Pub Date : 2022-12-30DOI: 10.15382/sturv202248.114-125
Antonina Belyaeva
The work of Viktor Ulyanich is multifaceted and varied. A special place in the composer's work is occupied by cantata-oratorio works. The article is devoted to the religious theme in Viktor Ulyanich's choral works, revealing their figurative and thematic content, genre and stylistic features. Victor Ulyanich in his works refers to the poetic work of Russian classics - A.S. Pushkin, M.I. Lermontov, F.I. Tyutcheva, A.S. Khomyakova, Ya.P. Polonsky, uses folklore and Church Slavonic liturgical texts. In his works, the composer touches on eternal themes, he mainly refers to religious and lyric-philosophical poems about self-knowledge, about the creation of space and nature, about divine destiny. As a material for the analysis, the cantata "Guiding Ligthouse" the lyrics by Archimandrite Vitaly (Sidorenko) was used. Works for the choir a capella - "Two choirs to the lyrics by F. Tyutchev", "Choral diptych" to the lyrics by V. Lazarev and "Three spiritual chants" to the canonical texts.General conclusion: The religious theme in the work of Viktor Ulyanich acquires a new, individual sound. The composer's innovative musical language is closely connected with the traditions of choral writing and incorporates the characteristic features of the spiritual works of Russian composers of the 19th-20th centuries.
{"title":"Religious theme in the cantata-oratorio works of Viktor Ulyanich","authors":"Antonina Belyaeva","doi":"10.15382/sturv202248.114-125","DOIUrl":"https://doi.org/10.15382/sturv202248.114-125","url":null,"abstract":"The work of Viktor Ulyanich is multifaceted and varied. A special place in the composer's work is occupied by cantata-oratorio works. The article is devoted to the religious theme in Viktor Ulyanich's choral works, revealing their figurative and thematic content, genre and stylistic features. Victor Ulyanich in his works refers to the poetic work of Russian classics - A.S. Pushkin, M.I. Lermontov, F.I. Tyutcheva, A.S. Khomyakova, Ya.P. Polonsky, uses folklore and Church Slavonic liturgical texts. In his works, the composer touches on eternal themes, he mainly refers to religious and lyric-philosophical poems about self-knowledge, about the creation of space and nature, about divine destiny. As a material for the analysis, the cantata \"Guiding Ligthouse\" the lyrics by Archimandrite Vitaly (Sidorenko) was used. Works for the choir a capella - \"Two choirs to the lyrics by F. Tyutchev\", \"Choral diptych\" to the lyrics by V. Lazarev and \"Three spiritual chants\" to the canonical texts.General conclusion: The religious theme in the work of Viktor Ulyanich acquires a new, individual sound. The composer's innovative musical language is closely connected with the traditions of choral writing and incorporates the characteristic features of the spiritual works of Russian composers of the 19th-20th centuries.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"30 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":"114957998","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/sturv202248.126-138
Svetlana I. Khvatova, Tatiana F. Shak
The article is devoted to the compositions of Kuban composers of the 21st century on Orthodox canonical liturgical texts. The features of the musical poetics of the works, their stylistic prototypes, as well as the motivation for turning to spiritual topics are considered. The problem of rapprochement of two lines of choral performance - church and secular is touched upon. Attention is drawn to the precedent of inlaying canonical liturgical texts as a private means of artistic expression in the context of a secular composition. Attention is focused on a careful renewal of the means of musical expressiveness of compositions, taking into account the traditional author's poetics of liturgical chants. The signs of following the style model of Obikhod in the harmonization of S. Smolensky, as well as the compositional techniques of the authors of the New Direction in Russian sacred music at the turn of the 19th-20th centuries, are revealed. The importance of the composer's church singing experience for the adequate embodiment of the verbal basis of rites in chanting is emphasized. A causal relationship is revealed in the change in the musical interpretation of the liturgical verbal basis in secular compositions under the influence of the concept of the opus, where the canonical liturgical text is “encrusted”. It also shows the dependence of the expansion of liturgical chants on the concert stage and secular compositions on the kliros on the processes of personnel “migration” of singers, the role of the individual in the development of this type of art, and the concept of the development of a creative team.
