Pub Date : 2023-03-31DOI: 10.15382/sturv202349.22-41
Natalia Borovskaya
The article is dedicated to the analysis of the formation and typological features of the iconography “The Women clothed with the Sun” that became the main type of the image “ The Immaculate Conception” in the European Christian art of the end of XVI – XVII centuries. A lot of specialists are sure that this iconography is stable and undeveloped but it’s wrong. The image of the Immaculate Conception as the Woman of Apocalipse has a long way of evolution and exists in the art in various iconographical types. The basic material are the works of the Spanish painting of the XVII-th cent.in which the iconography is very rich and various. In this article there is the analysis of a lot of works by the best painters of the “Golden Age” of the Spanish school: El Greco, Diego Velasquez, Fransisco Zurbaran, Bartolomeo Esteban Murillo. Also we research the genesis of this iconography in the art of the Late Gothic and Renaissance of France and Italy XVI- XVI centuries in the works by Giorgio Vasari, Piero di Cosimo, Ludovico Chigoli (Cardi). The evolution of the iconography developed from the use of a lot atributs and symbols with theological content to the so called mystical image where this content is demonstrated only by means the mode of painting.
本文分析了16 - 17世纪末欧洲基督教艺术中成为“无原罪”意象主要类型的“披着太阳的女人”意象的形成和类型学特征。许多专家都确信这幅图像是稳定的，不发达的，但这是错误的。作为天启女人的无原罪形象经历了漫长的演变，并以不同的图像类型存在于艺术中。基本材料是十八世纪的西班牙绘画作品，其中的图像非常丰富多样。本文分析了西班牙画派“黄金时代”最优秀的画家的许多作品:埃尔·格列柯、迭戈·委拉斯开兹、弗朗西斯科·祖巴兰、巴尔托洛梅奥·埃斯特班·穆里略。此外，我们还研究了这种图像学在法国和意大利十六至十六世纪晚期哥特式和文艺复兴时期的艺术起源，包括Giorgio Vasari, Piero di Cosimo, Ludovico Chigoli (Cardi)的作品。图像学的演变从使用大量具有神学内容的属性和符号发展到所谓的神秘图像，而这些内容仅通过绘画的方式来表现。
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Pub Date : 2023-03-31DOI: 10.15382/sturv202349.68-90
Juliya Belogubova
This article examines the notolinear handwritten collections that existed in the church singing practice of Russia from the second half of the XVII century to the revolution. A brief historical digression is given that characterizes the external features of manuscripts in the XVII, XVIII, XIX centuries, describes the change in notation in singing books. The classification of handwritten singing collections is proposed. The characteristics of the most important singing centers of Moscow, St. Petersburg and the province are given. The question is raised about the importance of ownership records, allowing to trace the ownership of the manuscript to a particular temple, the owner, to determine the time of creation of the manuscript. We are talking about the repertoire preserved in the singing collections of different historical periods.
{"title":"History and typology of note-linear singing manuscripts: repertoire and appearance of liturgical music books","authors":"Juliya Belogubova","doi":"10.15382/sturv202349.68-90","DOIUrl":"https://doi.org/10.15382/sturv202349.68-90","url":null,"abstract":"This article examines the notolinear handwritten collections that existed in the church singing practice of Russia from the second half of the XVII century to the revolution. A brief historical digression is given that characterizes the external features of manuscripts in the XVII, XVIII, XIX centuries, describes the change in notation in singing books. The classification of handwritten singing collections is proposed. The characteristics of the most important singing centers of Moscow, St. Petersburg and the province are given. The question is raised about the importance of ownership records, allowing to trace the ownership of the manuscript to a particular temple, the owner, to determine the time of creation of the manuscript. We are talking about the repertoire preserved in the singing collections of different historical periods.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126385484","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 : 2023-03-31DOI: 10.15382/sturv202349.9-21
S. Aitova
In this paper a vita (living) icon is considered in terms of composition structure which contributes to the content and idea of an image. We propose some sources of origin of this type of icon first appeared in Byzantium in late XIIth-beginning of the XIIIth century. Cases genetically and typologically related to vita icon’s structure such as a templon or a “decorated” icon reveal the principles of vita icon’s composition. Following the ideas of P.A.Florensky and of Paroma Chatterjee the author of this article analyzes the formal juxtaposition of the ways a saint is presented in “srednik” (central part) as an eternal image with no connection with physical being and in the narrative cycle in “klejma” (on the edge) in which a saint takes part in the life events. The semantics of this composition form is revealed as a result of this comparison. We study such compositional techniques as a repetition of a saint as a protagonist both in “srednik” and in “klejma”, vita cycle in “klejma” as a frame for the central figure. Despite the linear composition of the narrative cycle the “reading” of the vita icon correlates the simultaneous perception of the image as a whole. Therefore, the vita icon is a well-thought-out composition system which expresses a saint’s manifestation throughout the living cycle.
