Pub Date : 2023-09-29DOI: 10.15382/sturv202351.142-154
Elena Nikulina
This article analyzes the cult painting of Karelia of the XVII–XVIII centuries on the examples of hagiographic icons dedicated to St. Nicholas. It was in these monuments that an artistic variety of forms emerged, which represented a bizarre combination of new techniques and traditional archaic features. A significant role in updating the visual structure of icons was formed by the Baroque. In the design of architecture, in the technique of writing the open parts of the figure of the Saint, the desire to realize intricate elements was manifested, in particular, the S-shaped line became a marker of the "local" Baroque. Among the isographers, a more refined color, consisting of blue and pink shades, was recognized, and the landscape and the animal world began to play the role of the main subject of the narrative. Some changes have also taken place in the composition, they touched the direct perspective. In icons with folklore semantics, painterly-plastic unity was preserved. This idea was convincingly revealed in the color, the peculiar interpretation of the image of the Saint and the themes caused by the everyday impressions of the northern man. The experience of this study idea to expand the understanding of Karelian icon painting of the late Middle Ages. In contrast to the cult painting of the early period, in the works of the 17th-18th centuries, new trends had a significant impact on the style of icons. But despite this, archetypal artistic thinking and everyday practical experience allowed to save the pre-emptive right to further self-affirmation.
本文以献给圣尼古拉的神像为例，分析了 XVII-XVIII 世纪卡累利阿的宗教绘画。正是在这些纪念碑中出现了各种艺术形式，它们是新技术与传统古老特征的奇妙结合。巴洛克在更新圣像的视觉结构方面发挥了重要作用。在建筑设计中，在书写圣像开放部分的技术中，体现了实现复杂元素的愿望，特别是 S 形线条成为 "地方 "巴洛克的标志。在等距摄影师中，蓝色和粉色色调组成的更精致的色彩得到认可，风景和动物世界开始扮演叙事主体的角色。构图也发生了一些变化，它们触及了直接透视。在具有民间传说语义的图标中，保持了绘画与造型的统一。色彩、对圣人形象的独特诠释以及北方人日常印象所产生的主题，都令人信服地揭示了这一理念。这项研究的经验拓展了人们对中世纪晚期卡累利阿圣像绘画的理解。与早期的邪教绘画不同，在 17-18 世纪的作品中，新的趋势对圣像的风格产生了重大影响。尽管如此，原型艺术思想和日常实践经验允许保存进一步自我肯定的先发权利。
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Pub Date : 2023-09-29DOI: 10.15382/sturv202351.155-173
Anna L. Pavlova
In the article an attempt is made of clearing up the source of the North-East Tver region artistic culture flourishing in the 19th century that especially became strikingly apparent in church wall-painting. Beginning with the early 19th century the painters from the city of Yaroslavl were actively working in the Tver region and introduced various traditions of Yaroslavl into the fine arts. One of the characteristic features of the Yaroslavl painters’ language was the combination of Old Russian and West European devices in the classicism stylistic context that found a reflection in the Tver region monuments. At present the phenomenon of different trends coexistence in the beginning of the 19th century is well known in the specialized literature through the example of icon-painting. A similar occurrence took place in the monumental art but so far it hasn’t been investigated in the scholarly literature. The works of the Yaroslavl painters Banshchikov and Smirnov are preserved in the Resurrection cathedral in Kashin as a masterpiece of wall-painting without renovations or restorations. Through the example of the cathedral paintings the devices of the Yaroslavl painters are being analyzed, in particular the use of the rare Old Testament cycle in the painting programme created on the basis of the popular German engravings from Christoph Weigel Bible (1695). A comparison of the Yaroslavl painters’ style in the Korsun Icon of the Mother of God church in the village of Zelentsovo and a number of the North-East Tver region murals is carried out. The analysis of the interregional connections and the study of the Old Russian traditions firmness in the classicism period favour the deepening one’s knowledge about the view of the Russian art development in the first half of the 19th century. For the Yaroslavl region bordering the Tver region districts Yaroslavl as a strong monumental art centre became one of the main sources of the new artistic traditions.