{"title":"Modern works by Kuban composers on the orthodox canonical liturgical texts","authors":"Svetlana I. Khvatova, Tatiana F. Shak","doi":"10.15382/sturv202248.126-138","DOIUrl":"https://doi.org/10.15382/sturv202248.126-138","url":null,"abstract":"The article is devoted to the compositions of Kuban composers of the 21st century on Orthodox canonical liturgical texts. The features of the musical poetics of the works, their stylistic prototypes, as well as the motivation for turning to spiritual topics are considered. The problem of rapprochement of two lines of choral performance - church and secular is touched upon. Attention is drawn to the precedent of inlaying canonical liturgical texts as a private means of artistic expression in the context of a secular composition. Attention is focused on a careful renewal of the means of musical expressiveness of compositions, taking into account the traditional author's poetics of liturgical chants. The signs of following the style model of Obikhod in the harmonization of S. Smolensky, as well as the compositional techniques of the authors of the New Direction in Russian sacred music at the turn of the 19th-20th centuries, are revealed. The importance of the composer's church singing experience for the adequate embodiment of the verbal basis of rites in chanting is emphasized. A causal relationship is revealed in the change in the musical interpretation of the liturgical verbal basis in secular compositions under the influence of the concept of the opus, where the canonical liturgical text is “encrusted”. It also shows the dependence of the expansion of liturgical chants on the concert stage and secular compositions on the kliros on the processes of personnel “migration” of singers, the role of the individual in the development of this type of art, and the concept of the development of a creative team.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"30 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":"132551632","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/sturv202248.34-46
N. Plotnikova
The article introduces into scholarly use new historical sources related to the biography of Vasily Titov, an outstanding composer and teacher of the of the time of Peter the Great. In the full-text information retrieval system «Boyar Lists of the 18th Century», the year of the musician's death was revealed – 1709, which allows us critically evaluate the previously expressed hypotheses about Titov's life after 1709, to make adjustments to the dating of singing collections that were previously considered lifetime. In the Act Books of the City of Moscow, was found an indication of Titov's place of residence, his courtyard in Zamoskvorechye, in middle Sadovniki, in the parish of the Church of Sophia the Wisdom of God. This information gives grounds for judging about the Titov's high position in society, reveals Titov's indirect connection with the colonel of the Akhtyrsky Cossack regiment Ivan Perekrestov and his musicians, and the possible social circle of the sovereign's singing clerk (d’yaki). The article contains the first publication of the archival document of 1688 “Questioning speeches of the sovereign singer Maxim Semenov Lipsky about his escape from the courtyard of the singer Vasily Titov”, which is stored in the Russian State Archive of Ancient Acts. The author of the article analyzed the names mentioned in the document, including Ivan Perekrestov and his organist, Princess Sofya Alekseevna and close boyar Prince Vasily Vasilyevich Golitsyn, other nobles, Archbishop of Chernigov Lazar Baranovich and his deacon, the sovereign's choristers; supplemented information about the biography of Maxim Lipsky. The materials of the interrogation of the runaway singer are an important source of information, to some extent compensating for the lack of personal documents
{"title":"Towards the biography of Tsar’s singing clerk Vasiliy Titov: new sources","authors":"N. Plotnikova","doi":"10.15382/sturv202248.34-46","DOIUrl":"https://doi.org/10.15382/sturv202248.34-46","url":null,"abstract":"The article introduces into scholarly use new historical sources related to the biography of Vasily Titov, an outstanding composer and teacher of the of the time of Peter the Great. In the full-text information retrieval system «Boyar Lists of the 18th Century», the year of the musician's death was revealed – 1709, which allows us critically evaluate the previously expressed hypotheses about Titov's life after 1709, to make adjustments to the dating of singing collections that were previously considered lifetime. In the Act Books of the City of Moscow, was found an indication of Titov's place of residence, his courtyard in Zamoskvorechye, in middle Sadovniki, in the parish of the Church of Sophia the Wisdom of God. This information gives grounds for judging about the Titov's high position in society, reveals Titov's indirect connection with the colonel of the Akhtyrsky Cossack regiment Ivan Perekrestov and his musicians, and the possible social circle of the sovereign's singing clerk (d’yaki). The article contains the first publication of the archival document of 1688 “Questioning speeches of the sovereign singer Maxim