resemblance
Conclusion: Provocation and Destruction of Stigma
Notes
6. Perusing Different Goals in Central Asia: Russian and Foreign Explorers and Their Photographic Interests
Expeditions and Explorers: Transformative Scientific Academy
Practical Vision of Science: Aleksey and Olga Fedchenko
Popularity of Central Asia outside Russia
Ole Olufsen
Sven Hedin
Carl-Gustav Emil Mannerheim: 14,000 Kilometres
Henri Moser
Notes
Conclusion
Notes
Index
