Kuban Cossacks on the Southwestern front, 1917. Photographer: Khoruzhiy (standard-bearer) A.M Strokun.

Original caption: Кубанские казаки в окопах. Юго-западный фронт, 1917 г. Фотограф Хорунжий А.М. Строкун.

Origin: Kuban Cossacks World War One, World War One Collection, E.D. Felitsyna Krasnodar State Historical and Archaeological Museum-Reserve, Krasnodar, Russia.

Art, History

The Ancient Black Sea: Greek Georgippia


Dagger in a sheath with images of eagles tormenting hares, inlaid with turquoise and ruby garnets, and a gold plate lined handle and scabbard. II – III centuries BC from the ancient north Black Sea Greek settlement of Georgippia (modern Anapa, Russia). This dagger is a modern copy of the original, courtesy of the E.D. Felitsyna Krasnodar State Historical and Archaeological Museum-Reserve.

Original caption: Кинжал в ножнах с изображениями орлов, терзающих зайцев, инкрустацией бирюзой и гранатами. Копия с кинжала с рукоятью и ножнами, обложенными золотыми пластинами. II – Середимы III в. н.э. из Горгиппии.

Origin: Gold Dagger with Eagles and Hares, Artifacts of Anapa, E.D. Felitsyna Krasnodar State Historical and Archaeological Museum-Reserve, Krasnodar, Russia.

Architecture, History

Uzbekistan 1871-1872


Bogaevskii, N. V., Photographer. “Antiquities of Samarkand. Mosque of Khodzha Akhrar. Prayer niche (mikhrob) in the mosque.” Photograph. Washington, D.C.: 1871-1872 From Library of Congress: Antiquities of Samarkandhttp://www.loc.gov/pictures/item/2002710084/.

Full collection on Samarkand: click here

Quoted from Library of Congress. http://www.loc.gov:

Th[ese] photograph[s] of the Khodzha Akhrar shrine in Samarkand (Uzbekistan) [are] from the archeological part of Turkestan Album. The six-volume photographic survey was produced in 1871-72 under the patronage of General Konstantin P. von Kaufman, the first governor-general (1867-82) of Turkestan, as the Russian Empire’s Central Asian territories were called. The album devotes special attention to Samarkand’s Islamic architectural heritage. Dedicated to the memory of the renowned 15th-century mystic Khodzha Akhrar (1403-89), the shrine contained several structures, including a winter and a summer mosque, as well as a minaret and cemetery. Seen here is the mihrab niche (showing the direction to Mecca) in the summer mosque, so called because its pavilion has one side open to the courtyard. The mihrab is set within a lavish display of polychrome ceramic work including faience mosaics. The primary color is dark blue, with details in yellow, orange, and white. This sacred space is defined by a network of ceramic inscription bands in an elongated cursive Perso-Arabic script (Thuluth). The pointed arch is framed by an outer inscription that extends to the top of the wall. The pointed arch leads to a faience panel with floral motifs, above which is an inscription square that, in turn, contains a smaller square with a sacred text in Arabic. The panels are bordered with patterned strips.