{"title":"Structure of the vita icon","authors":"S. Aitova","doi":"10.15382/sturv202349.9-21","DOIUrl":"https://doi.org/10.15382/sturv202349.9-21","url":null,"abstract":"In this paper a vita (living) icon is considered in terms of composition structure which contributes to the content and idea of an image. We propose some sources of origin of this type of icon first appeared in Byzantium in late XIIth-beginning of the XIIIth century. Cases genetically and typologically related to vita icon’s structure such as a templon or a “decorated” icon reveal the principles of vita icon’s composition. Following the ideas of P.A.Florensky and of Paroma Chatterjee the author of this article analyzes the formal juxtaposition of the ways a saint is presented in “srednik” (central part) as an eternal image with no connection with physical being and in the narrative cycle in “klejma” (on the edge) in which a saint takes part in the life events. The semantics of this composition form is revealed as a result of this comparison. We study such compositional techniques as a repetition of a saint as a protagonist both in “srednik” and in “klejma”, vita cycle in “klejma” as a frame for the central figure. Despite the linear composition of the narrative cycle the “reading” of the vita icon correlates the simultaneous perception of the image as a whole. Therefore, the vita icon is a well-thought-out composition system which expresses a saint’s manifestation throughout the living cycle.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114257764","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 : 2023-03-31DOI: 10.15382/sturv202349.91-120
Konstantin Maslov
The last decade of the reign of Nicholas I (1845 - 1855) was the time when the projects of renewal of church paintings in Russia appeared. Public discussion of the problems of the tradition of the Russian art started with the publication in 1845 of a brochure "On Icon-paintings" by the Ostrog bishop Anatoly, who wasn't, however, a zealous adherent to the traditional icon-paintings, his "theory" of icon-paintings tending towards neoclassicism. In difference from the Right Reverend Anatoly's approach in his brochure, the Rev'd Grigoriy Debolsky argued for the inseparable connection between the national spirit (narodnost') of the church paintings and the tradition of icon-painting in an article published in the same year. Russian Academic school did not respond to the new attitudes in society: propelled by the Emperor, this school acknowledged the tradition in symbolic terms only - in the Byzantinine golden impressions in the paintings in St Isaac's Cathedral. On the whole, the ensemble of these paintings promised to become a brilliant legacy of Bologna academism. 1848, the year of a wave of revolutions in Europe that were perceived as a direct threat to the Empire, opened a period of Nicholas's reign marked, on the other hand, by the intensification of censorship, and, on the other hand, by the two projects of renewal of national church art: those by Duke G.G. Gagarin and by I.P. Sakharov, an archaeologist. The first project, which had at its base the idea, taken from French artists, of christianising ancient art, was an attempt to adapt the Byzantine tradition to the framework of the academic artistic paradigm. Sakharov's project, on the contrary, presupposed complete rejection of this academic paradigm and going back to the icon-paintings that were not yet "spoiled" by Western influences. On the eve of the Crimean war the government made an attempt to expand the national tradition by including in it the ancient paintings from the Mount Athos, in particular, the wall-paintings by Panselinos, which, as A.N. Mouravyov claimed, "are on a par with the works by Rafael and Michelangelo in colouration and modest comportment of the figures". In the new era, marked by the Great Reform of Alexander II, the attempts at a renewal of church paintings that flourished in Nicholas's times, become, for the most part, a thing of the past.