Semenov Lipsky about his escape from the courtyard of the singer Vasily Titov”, which is stored in the Russian State Archive of Ancient Acts. The author of the article analyzed the names mentioned in the document, including Ivan Perekrestov and his organist, Princess Sofya Alekseevna and close boyar Prince Vasily Vasilyevich Golitsyn, other nobles, Archbishop of Chernigov Lazar Baranovich and his deacon, the sovereign's choristers; supplemented information about the biography of Maxim Lipsky. The materials of the interrogation of the runaway singer are an important source of information, to some extent compensating for the lack of personal documents","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"7 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":"114890911","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 : 2022-09-30DOI: 10.15382/sturv202247.34-52
E. Endoltseva
The article deals with the images of fish and snake in the architectural decoration of the Christian churches in Caucasus in 10 – 14 centuries. The theme of the dragon fighters is not in the focus of the research. The research is dedicated to the images of snake (without paws and fangs, in contrast to dragon-snake) when represented in heraldic position, in the scenes of the prophet Jonas devoured by the sea-monster and in isolated position. It is also dedicated to the image of the fish. The earliest representations of the snakes and dragon-snakes appear on the facades of the Christian churches in Caucasus as early as the Xth century on the territory of the Northern Caucasus and Georgia. Later they are turned in hybrid creatures, dragon-snake (with paws and fangs, sometimes covered with fish scales). Two heads of snake on the earliest representations as well as cirсles on its body underline the apotropaic meaning of the image. The appearance of the snake (not the dragon-snake) on the territory in question could be explained by the influence of the local archaeological culture (Cobano-Colchis). Being represented on the facades of the Christian churches they function as apotropaia. The appearance of the isolated images of fishes in the architectural decoration could also be influenced by the local archaeological culture. The way of the sketching the scales on its body (on the relief from Anacopia) proves its biological identification as trout (the widest spread fish in the mountains of Caucasus). The image of the fish carved on the facades of the Christian churches could also have apotropaic function.
{"title":"Snake and fish in the architectural decoration of the Christian the churches in Caucasus in medieval period: some observations","authors":"E. Endoltseva","doi":"10.15382/sturv202247.34-52","DOIUrl":"https://doi.org/10.15382/sturv202247.34-52","url":null,"abstract":"The article deals with the images of fish and snake in the architectural decoration of the Christian churches in Caucasus in 10 – 14 centuries. The theme of the dragon fighters is not in the focus of the research. The research is dedicated to the images of snake (without paws and fangs, in contrast to dragon-snake) when represented in heraldic position, in the scenes of the prophet Jonas devoured by the sea-monster and in isolated position. It is also dedicated to the image of the fish. The earliest representations of the snakes and dragon-snakes appear on the facades of the Christian churches in Caucasus as early as the Xth century on the territory of the Northern Caucasus and Georgia. Later they are turned in hybrid creatures, dragon-snake (with paws and fangs, sometimes covered with fish scales). Two heads of snake on the earliest representations as well as cirсles on its body underline the apotropaic meaning of the image. The appearance of the snake (not the dragon-snake) on the territory in question could be explained by the influence of the local archaeological culture (Cobano-Colchis). Being represented on the facades of the Christian churches they function as apotropaia. The appearance of the isolated images of fishes in the architectural decoration could also be influenced by the local archaeological culture. The way of the sketching the scales on its body (on the relief from Anacopia) proves its biological identification as trout (the widest spread fish in the mountains of Caucasus). The image of the fish carved on the facades of the Christian churches could also have apotropaic function.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126459498","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 : 2022-09-30DOI: 10.15382/sturv202247.110-123
Z. Guseinova
