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Copyright of Methis is the property of University of Tartu Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Estonian & Finno-Ugric Linguistics / Eesti ja Soome-ugri Keeleteaduse Ajakiri is the property of University of Tartu Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Estonian manorial architecture has been a topic of interest to architectural and art historians for the last hundred years, but hundreds of wooden manor houses, of which many still exist day, have largely remained unnoticed. The reason for this lack of research into wooden architecture are manifold but can most easily be associated with socially complex relationships and previous research methods, resulting in the only monograph to date, Gustav Ränk's Die älteren baltischen Herrenhöfe in Estland (1971), which analysed wooden architecture in the 17th century, known in Estonia as the Swedish period. Since it is generally accepted that previous classifications of wooden architecture do not allow for great conclusions, the aim of this article is to give an overview of the architectural genesis of wooden manor houses during the manorial 'golden era', asking how modern ideas made their way into local architecture. In this regard, this paper also deals with architectural treatises and handbooks from the 18th and early decades of the 19th centuries and the question of the adaptation of architectural theorists' ideas to local architecture. The genesis of Estonian wooden manorial architecture can be divided into three distinguished periods that are similar to the overall development of manorial architecture in the Baltics. Although the very first wooden noble residences built at the beginning of the 18th century were small urbaltisch buildings with a central chimney that resembled those built in the Swedish era, newer architectural forms more in touch with the architectural trends of the time appeared on lands that had either escaped the negative consequences of the Great Northern War and plague or had been donated by the Russian rulers. In other places, manorial architecture continued with the traditions, which began to change more strongly in the second half of the century, reflecting the landlords' greater need for representative purposes. This not only brought changes to construction techniques but also to the buildings' overall appearance: most wooden dwellings doubled in size and were decorated according to late Baroque or early Neoclassical elements. More major changes took place in the first decades of the 19th century, which gave contemporaries a chance to describe wooden dwellings as 'light and summery', testifying to changes in building traditions. Since at this stage of research only a handful of building masters, masons and construction carpenters are known to have worked in the building of wooden manor houses, this article suggests that the landlords may also have drawn the ground plans themselves, with the help of architectural treatises and handbooks of the time. Although the architectural ideas of Nikolaus Goldmann, Friedrich Christian Schmidt and David Gilly are tangible, it is possible that in many cases the influence was more indirect and depended on the general stylistic and technical changes of the period. This architectural conservativism can partly be explained by the fact that Baltic manors largely depended on local craftsmen and peasants from nearby villages, but also by the nobility's general aversion to all things new. A much more accessible treatise for many noblemen at the time may have been the economic handbook written by local pastor August Wilhelm Hupel, which included some thoughts on the building process; however, since he did not introduce any new architectural ideas, but rather carried on with the local traditions, it is possible that his ideas were put to practice elsewhere, where landlords did not actively live. The same conclusion can be drawn about the standardised model façade projects, which made certain façades compulsory for cities in the Russian Empire in the early decades of the 19th century, but had very little effect on Estonian wooden manor houses. Although this article brings clarity to many aspects of wooden manorial architecture, the most important contribution to the history of Baltic manorial architecture is bringing attention to the fact that wood as a building material was not only widespread but held a dominant role in building practice. This not only emphasises Baltic manorial architecture's peripheral role on the map of European art, but also creates new perspectives to delve deeper into the connections with Scandinavia and other countries, where the material played a part in the building practices of the higher and lower strata of society. [ABSTRACT FROM AUTHOR]

Copyright of Estonian Journal of Education / Eesti Haridusteaduste Ajakiri is the property of University of Tartu Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Estonian & Finno-Ugric Linguistics / Eesti ja Soome-ugri Keeleteaduse Ajakiri is the property of University of Tartu Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main subject of this article is a photo album created by Reinhold Karl von Liphardt Jr, an outstanding representative of the Baltic German landed gentry in Estonia in the first half of the 20th century. In the early 1990s, the director of the "Bildarchiv Foto Marburg" of the Art History Institute of the Phillips University Marburg, Mrs. Brigitte Walbe made the duplicates of the photographic materials from the collection of the Baltic German historian and genealogist Georg von Krusenstjern available to the author of this article. The article classifies and analyses the 181 photographs pasted in the photo album which, with the highest degree of certainty, can be attributed to Reinhold Karl von Liphardt Jr. (1864-1940), the owner of Raadi, Vastseliina and several other estates. Judging by the photographs in the album, it can be concluded that von Liphardt used photography as a means of enriching his emotionally saturated life with yet another means of artistic self-expression. The photographs taken in the period from the winter of 1912-1913 to the winter of 1913-1914, convey an inordinate amount of visual information about the landscape, architecture and society in the Vastseliina manor. Reinhold Karl von Liphardt's photo album presents a series of chronologically consecutive images and it is similar to a poetic "diary in pictures". Reinhold Karl von Liphardt used photography as a perfect means of documenting his ecocultural environment. His landscape photographs are characterized by great attention to detail. The cultural and sociological significance of the rural scenes in the photographs is further increased by the presence of local people in them. The Seto ethnic group lived in the estates of Reinhold Karl von Liphardt and, thanks to their ethnographic uniqueness, drew the attention of an educated landlord. The photos with individual and group portraits of the representatives of the Seto ethnic group are not only vivid evidence of the Estonian culture in the first decades of the 20th century, but also striking works of art, whose power of expression elevates them considerably above the emotionality and artistic effect of Reinhold Karl von Liphardt's lyrical landscapes and idyllic family portraits. [ABSTRACT FROM AUTHOR]

Copyright of Estonian Journal of Education / Eesti Haridusteaduste Ajakiri is the property of University of Tartu Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is the first attempt to present the beginnings of Estonian professional art history in the 1920s in a regional and global context. The author strives to situate the University of Tartu (Dorpat) in the pan-European network of universities, where art history had gradually become regarded as a new discipline during and after the long 19th century. Art history is rooted in the Age of Enlightenment, with Johann Joachim Winckelmann retrospectively named the father of art history. But it was about a half century after his death that art history was incorporated into a general subject of aesthetics taught at universities. It took another fifty years for art history to become a separate discipline in the modern universities of Germany and Austria-Hungary, and another half century to receive a separate chair at the Estonian national university in Tartu. The development of art history as a discipline at the University of Tartu is analysed on a very granular level, based on primary sources from Estonian and Swedish archives. During the 19th century art and its history were used to the ends of national politics and in search of national identities. In Estonia, this was hindered by the activities of another ethnic group, the Baltic-Germans, who had been the ruling class in the Baltic provinces of the Russian Empire. The first professor of art history at the Estonian University of Tartu, Helge Kjellin, wanted to bridge the gap between Estonian and Baltic art history. He attempted to merge these two concepts and define the territorial concept of Estonian art from the Middle Ages to the beginning of the 20th century. He also defined this as a proper field of study for Estonian art historians. However, after his departure from Estonia, art history was neglected and irrelevant for the Estonian University and the Estonian Republic. Science and academic professions were regarded as a masculine field of activity until after the Second World War. Only the lack of men, who had died in the war, enabled women to start seeking a more equal place in the academic world worthy of their intellectual ability. Despite there being many capable female students among those who studied art history with Kjellin, the first female professor of art history in Estonia, Krista Kodres, was elected to the Estonian Academy of Arts only in 2003. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Estonian & Finno-Ugric Linguistics / Eesti ja Soome-ugri Keeleteaduse Ajakiri is the property of University of Tartu Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Estonian & Finno-Ugric Linguistics / Eesti ja Soome-ugri Keeleteaduse Ajakiri is the property of University of Tartu Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)