{"title":"In search of the lost tradition: towards a history of Church paintings in the 1840s — first half of the 1850s","authors":"Konstantin Maslov","doi":"10.15382/sturv202349.91-120","DOIUrl":"https://doi.org/10.15382/sturv202349.91-120","url":null,"abstract":"The last decade of the reign of Nicholas I (1845 - 1855) was the time when the projects of renewal of church paintings in Russia appeared. Public discussion of the problems of the tradition of the Russian art started with the publication in 1845 of a brochure \"On Icon-paintings\" by the Ostrog bishop Anatoly, who wasn't, however, a zealous adherent to the traditional icon-paintings, his \"theory\" of icon-paintings tending towards neoclassicism. In difference from the Right Reverend Anatoly's approach in his brochure, the Rev'd Grigoriy Debolsky argued for the inseparable connection between the national spirit (narodnost') of the church paintings and the tradition of icon-painting in an article published in the same year. Russian Academic school did not respond to the new attitudes in society: propelled by the Emperor, this school acknowledged the tradition in symbolic terms only - in the Byzantinine golden impressions in the paintings in St Isaac's Cathedral. On the whole, the ensemble of these paintings promised to become a brilliant legacy of Bologna academism. 1848, the year of a wave of revolutions in Europe that were perceived as a direct threat to the Empire, opened a period of Nicholas's reign marked, on the other hand, by the intensification of censorship, and, on the other hand, by the two projects of renewal of national church art: those by Duke G.G. Gagarin and by I.P. Sakharov, an archaeologist. The first project, which had at its base the idea, taken from French artists, of christianising ancient art, was an attempt to adapt the Byzantine tradition to the framework of the academic artistic paradigm. Sakharov's project, on the contrary, presupposed complete rejection of this academic paradigm and going back to the icon-paintings that were not yet \"spoiled\" by Western influences. On the eve of the Crimean war the government made an attempt to expand the national tradition by including in it the ancient paintings from the Mount Athos, in particular, the wall-paintings by Panselinos, which, as A.N. Mouravyov claimed, \"are on a par with the works by Rafael and Michelangelo in colouration and modest comportment of the figures\". In the new era, marked by the Great Reform of Alexander II, the attempts at a renewal of church paintings that flourished in Nicholas's times, become, for the most part, a thing of the past.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"158 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134495068","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 : 2022-12-30DOI: 10.15382/sturv202248.74-94
Konstantin Maslov
Fast moving Europeanisation of Russia, started by Peter the Great and continued by his successors, showed itself, among other things, in founding the Imperial Academy of Fine Arts and in the birth of Russian academic school, whose brilliant achievements were not in the least the legacy of Russian art tradition, especially that of icon-painting, for the latter was only allowed to exist as the arts of the commoners. This state of things was regarded as something to overcome during the reign of Nicholas I, when gradual re-establishment of the ties with tradition begins, seen in particular in the "Byzantine style" in Church architecture, invented by K.A. Ton in late 1820s - early 1830s at the behest of the emperor. Conservative ideology, expressed as it was in the so called theory of the official nationhood (narodnost'), starting from the times when S.S. Uvarov, the author of this theory, was appointed Minister of Public Instruction, was not reflected, however, in the academic Church painting and in the paintings which belonged to historic genre as a whole. This article is focused on the views on the academic Church paintings and traditional icon-paintings that were typical of the educated class of the 1830s and early 1840s. It is shown that the contemporaries of Russian "historical" painters, including those in the Church, saw their calling in commitment to the people (narodnost'), for "there is a need to assume... one's own character, which, while retaining its originality, would tend toward the general harmony with the European Art"; at least a part of the society has come to the opinion that at the time of the decline of famous schools of the West, it is in Russia that paintings show "life and development". (I.V. Kookolnik). In Church paintings of the 1830s the "Russian" style, oriented at the monuments of the past, originated not in the academic school itself, but in the adminicular activity, that is, as a by-product of the artistic and archaeological studies of F.G. Solntsev. A.N. Olenin, the President of the Academy of Arts, on whose intiative these studies were performed, envisaged their outcome as "the complete painting course of archaeology and ethnography for the artists". This course was born in the 1830s during two works of the artist: the making of Church calendar and the painting of Terem Palace and the churches in the Moscow Kremlin.