The scientific concept of "open text" (U. Eco) is applicable to various humanities, including musical medieval studies, primarily to ancient Russian singing manuscripts. The liturgical purpose does not contradict the introduction of additions and corrections in the syntactic, semantic, and pragmatic fields of them at all stages of the work, as well as after its completion. The updates ("ponowlenija") affect on the one hand, the structure of each manuscript, on the other – its hymnographic and singing texts highlighted for consideration in this article. They relate directly to the notated texts, which in their original presentation (without updates) appear as complete chants, and open, if we consider all the updates introduced into it later by the author of the manuscript or subsequent masters. At the same time the completeness of the chant and its openness do not contradict each other; both variants can be chosen for performance. In the article, the features of the plaintext are considered on the example of the manuscript of the 16th century of the collection of the Trinity-Sergius Lavra of the Russian State Library No. 420, demonstrating the active work on it of both the author and subsequent masters. The introduction of new elements concerns, in addition to the structure of the manuscript, the writing out of variants of the hymnographic text, the inclusion of new chants in place of existing or absent ones from the author of the manuscript; the use of unusual neumes, not characteristic of znamenny notation in general; the designation of "superfluous" chants; the "programming" of improvisational updates, in particular, in the genre of the "Mnogoletija (Perennial). Many aspects of additions and transformations allow us to speak about the active creative work of the masters with ancient Russian hymnographic and musical texts, the openness of which provided an infinite wealth of chants.
{"title":"Notated manuscript as an “open text”","authors":"Z. Guseinova","doi":"10.15382/sturv202247.110-123","DOIUrl":"https://doi.org/10.15382/sturv202247.110-123","url":null,"abstract":"The scientific concept of \"open text\" (U. Eco) is applicable to various humanities, including musical medieval studies, primarily to ancient Russian singing manuscripts. The liturgical purpose does not contradict the introduction of additions and corrections in the syntactic, semantic, and pragmatic fields of them at all stages of the work, as well as after its completion. The updates (\"ponowlenija\") affect on the one hand, the structure of each manuscript, on the other – its hymnographic and singing texts highlighted for consideration in this article. They relate directly to the notated texts, which in their original presentation (without updates) appear as complete chants, and open, if we consider all the updates introduced into it later by the author of the manuscript or subsequent masters. At the same time the completeness of the chant and its openness do not contradict each other; both variants can be chosen for performance. In the article, the features of the plaintext are considered on the example of the manuscript of the 16th century of the collection of the Trinity-Sergius Lavra of the Russian State Library No. 420, demonstrating the active work on it of both the author and subsequent masters. The introduction of new elements concerns, in addition to the structure of the manuscript, the writing out of variants of the hymnographic text, the inclusion of new chants in place of existing or absent ones from the author of the manuscript; the use of unusual neumes, not characteristic of znamenny notation in general; the designation of \"superfluous\" chants; the \"programming\" of improvisational updates, in particular, in the genre of the \"Mnogoletija (Perennial). Many aspects of additions and transformations allow us to speak about the active creative work of the masters with ancient Russian hymnographic and musical texts, the openness of which provided an infinite wealth of chants.","PeriodicalId":212447,"journal":{"name":"St. Tikhons' University Review. Series V. Christian Art","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128115070","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 : 2022-09-30DOI: 10.15382/sturv202247.124-135
I. Viskova
The heyday of the art of polychoral composition in European musical culture falls on the middle of the 17th century. The style originated in the churches of western and central Italy. It united a whole generation of young Polish composers educated in Venice and Rome. One of them is the famous Polish composer Mikolaj Zielenski. In musical style Zielenski follows the traditions of late Renaissance polyphony. His compositions mark the beginning of a long period of influence of Italian style on Polish music. Until today the question remains open, where the composer got acquainted with the Venetian technique of writing multi-choir music. The composer could master the polychoral style without leaving Poland. The polychoral style was then very widespread thanks to the activities of Italian musicians throughout Europe.All of Zielenski 's works known today were published in Venice in 1611. The first of these, Offertoria totius anni, includes multi-choir compositions similar to Giovanni Gabrieli's Sacrae symphoniae. The collection contains 55 compositions, the last of which is the Magnificat for three choirs. Mikolaj Zielenski 's Magnificat can be considered a classical composition for three choirs. In terms of stylistic and compositional features, it follows Italian traditions, in connection with which it is often compared with Giovanni Gabrieli's Magnificat.The history of polychoral style is one of the most interesting pages in the history of European musical culture. The Venetian style influenced the music of Central and Eastern Europe, including Russian musical culture.