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Pub Date : 2023-09-29DOI: 10.15382/sturv202351.83-102
Lada Kondrashkova
The article is devoted to the study of one demestvenny polyphonic hymn: the "zadostoynik" for the Nativity of Christ (irmos of the 9th song of the festive canon, performed at the liturgy instead of the hymn to the Theotokos «It is truly meet to bless thee»); the history of its origin and existence is traced according to 11 singing manuscripts of the 17th - the first quarter of the 18th century, fragments of manuscripts and musical examples are given. In the light of the newly discovered aspects of the mutual influence of two styles of early Russian polyphony – troestrochy («triplets») and demestvo - the author wrote two articles in parallel in 2023: a more general “On the problem of interaction between the styles of early Russian polyphony in the 17th century (on the example of zadostoyniks)”, and the present one, dedicated to only one of the zadostoyniks - the Christmas one. The article describes all the cycles of demestvenny zadostoyniks in which there is a Christmas one, while building a historical picture of the change in forms and ways of recording demestvenny polyphony: in the form of a part of a separate voice in a separate book, in the form of a hook score of Kazansky (demestvenny) notation and in the form of musical notation scores. Analyzing demestvenny notation and transcripts, some of which were made by Evgeny Skurat, the author identifies 3 different chants of the Christmas zadostoynik: the main, parody variant, quoting the voice «put'» from a similar triplets chant, and a paraphrase variant using the initial motive "put' strochnoy" in solo “pochin demestvom”. The elite, court tradition of Russian polyphonic singing in its heyday mastered a new method of composing demestvenny scores using the technique of parody, counterfactual. In one of the variants of the chant, we see elements of an innovative polyphonic writing technique: imitation in augmentatio and in diminutio in all four voices of the score.
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Pub Date : 2023-09-29DOI: 10.15382/sturv202351.29-53
O. Tyurina
An octo-modal hymn in Byzantine liturgical chant is a particular composition type, in which melody runs through all eight modes of the Octoechos. The paper discusses one of such hymns – Sticheron to the Dormition “Thearkhio neumati” as it appears in the Middle Byzantine singing tradition. This melodic version – “Standard Abridged Version” as it is called by Byzantinists – was widely spread in late 12th – 14th centuries and can be found in many manuscripts, written in the diastematic “round” notation that can be read and transcribed.The author presents a detailed study of different melodic and graphic features of the Sticheron: its notation, modal composition, melodic formulae and their cadences. The graphic version from Middle Byzantine manuscripts shows some peculiarity in using modal signatures (called in Greek tradition “martyria”). These signs, marking a modulation or a cadence on a secondary tone, are not obligatory in this version: their number and position change from one manuscript to another without affecting neither the melody of the hymn nor its modal composition. Study of melodico-modal features of the Sticheron reveals, on the other hand, significant similarity in modal and formulae content between authentic modes and their respective plagal modes. Therefore, in a larger sense, the composition of the Sticheron includes not eight, but four wholly distinctive modal sections. There are also other peculiarities: transposition of some melodic formulae; minor discrepancies the melody shows in different manuscripts; some elements of oral singing tradition surviving in the graphic version.In the Appendix to the article, the author presents the full transcription of the Sticheron from Middle Byzantine neumes to modern notation system.