{"title":"In search of the lost tradition: towards a history of church painting of the 1830s — 1st half of the 1840s","authors":"Konstantin Maslov","doi":"10.15382/sturv202248.74-94","DOIUrl":"https://doi.org/10.15382/sturv202248.74-94","url":null,"abstract":"Fast moving Europeanisation of Russia, started by Peter the Great and continued by his successors, showed itself, among other things, in founding the Imperial Academy of Fine Arts and in the birth of Russian academic school, whose brilliant achievements were not in the least the legacy of Russian art tradition, especially that of icon-painting, for the latter was only allowed to exist as the arts of the commoners. This state of things was regarded as something to overcome during the reign of Nicholas I, when gradual re-establishment of the ties with tradition begins, seen in particular in the \"Byzantine style\" in Church architecture, invented by K.A. Ton in late 1820s - early 1830s at the behest of the emperor. Conservative ideology, expressed as it was in the so called theory of the official nationhood (narodnost'), starting from the times when S.S. Uvarov, the author of this theory, was appointed Minister of Public Instruction, was not reflected, however, in the academic Church painting and in the paintings which belonged to historic genre as a whole. This article is focused on the views on the academic Church paintings and traditional icon-paintings that were typical of the educated class of the 1830s and early 1840s. It is shown that the contemporaries of Russian \"historical\" painters, including those in the Church, saw their calling in commitment to the people (narodnost'), for \"there is a need to assume... one's own character, which, while retaining its originality, would tend toward the general harmony with the European Art\"; at least a part of the society has come to the opinion that at the time of the decline of famous schools of the West, it is in Russia that paintings show \"life and development\". (I.V. Kookolnik). In Church paintings of the 1830s the \"Russian\" style, oriented at the monuments of the past, originated not in the academic school itself, but in the adminicular activity, that is, as a by-product of the artistic and archaeological studies of F.G. Solntsev. A.N. Olenin, the President of the Academy of Arts, on whose intiative these studies were performed, envisaged their outcome as \"the complete painting course of archaeology and ethnography for the artists\". This course was born in the 1830s during two works of the artist: the making of Church calendar and the painting of Terem Palace and the churches in the Moscow Kremlin.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123970899","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 : 2022-12-30DOI: 10.15382/sturv202248.9-33
A. Voronova
The article examines the peculiarities of the processes of Christianization of architecture in the major metropolises (Philippi, Thessalonica, Athens, Corinth) of the Roman Empire, as well as in the Dalmatian provinces (Jader, Salona, Pola, small settlements and islands) on the border between them. The specifics of the religious situation in these regions and the missionary activity of Christian preachers led to the transformation or adaptation of pagan cult structures, household or residential buildings. At the same time, pagan temples were very rarely destroyed intentionally, but as a rule they became abandoned and gradually destroyed naturally, providing building material for Christian churches. The use of such building material of previous structures could be symbolic, and in some cases architectural details changed their function from constructive to liturgical. Both in the capitals and in the provinces, there was a certain tolerance when different religious buildings functioned at the same time. Christian conversions could occur while preserving the special functions of the revered place. With the advent of Christianity in the Dalmatian provinces of the Roman and then the Byzantine Empire, very conservative ancient traditions were preserved there for a long time, which allowed these lands to organically survive the process of Christianization of ancient architecture.
