Katse mõista keraamikut

Ceramics has never had particular significance in Estonian folk art. Traditionally, the Estonians expressed their creativity by cutting wood or forging iron. Thus, we cannot speak about popular tradition of folk ceramics, as it is a relatively recent field of art or consumer art. Throughout times, Maanus Mikkel's creation has possessed the underlying quality that enables to call it ethnic art, regardless of the stylistic changes it has undergone. His works create the sense of a certain paradigm. A major part of Mikkel's creation, regardless of the technique, appears expressive, robust. Virility of his art is emphasised by the use of rough clay and often also irregular form. Although being primordially Ugric, the theme has not a single speck of grotesque in it. Figures are blown bigger, and have nothing in them indicative of the usual reticence of the Estonians. Most of the works are serious; others express a small hint of tongue-in-cheek irony. It is not very common to ceramic pottery to have animate creatures depicted on them. Mikkel's creation almost always has clearly animate representations, though sometimes of unknown origin, including, for example, flying dragons as well as the tentative category of prehistoric animals. The figures, which sometimes disappear from the pottery only to re-emerge later, represent creatures of the times before the Ice Age. Of known species the most popular representations are that of bat and fish, even though some fish seem to favour flying, too. Some earlier works are reminiscent of prehistoric cave art, but this style has become considerably rarer. The new figures that have appeared in his work are humans - men and women. Love in the inane. Mikkel's earlier darker tone has become considerably brighter, his lines more round and fluent. Fortunately, the primordial fossils have not altogether disappeared in Mikkel's work; thus his already versatile world has acquired a new dimension. And who knows what course his art will take in the future

Eesti Rahva Muuseumi majaehituse lugu 1909-1918

The establishing of the Estonian National Museum in 1909 initiated systematic collecting of our cultural heritage as well as the endless fight for proper maintaining conditions. The museum archives started to grow rapidly and already in 1911, first exhibitions were made. As the museum collections grew, it sought new rooms. It seemed economical to build a house suited especially for the needs of a museum. With the argument that exhibiting the collected material would also greatly induce collecting and contributions, a fund for building the house was established instead of spending the money on increasing collections. Further initiative was received after a fire in the house the museum resided in: the funds started to take substantial form. Contributions were received from all over Estonia as well as from Estonians living abroad; a number of contributors were soldiers with patriotic feelings. Major daily newspapers became fund-raising centres where people sent money, and museum parties for raising money for the new house were held. Later, political instability directed people's attention to other problems. Though all kinds of plans were thoroughly discussed, they never were realised. In the end, devaluation reduced the value of the collected money

Foundation and evolution of the Estonian National Museum

Käesoleva uurimistöö eesmärgiks on eelkõige selgitada välja eesti rahva oma muuseumi kujunemise lugu rõhuasetusega muuseumi ja rahva vahelisel suhtel. Eesti Rahva Muuseumi (ERM) mõtte areng ja teoks saamine peegeldab eesti rahva rahvuseks küpsemise lugu. 1909. aastal ametlikult eluõiguse saanud muuseumi esimese kümnendi jooksul toimus paradigma muutus, kus üksikute haritlaste idealistlikust rahvusromantilisest ideest kujunes välja rahvaga aktiivselt suhtlev laiaulatusliku liikmeskonnaga ja selgete sihtidega mäluasutus. Muuseum konstrueeris väärtustatud mineviku narratiivi, mille kaudu oli võimalik leida oma minevikust seda, mille üle uhke olla ja mille kaudu tõestada, et ka eestlased on kultuurrahvas. ERMi strateegiad ja praktikad eesmärkide elluviimisel olid suunatud nii muuseumi sisse- kui väljapoole. Esmaoluline tegevussuund muuseumi esimeste aastate jooksul vanavara korjamise ja muuseumile sisu moodustamise näol andis kogu Euroopa kontekstis tähelepanuväärse tulemuse. Muuseumi põhikiri oli sätestanud laiapõhjalised eesmärgid ja kuigi muuseumist kujunes teoreetiliselt juba esimestel aastatel mitmekülgne institutsioon, sai aga praktikas identiteedi alus vanavarast. Tulemuste teaduslikuks läbitöötamiseks puudus veel laiem vaimne potentsiaal, see-eest oli loodud võimalus tulevastele erialateadlastele suurepäraste ja unikaalsete kollektsioonide näol.The aim of this research is, above all, to investigate the formation story of the Estonians’ own museum, with the emphasis on the relations between the museum and people. The evolution of the idea of the Estonian National Museum (ENM) and its realization reflects the maturing story of Estonian people into a nation. After the official foundation of the ENM in 1909, during the first decade of its existence, the museum underwent a change in its paradigm, growing from a national-romantic idea generated by a few intellectuals into a memory institution with extensive membership and clear visions. The museum constructed a valued past narrative, through which it was possible to find in the past the things to be proud of and to prove that Estonians are also a cultured nation. The strategies and practices of the ENM in pursuing its objectives were directed both inside and outside the museum. During the initial years of the museum the primary course of action constituted heritage collection and shaping the essence of the museum, which in European context yielded a remarkable result. The museum statutes had stipulated broad-based objectives and although as early as during the initial years of its existence the museum had theoretically developed into a versatile institution, in practice the identity was based on material heritage. There was still no wider intellectual potential for elaborating the results: however, the unique collections presented a great opportunity for the future specialists