拜占庭礼仪圣歌中的八音模式赞美诗是一种特殊的创作类型，其中的旋律贯穿八音模式的所有八种模式。本文讨论的就是这样一首赞美诗--拜占庭中古唱诗传统中出现的《圣母降临》（Sticheron to the Dormition "Thearkhio neumati"）。这种旋律版本--拜占庭学家称之为 "标准节略版"--在 12 世纪末至 14 世纪广为流传，在许多手稿中都能找到，采用可读可抄的双音 "圆 "记谱法。来自拜占庭中期手稿的图形版本在使用调式符号（希腊传统称为 "殉难"）方面显示出一些特殊性。在该版本中，这些标志并不是必须的，它们的数量和位置在不同的手稿中会有所变化，但既不会影响赞美诗的旋律，也不会影响其模态构成。另一方面，研究《斯蒂切隆》的旋律模态特征可以发现，真实模态和各自的格律模态在模态和公式内容上有很大的相似性。因此，从更广泛的意义上讲，《斯蒂克龙》的构成不包括八个而是四个完全不同的调式部分。此外，还有其他一些特殊性：一些旋律公式的转调；不同手稿中旋律的细微差别；图形版本中保留的一些口头演唱传统元素。
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Pub Date : 2023-09-29DOI: 10.15382/sturv202351.124-141
Nora Potemkina
This article is dedicated to the history of the written form of the well-known church tune – the heirmoi of the Sunday canon of the 6th tone, from the manuscripts of XVII-XVIII centuries until present-day publications of the tune. While comparing different sources of this tune, differences in its variants were discovered, it was shown how the tune changed over time, as it was in different regions in the same time period – i.e., synchronic and diachronic methods of research were used in the study. For clarity, an analytical score of the heirmos of the first song of the canon was compiled, in which the similarities and differences of the tunes are visible, the tendency to reduce the melody of the tune over time. It is noteworthy that the chant has retained some similarity of variants in sources of different types: these are handwritten singing Obikhods, written in znamenny notation, and notolinear Irmologions that came from the Ukrainian and Belarusian lands; Synodal publications of Obikhod and the Octoechos of two editions: 1772 and 1890s, four-part singing editions of the early twentieth century and the present-day sources. In the reduced version of the melody of the znamenny chant, several melodic formulas have been preserved, which sound in a polyphonic presentation. The revealed similarity of the components of the chant in the sources of different times and localities allows us to speak about the continuity of the Orthodox liturgical singing tradition.
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Pub Date : 2023-09-29DOI: 10.15382/sturv202351.68-82
Maksim Onufrienko
The depiction of liturgical life played a crucial role in the Russian art of the 16th-17th century. There was a number of newly created scenes emerged at the time: Let All Human Flesh Be Silent, The Cherubikon, The Vision of St. Gregory the Theologian and Now the Powers of the Heaven. The rarity of the latter, provided by the only example kept in the State Tretyakov Gallery, caused a special interest for the study. The upper part of the composition is occupied by the image of Heaven, where the Savior sits in majesty in the center surrounded by the angels. In the lower part, the saint bishop celebrates the liturgy against the backdrop of the temple. The icon is inscribed with a quotation from a hymn sung at the Liturgy of the Presanctified gifts. We find a similar set of motifs in another scene known as A Saint Celebrates the Liturgy. The depictions of it carry other inscriptions: The Liturgy, A Saint Bishop Serves the Lord, etc., however, the composition itself seems precisely repeated. In the center of the composition, there is a saint bishop approached by the laypeople. In the upper part, the Savior within a mandorla is depicted surrounded by the Heavenly Powers. In other words, the core motif of a saint bishop in front of the altar which is considered a marker for liturgical scenes is supplemented here with the depiction of laypeople or saints coming and with the image of the Lord in Majesty. The use of the similar set of motifs indicates the parallel development of liturgical scenes in the Late Medieval Russian art. The semantics of the subjects A Saint Bishop Celebrates the Liturgy and Now the Powers of Heaven also coincide with other liturgical compositions. They express the idea of unity between believers and the Heavenly world and besides they clearly show the way to reach the Paradise through the liturgy.