{"title":"Christianisation of ancient architecture: mother cities and Dalmatian provinces","authors":"A. Voronova","doi":"10.15382/sturv202248.9-33","DOIUrl":"https://doi.org/10.15382/sturv202248.9-33","url":null,"abstract":"The article examines the peculiarities of the processes of Christianization of architecture in the major metropolises (Philippi, Thessalonica, Athens, Corinth) of the Roman Empire, as well as in the Dalmatian provinces (Jader, Salona, Pola, small settlements and islands) on the border between them. The specifics of the religious situation in these regions and the missionary activity of Christian preachers led to the transformation or adaptation of pagan cult structures, household or residential buildings. At the same time, pagan temples were very rarely destroyed intentionally, but as a rule they became abandoned and gradually destroyed naturally, providing building material for Christian churches. The use of such building material of previous structures could be symbolic, and in some cases architectural details changed their function from constructive to liturgical. Both in the capitals and in the provinces, there was a certain tolerance when different religious buildings functioned at the same time. Christian conversions could occur while preserving the special functions of the revered place. With the advent of Christianity in the Dalmatian provinces of the Roman and then the Byzantine Empire, very conservative ancient traditions were preserved there for a long time, which allowed these lands to organically survive the process of Christianization of ancient architecture.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129455261","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 : 2022-12-30DOI: 10.15382/sturv202248.59-73
Lada Kondrashkova
The article is devoted to a newly found musical-theoretical term of Russian partes music of the first quarter of the 18th century, applied to a modified, “different”, “arbitrary” version of the chant of festive verses and indicating the presence of “cancellations” in it. The term was found in two manuscripts associated with the Choir of the Sovereign's Singing Deacons of the time of Peter’s era, in two formulations: "another chant with cancellations" and "arbitrariness with cancellation". Both manuscripts are four-part adaptations of the Znamenny Chant Holidays, preserved in the form of a score and as a set of parts. The description of the singing manuscripts of the Archive of the Armory Chamber of the Russian State Archive of Ancient Acts, which is currently being carried out by the author together with N. Yu. Plotnikova, provided material for the article. Source research suggests that the term "with cancellations" belongs to the sovereign's singer Deacon Alexei Mikhailovich Protopopov, who worked in the court choir at the same time as his alleged relative, the usher Ivan Mikhailovich Protopopov. The article analyzes the unusual moments of partes chants that are not specific for znamenny chant, where many random sharps and flats appear. The author convinces that sharps and flats at that time could be used in two ways: in the modern sense and as modal signs indicating an unusual position of the “obikhodnyy” scale as a result of its mutation. In addition to the frequently encountered mutations one tone down, in the verse of the Annunciation “The Sacrament from the Ages” there are mutations one tone up and even two tones up. Fret shifts, so rare in Znamenny singing, are written in unusual sharps and flats, designated by the indicated term. The author proposes to translate it into modern language as "a variety of chant with changes", or "with shifts".
{"title":"Stichera “ин роспев с отменами” in part-song manuscripts of Tsar’s singing deacons from the period of Peter I","authors":"Lada Kondrashkova","doi":"10.15382/sturv202248.59-73","DOIUrl":"https://doi.org/10.15382/sturv202248.59-73","url":null,"abstract":"The article is devoted to a newly found musical-theoretical term of Russian partes music of the first quarter of the 18th century, applied to a modified, “different”, “arbitrary” version of the chant of festive verses and indicating the presence of “cancellations” in it. The term was found in two manuscripts associated with the Choir of the Sovereign's Singing Deacons of the time of Peter’s era, in two formulations: \"another chant with cancellations\" and \"arbitrariness with cancellation\". Both manuscripts are four-part adaptations of the Znamenny Chant Holidays, preserved in the form of a score and as a set of parts. The description of the singing manuscripts of the Archive of the Armory Chamber of the Russian State Archive of Ancient Acts, which is currently being carried out by the author together with N. Yu. Plotnikova, provided material for the article. Source research suggests that the term \"with cancellations\" belongs to the sovereign's singer Deacon Alexei Mikhailovich Protopopov, who worked in the court choir at the same time as his alleged relative, the usher Ivan Mikhailovich Protopopov. The article analyzes the unusual moments of partes chants that are not specific for znamenny chant, where many random sharps and flats appear. The author convinces that sharps and flats at that time could be used in two ways: in the modern sense and as modal signs indicating an unusual position of the “obikhodnyy” scale as a result of its mutation. In addition to the frequently encountered mutations one tone down, in the verse of the Annunciation “The Sacrament from the Ages” there are mutations one tone up and even two tones up. Fret shifts, so rare in Znamenny singing, are written in unusual sharps and flats, designated by the indicated term. The author proposes to translate it into modern language as \"a variety of chant with changes\", or \"with shifts\".","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116051024","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 : 2022-12-30DOI: 10.15382/sturv202248.95-113
