The Stylistic Peculiarities of the Illuminated Manuscript Sermon of Palladii the Monk in Old Believer Book Culture

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Tekst Kniga Knigoizdanie-Text Book Publishing Pub Date : 2021-01-01 DOI:10.17223/23062061/25/4
N. V. Anufrieva
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Abstract

Images of the Last Judgement in the eschatological writing Sermon of Palladii the Monk attracted the interest of Old Believer scribes as a visual proof of the truth of their faith. In the epoch when the Last Judgement was intensively anticipated (the second half of the 17th and the 18th centuries), illuminated Old Believer manuscripts were especially popular and significant. In different regional centres of Old Belief, rules for decorating such manuscripts were developed. The means of formulating and spreading visual information were distinct in terms of colour, the way in which narrative details were drawn, and the general composition. Using the illuminated manuscript Sermon of Palladii the Monk as an example, one can trace these stylistic distinctions. As a result of a comparative analysis with fifteen other illuminated manuscripts, it is possible to define four sustained styles used in the creation of this artefact. The “Northern Letters” style (present among the priestless Old Believers of the Russian North, the Urals, Sibe-ria, and Central Russia) is distinguished by the particular combination of colours (the combination of bright red, green and their shades) and the templates used to paint the pictures. The “Volga” style (which united different regions of the Volga, such as Irgiz, Nizhny Novgorod, Gorodets, Kerzhenets, Saratov, and others) stands out due to the richness and variety of the colours, which ranged from light and airy to bright and catchy, like purple and violet. Developing at the beginning of the 19th century in the Urals, the “Shartash” style includes decorative elements from the artistic schools of Pomor’e, Vetka, and Guslitsa. Often, these miniatures resemble lubki in terms of their narratives, fragmentation of the plot, and numerous explanations. Among the priestless Old Believers, the so-called “Baroque Rocaille” style was widespread: this contained elements from the art of the end of the 18th and beginning of the 19th centuries (such as Baroque and Rococo). These reflected the desires of scribes and artists to take into account modern developments, thereby keeping up with the times. Examining in paral-lel several different manuscripts and their characteristic features allows us to see the repeatability of individual stable forms of composition, as well as the breadth of the colour choices and the artistic qualities of the manuscripts. As the size of the study base increases, new information on the characteristic iconographic attributes of Sermon of Palladii the Monk will become available.
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老信徒图书文化中《和尚帕拉迪讲道》彩绘手稿的文体特点
末世论著作《僧侣帕拉迪的布道》中最后审判的图像吸引了老信徒的兴趣,作为他们信仰真理的视觉证明。在最后审判被强烈期待的时代(17世纪下半叶和18世纪),有插图的旧信徒手稿特别受欢迎和重要。在旧信仰的不同区域中心,制定了装饰这些手稿的规则。在色彩、叙事细节的绘制方式和总体构图方面,视觉信息的形成和传播方式都是不同的。以《帕拉迪僧侣布道》的插图手稿为例,人们可以追溯这些风格上的区别。通过与其他15份手抄本的对比分析,可以确定该手抄本创作中使用的四种持续风格。“北方字母”风格(存在于俄罗斯北部、乌拉尔、西伯利亚和俄罗斯中部无祭司的老信徒中)的特点是颜色的特殊组合(明亮的红色、绿色及其阴影的组合)和用于绘画的模板。“伏尔加”风格(将伏尔加的不同地区联合起来,如Irgiz, Nizhny Novgorod, Gorodets, Kerzhenets, Saratov等)因色彩的丰富性和多样性而脱颖而出,从明亮和轻快到明亮和引人注目,如紫色和紫罗兰色。“沙塔什”风格于19世纪初在乌拉尔地区发展起来,包括来自波莫雷、维特卡和古斯利察艺术流派的装饰元素。通常,这些微缩模型在叙事、情节的碎片化和大量的解释方面类似于lubki。在没有牧师的老信徒中,所谓的“巴洛克风格”很普遍:这种风格包含了18世纪末和19世纪初的艺术元素(如巴洛克和洛可可)。这些反映了文士和艺术家考虑到现代发展的愿望,从而跟上时代。同时考察几个不同的手稿及其特征,可以让我们看到单个稳定构图形式的可重复性,以及手稿颜色选择的广度和艺术品质。随着研究基地规模的增加,关于《僧侣帕拉迪的布道》的特征图像属性的新信息将变得可用。
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Tekst Kniga Knigoizdanie-Text Book Publishing
Tekst Kniga Knigoizdanie-Text Book Publishing HUMANITIES, MULTIDISCIPLINARY-
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