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Pub Date : 2023-09-29DOI: 10.15382/sturv202351.103-123
Vera Baturova
The stone Church of the Annunciation in the Spaso-Efimiev Monastery of Suzdal was known in the first half of the seventeenth century and, according to many researchers, had a two-tent completion. Subsequently, the monument was repeatedly subjected to alterations, and in the second half of the century it was completely rebuilt. According to the evidence of the restorers of the VSESRPW, only the foundation remains of the original structure. The peculiarity of the temple, historically developed, was its position inside the territory of the monastery. In the second half of the century, the walls of the monastery were rebuilt and expanded, as a result of which the gate temple acquired the significance of an independent building. It is also important to note the initial five-domed completion of the monument. The basis for this conclusion was the full-scale research of restorers, during which the foundations of the side chapters were found, which were not subsequently recreated.In this paper, the task is to study the modern appearance of the temple, without considering its original appearance. The main structural and decorative features of the building were studied in order to identify their sources, as well as distribution among the Suzdal temple construction, the place of the Annunciation Church in the line of development of the architecture of Suzdal and to clarify the time of the reconstruction of the temple, thanks to which it acquired a modern look.The structural features of the building include, in addition to the five-domed building, the absence of bypass galleries characteristic of gate temples of the second half of the century, which is probably due to the position of the temple inside the ring of walls. Three high apses also attract attention. The beginning of their spread on the Suzdal soil dates back to the 60s of the century, but the end of the century was marked by the predominance of single-apse buildings. The decorative decoration of the Annunciation Church is of particular interest. The laconic decoration of the drum uses triangular elements, probably borrowed from the decoration of the buildings of the monastery of the sixteenth century. The solemn southern facade of the main volume is highlighted with the help of window frames with set half-columns. The western casing of this facade has two rows of such columns, which finds the most complete parallels in Volga architecture. Attention is drawn to the casing of the apse window, which has a complex three-gable completion, which finds the most complete analogies among the buildings of the Vladimir region. Under the influence of the capital's monuments, the porch of the studied temple was decorated. It is important to note the numerous sources of the forms of the church, which, presumably, was influenced by the location of the monastery and its historical significance. The extensive possessions of the monastery in various regions, as well as contributors, among whom Prince Dmitry Mikhailo
{"title":"Annunciation church of Savior-Euthymius monastery in Suzdal. The question of dating","authors":"Vera Baturova","doi":"10.15382/sturv202351.103-123","DOIUrl":"https://doi.org/10.15382/sturv202351.103-123","url":null,"abstract":"The stone Church of the Annunciation in the Spaso-Efimiev Monastery of Suzdal was known in the first half of the seventeenth century and, according to many researchers, had a two-tent completion. Subsequently, the monument was repeatedly subjected to alterations, and in the second half of the century it was completely rebuilt. According to the evidence of the restorers of the VSESRPW, only the foundation remains of the original structure. The peculiarity of the temple, historically developed, was its position inside the territory of the monastery. In the second half of the century, the walls of the monastery were rebuilt and expanded, as a result of which the gate temple acquired the significance of an independent building. It is also important to note the initial five-domed completion of the monument. The basis for this conclusion was the full-scale research of restorers, during which the foundations of the side chapters were found, which were not subsequently recreated.In this paper, the task is to study the modern appearance of the temple, without considering its original appearance. The main structural and decorative features of the building were studied in order to identify their sources, as well as distribution among the Suzdal temple construction, the place of the Annunciation Church in the line of development of the architecture of Suzdal and to clarify the time of the reconstruction of the temple, thanks to which it acquired a modern look.The structural features of the building include, in addition to the five-domed building, the absence of bypass galleries characteristic of gate temples of the second half of the century, which is probably due to the position of the temple inside the ring of walls. Three high apses also attract attention. The beginning of their spread on the Suzdal soil dates back to the 60s of the century, but the end of the century was marked by the predominance of single-apse buildings. The decorative decoration of the Annunciation Church is of particular interest. The laconic decoration of the drum uses triangular elements, probably borrowed from the decoration of the buildings of the monastery of the sixteenth century. The solemn southern facade of the main volume is highlighted with the help of window frames with set half-columns. The western casing of this facade has two rows of such columns, which finds the most complete parallels in Volga architecture. Attention is drawn to the casing of the apse window, which has a complex three-gable completion, which finds the most complete analogies among the buildings of the Vladimir region. Under the influence of the capital's monuments, the porch of the studied temple was decorated. It is important to note the numerous sources of the forms of the church, which, presumably, was influenced by the location of the monastery and its historical significance. The extensive possessions of the monastery in various regions, as well as contributors, among whom Prince Dmitry Mikhailo","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"178 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139334320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-29DOI: 10.15382/sturv202351.54-67
Irina Golubeva
The iconography of Jesus Christ is one of the most relevant and, at the same time, the most difficult subjects to study. The formation of stable iconographic types of the Savior’s image went through a complicated path, going through various transformations, mainly related to the practical or liturgical function of icons. One of the most popular type, Pantokrator, has been realized in the panel painting of the Italian central region from the earliest times in the copies of the main Roman relic - Acheropita (Greek: Αχειροποίητα, the Image of Christ Not Made by Human Hands), which, as believed, had the same miraculous and protective power as an ancient icon. These copies, representing the image of the Savior on the throne (sometimes flanked by the parts of a triptych with the praying Virgin Mary and Saint John depicted) were largely produced for the churches of Rome and Lazio until the end of the 15th century. In the Renaissance, with its focus on individual religious practice, there is an increasing demand for small altars for home prayer, where artists implemented a new type of iconography, Veronica (Latin: Vera Icona, True Face), which (as well as Acheropita) was associated with the legend of the miraculous discovery of a relic and also endowed with a special protective power. Various interpretations of the illustrative images of the True Face in Italy and the artistic solutions found by the painters of Northern Europe finally lead to the formation and wide circulation in the Renaissance art of another iconographic variation - the Savior of the World (Latin: Salvator Mundi). This article discusses the pictorial and textual sources that determined the completion of the main iconographic types of Jesus Christ in Italian panel painting of the 13th – 15th centuries and with many of attracted samples studies the development of Savior’s iconography.