Alexander Bertash
The article is devoted to the most significant church building in the Baltics at the end of the 19th century - Cathedral of St. Blessed Prince Alexander Nevsky in Revel (Tallinn). The semantics of the dedication of the temple and its architectural and construction history are considered in the context of church architecture of the Russian Empire in the late 19th — early 20th century and the political course of Emperor Alexander III, known as Russification. The initiator of the construction of a declaratively Russian imperial structure in the center of Revel Vyshgorod (Toompea) with its predominant medieval German architecture was the Estonian governor, Prince S.V.Shakhovskoy, through whose zeal the construction acquired all-Russian significance. The cathedral is one of the most striking works of the Moscow-Yaroslavl version of the Russian style within the boundaries of the former Russian Empire and the most important in the work of the outstanding master of this style, architect M.T. Preobrazhensky. The cathedral, which has never been devastated, despite attempts to close and rebuild it in the 1920s-1940s, still preserves unique Russian-style interiors in terms of safety and integrity. They allow us to present the style of works known in the early twentieth century masters: A.N.Novoskoltsev, Abrosimovs; most of their other works were destroyed during the anti-church persecution in the USSR. The topic of the article is related to the author's previous publications about the architecture of the Puhtitsa Holy Dormition Monastery and Orthodox church building in Estonia.
{"title":"Alexander Nevsky cathedral in Tallinn as a monument of Russian style in Estonia","authors":"Alexander Bertash","doi":"10.15382/sturv202248.95-113","DOIUrl":"https://doi.org/10.15382/sturv202248.95-113","url":null,"abstract":"The article is devoted to the most significant church building in the Baltics at the end of the 19th century - Cathedral of St. Blessed Prince Alexander Nevsky in Revel (Tallinn). The semantics of the dedication of the temple and its architectural and construction history are considered in the context of church architecture of the Russian Empire in the late 19th — early 20th century and the political course of Emperor Alexander III, known as Russification. The initiator of the construction of a declaratively Russian imperial structure in the center of Revel Vyshgorod (Toompea) with its predominant medieval German architecture was the Estonian governor, Prince S.V.Shakhovskoy, through whose zeal the construction acquired all-Russian significance. The cathedral is one of the most striking works of the Moscow-Yaroslavl version of the Russian style within the boundaries of the former Russian Empire and the most important in the work of the outstanding master of this style, architect M.T. Preobrazhensky. The cathedral, which has never been devastated, despite attempts to close and rebuild it in the 1920s-1940s, still preserves unique Russian-style interiors in terms of safety and integrity. They allow us to present the style of works known in the early twentieth century masters: A.N.Novoskoltsev, Abrosimovs; most of their other works were destroyed during the anti-church persecution in the USSR. The topic of the article is related to the author's previous publications about the architecture of the Puhtitsa Holy Dormition Monastery and Orthodox church building in Estonia.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126421605","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 : 2022-12-30DOI: 10.15382/sturv202248.47-58
Yuliya Zvezdina
The article examines images of elephants, reproduced several times on various emblems from the book "Symbols and Emblemata", published in 1705 in Amsterdam by decree of Tsar Peter I. The author compares the details of the emblematic engravings, compares them with the accompanying inscriptions. The image of the first emblem from the book of 1705 and the engravings from its main source – the edition of the emblems of Daniel De La Fey of 1691 is also compared. The quality of the two editions is compared. Attention is paid to the images of the elephant and the semantic interpretation of this image in the Old Russian tradition, primarily in the "Physiolog", in comparison with the transformation of the image in Peter's time. Icons and miniatures containing the image of this animal are mentioned. The symbolic likenesses of the elephant found in the Old Russian tradition and taken from the translation of the Greek “Physiolog” are particularly noted. The earliest monument is marked - the relief of St. George's Cathedral in Yuriev Polsky. There is also a later monument of the century – the painted gates of the middle of the XVIII century from the Rostov Kremlin, which have not survived to the present day and are known from photographs of the 1910s by S.M. Prokudin-Gorsky. The images of elephants (as well as other images) on them are taken from the book of 1705.
{"title":"Images of elephants in the book \"Symbols and emblemata\" (1705)","authors":"Yuliya Zvezdina","doi":"10.15382/sturv202248.47-58","DOIUrl":"https://doi.org/10.15382/sturv202248.47-58","url":null,"abstract":"The article examines images of elephants, reproduced several times on various emblems from the book \"Symbols and Emblemata\", published in 1705 in Amsterdam by decree of Tsar Peter I. The author compares the details of the emblematic engravings, compares them with the accompanying inscriptions. The image of the first emblem from the book of 1705 and the engravings from its main source – the edition of the emblems of Daniel De La Fey of 1691 is also compared. The quality of the two editions is compared. Attention is paid to the images of the elephant and the semantic interpretation of this image in the Old Russian tradition, primarily in the \"Physiolog\", in comparison with the transformation of the image in Peter's time. Icons and miniatures containing the image of this animal are mentioned. The symbolic likenesses of the elephant found in the Old Russian tradition and taken from the translation of the Greek “Physiolog” are particularly noted. The earliest monument is marked - the relief of St. George's Cathedral in Yuriev Polsky. There is also a later monument of the century – the painted gates of the middle of the XVIII century from the Rostov Kremlin, which have not survived to the present day and are known from photographs of the 1910s by S.M. Prokudin-Gorsky. The images of elephants (as well as other images) on them are taken from the book of 1705.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125748854","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 : 2022-12-30DOI: 10.15382/sturv202248.141-159
E. Antonenko, A. Lebedeva-Emelina
The paper considers Vincenzo Manfredini's «Cherubic Hymn» discovered by E. Yu. Antonenko in 2018. Until recently, it was only known that Manfredini composed music for the Orthodox Church, but not a single composition was found. Based on analysis of manuscript sources, the work is dated to the period of 1762–1765, which allows us to claim that Manfredini was one of the first authors who composed Orthodox Church music in the new classical style that replaced the older partes style after 1762. "Cherubimskaya" is contained in singing books written in round notation, stored in the fund collection "Cult Music" of the Russian National Museum of Music (Moscow): RNMM. F. 283. N 937, sheet 87 (treble), N 256, sheet 7 (viola), N 878, sheet 30v. (tenor), N 996, sheet 65v. (tenor), N 879, sheet. 19 vol. (bass), N 944, l. 17 (bass). With a high probability, these chanting vowels are of Petersburg origin, and, thus, the indication of Manfredini's authorship is credible. The Italian composer Vincenzo Manfredini visited Russia twice: 1758-1769 and 1798-1799. By order of the St. Petersburg Court, he composed chants for the Orthodox Church
{"title":"Cherubic hymn by Vincenzo Manfredini","authors":"E. Antonenko, A. Lebedeva-Emelina","doi":"10.15382/sturv202248.141-159","DOIUrl":"https://doi.org/10.15382/sturv202248.141-159","url":null,"abstract":"The paper considers Vincenzo Manfredini's «Cherubic Hymn» discovered by E. Yu. Antonenko in 2018. Until recently, it was only known that Manfredini composed music for the Orthodox Church, but not a single composition was found. Based on analysis of manuscript sources, the work is dated to the period of 1762–1765, which allows us to claim that Manfredini was one of the first authors who composed Orthodox Church music in the new classical style that replaced the older partes style after 1762. \"Cherubimskaya\" is contained in singing books written in round notation, stored in the fund collection \"Cult Music\" of the Russian National Museum of Music (Moscow): RNMM. F. 283. N 937, sheet 87 (treble), N 256, sheet 7 (viola), N 878, sheet 30v. (tenor), N 996, sheet 65v. (tenor), N 879, sheet. 19 vol. (bass), N 944, l. 17 (bass). With a high probability, these chanting vowels are of Petersburg origin, and, thus, the indication of Manfredini's authorship is credible. The Italian composer Vincenzo Manfredini visited Russia twice: 1758-1769 and 1798-1799. By order of the St. Petersburg Court, he composed chants for the Orthodox Church","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"185 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125399559","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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