{"title":"From Сhrist Pantokrator to Salvator Mundi: the development of the iconography of the savior in Italian panel painting of the 13th — 15th centuries","authors":"Irina Golubeva","doi":"10.15382/sturv202351.54-67","DOIUrl":"https://doi.org/10.15382/sturv202351.54-67","url":null,"abstract":"The iconography of Jesus Christ is one of the most relevant and, at the same time, the most difficult subjects to study. The formation of stable iconographic types of the Savior’s image went through a complicated path, going through various transformations, mainly related to the practical or liturgical function of icons. One of the most popular type, Pantokrator, has been realized in the panel painting of the Italian central region from the earliest times in the copies of the main Roman relic - Acheropita (Greek: Αχειροποίητα, the Image of Christ Not Made by Human Hands), which, as believed, had the same miraculous and protective power as an ancient icon. These copies, representing the image of the Savior on the throne (sometimes flanked by the parts of a triptych with the praying Virgin Mary and Saint John depicted) were largely produced for the churches of Rome and Lazio until the end of the 15th century. In the Renaissance, with its focus on individual religious practice, there is an increasing demand for small altars for home prayer, where artists implemented a new type of iconography, Veronica (Latin: Vera Icona, True Face), which (as well as Acheropita) was associated with the legend of the miraculous discovery of a relic and also endowed with a special protective power. Various interpretations of the illustrative images of the True Face in Italy and the artistic solutions found by the painters of Northern Europe finally lead to the formation and wide circulation in the Renaissance art of another iconographic variation - the Savior of the World (Latin: Salvator Mundi). This article discusses the pictorial and textual sources that determined the completion of the main iconographic types of Jesus Christ in Italian panel painting of the 13th – 15th centuries and with many of attracted samples studies the development of Savior’s iconography.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"236 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139334555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-29DOI: 10.15382/sturv202351.9-28
Elena Ermak
Although the sarcophagus No. 1957, 1011.1 is investigated in detail, to this day there are many questions in its study. In addition to the main problems facing the researcher in the study of early monuments the item has a unique iconographic solution: unlike other objects of this kind (3rd c.), the prophet Jonah, reproduced on the front wall, is represented awake. The authors put forward a number of hypotheses explaining this feature, but none of them is comprehensive. These aspects justify the choice of the monument as an object of study.A review of texts (2nd-4th cc.) and objects (3rd-5th cc.) showed that, probably, the Old Testament prophet is not literally represented in the relief, but rather an allegorical transmission of the theology of bodily Resurrection is presented. Although the early texts were only trying to comprehend the relationship between the image (εἰκών) and the Prototype (ἀρχέτυπον), nevertheless, perhaps understanding the images at that time could be more complicated and led to the formation of the theology of the image.
{"title":"Why is Jonah awake? An interpretation of the early Christian sarcophagus from the British museum in the modern art history","authors":"Elena Ermak","doi":"10.15382/sturv202351.9-28","DOIUrl":"https://doi.org/10.15382/sturv202351.9-28","url":null,"abstract":"Although the sarcophagus No. 1957, 1011.1 is investigated in detail, to this day there are many questions in its study. In addition to the main problems facing the researcher in the study of early monuments the item has a unique iconographic solution: unlike other objects of this kind (3rd c.), the prophet Jonah, reproduced on the front wall, is represented awake. The authors put forward a number of hypotheses explaining this feature, but none of them is comprehensive. These aspects justify the choice of the monument as an object of study.A review of texts (2nd-4th cc.) and objects (3rd-5th cc.) showed that, probably, the Old Testament prophet is not literally represented in the relief, but rather an allegorical transmission of the theology of bodily Resurrection is presented. Although the early texts were only trying to comprehend the relationship between the image (εἰκών) and the Prototype (ἀρχέτυπον), nevertheless, perhaps understanding the images at that time could be more complicated and led to the formation of the theology of the image.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"238 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139334085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-30DOI: 10.15382/sturv202350.24-35
Z. Guseinova
The musical and theoretical manuals of the 17th century contain extensive information about the znamenny chant and the processes of change that took place in it over the course of a century. Created in many russian scriptoriums they reflected the local features of church singing and the features of its theoretical comprehension, expressed, in particular, in the formation of specific terminology. The manuscript of the Museum Collection of the Russian State Library (fund 178) No. 875, which conventionally dates back to 1605-1610, includes an extensive theoretical codex, which presents in general traditional theoretical manuals, but in a special design and with the use of unusual terminological forms. The codex includes two major manuals – “Grani” and “Fito-kokiznik”, each of which covers different types of documents. The predominant ones in them are kokizniks and fitnics, which are sequentially copied the various independent manuals, demonstrating formulas with and without divorces, containing material from various singing books (Oktoich, Stichirar’ Minayny, etc.) and genres (tropari, blazhenny etc.), organized by eight modes. The author of the codex does not intend to bring together the information of different manuals, he prefers to save each document in its original form. But at the same time, to denote theoretical positions, the author uses diminutive and affectionate suffixes that give traditional terms a special, soft shade: "strochka" instead of "stroka", "fitka" instead of "fita", "rosvodetc" instead of "rosvod", etc. It is also unusual to use literary terminology to denote special textual and musical lines, in particular, "dinfong" (diphthong). A remarkable feature of the codex is also the presence of special chants with the corresponding remarks "Troitsky", as well as the introduction of a fita divorce of the monk Isaiah (presumably Ivan Lukoshkov).
{"title":"“Strochki” and “fitki”, “rosvodets” and “roznamenka”. Special features of theoretical texts in the manuscript from the Russian State Library mus. № 875","authors":"Z. Guseinova","doi":"10.15382/sturv202350.24-35","DOIUrl":"https://doi.org/10.15382/sturv202350.24-35","url":null,"abstract":"The musical and theoretical manuals of the 17th century contain extensive information about the znamenny chant and the processes of change that took place in it over the course of a century. Created in many russian scriptoriums they reflected the local features of church singing and the features of its theoretical comprehension, expressed, in particular, in the formation of specific terminology. The manuscript of the Museum Collection of the Russian State Library (fund 178) No. 875, which conventionally dates back to 1605-1610, includes an extensive theoretical codex, which presents in general traditional theoretical manuals, but in a special design and with the use of unusual terminological forms. The codex includes two major manuals – “Grani” and “Fito-kokiznik”, each of which covers different types of documents. The predominant ones in them are kokizniks and fitnics, which are sequentially copied the various independent manuals, demonstrating formulas with and without divorces, containing material from various singing books (Oktoich, Stichirar’ Minayny, etc.) and genres (tropari, blazhenny etc.), organized by eight modes. The author of the codex does not intend to bring together the information of different manuals, he prefers to save each document in its original form. But at the same time, to denote theoretical positions, the author uses diminutive and affectionate suffixes that give traditional terms a special, soft shade: \"strochka\" instead of \"stroka\", \"fitka\" instead of \"fita\", \"rosvodetc\" instead of \"rosvod\", etc. It is also unusual to use literary terminology to denote special textual and musical lines, in particular, \"dinfong\" (diphthong). A remarkable feature of the codex is also the presence of special chants with the corresponding remarks \"Troitsky\", as well as the introduction of a fita divorce of the monk Isaiah (presumably Ivan Lukoshkov).","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117331551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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