17世纪中叶是欧洲音乐文化中多合唱艺术的全盛时期。这种风格起源于意大利西部和中部的教堂。它团结了在威尼斯和罗马受过教育的整整一代波兰年轻作曲家。其中之一就是著名的波兰作曲家米科拉杰·齐伦斯基。在音乐风格上，齐伦斯基遵循了文艺复兴后期复调的传统。他的作品标志着意大利风格对波兰音乐长期影响的开始。直到今天，这个问题仍然悬而未决，作曲家是在哪里熟悉威尼斯人创作多合唱音乐的技巧的。这位作曲家不用离开波兰就能掌握多合唱风格。由于意大利音乐家在整个欧洲的活动，多合唱风格当时非常普遍。齐连斯基今天所知的所有作品都是1611年在威尼斯出版的。其中第一个作品是《音乐之歌》(Offertoria totius anni)，包括类似于乔瓦尼·加布里埃利(Giovanni Gabrieli)的《神圣交响曲》(Sacrae symphoniae)的多合唱作品。该合集包含55首作品，其中最后一首是三个合唱团的《尊主颂》。齐连斯基的《尊歌》可以被认为是一首由三个合唱团组成的古典作品。就风格和构图特征而言，它遵循意大利传统，经常与乔瓦尼·加布里埃利的《尊主颂》进行比较。多合唱风格的历史是欧洲音乐文化史上最有趣的一页。威尼斯风格影响了中欧和东欧的音乐，包括俄罗斯的音乐文化。
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Pub Date : 2022-09-30DOI: 10.15382/sturv202247.9-33
O. Ovcharova
The article discusses the tendency to depict the saints anargyroi near the burial places in Byzantine churches. The purpose of the study is to establish possible factors in the formation of such programs. The methodology is comprehensive: the results of iconographic analysis are compared with data gleaned from historical researches and liturgical studies. In the previous literature, the iconographic tendency under study was considered mainly on the basis of Serbian monuments of the 13th to 14th centuries and in the light of literary sources relating the facts of miraculous healings at tombs. In the present study, attention shifts to the ensembles of the period of the Komnenoi and the Angeloi — from the frescoes of Bachkovo to the murals of Panagia Krena in Chios (1197). It is suggested that the inclusion of the images of saintly healers in the decorations of burial sites was stimulated by the texts of the funeral services, such as the ancient prayer Ὁ θεὸς τῶν πνευμάτων καὶ πάσης σαρκός (God of the spirits and of all flesh), on the one hand, and the participation of physicians from the hospital at the Pantokrator monastery in Constantinople in the posthumous commemorations on the tombs of John II Komnenos (1118–1143) and members of his family, on the other. The last factor seems to be most important, and it is given special attention. It is shown that the participation of doctors in memorial services in the monastery of Christ Pantokrator was the result of the intersection in this place of two initially unrelated trends — the growing interest in medicine and increased attention to burials and funeral rites on the part of Komnenian ktetors. In turn, this concern in regard to death and posthumous commemorations is linked to certain aspects of the so-called Evergetine reform movement.
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Pub Date : 2022-09-30DOI: 10.15382/sturv202247.53-73
Elena Kulikova
The frescoes on the subjects of the life of St. Francis in the choir of the main Franciscan church in Montefalco were painted by Benozzo Gozzoli in 1452. For a long time they remained poorly studied, and the program of the cycle was unclear. Studies of the end of the XX century indicate a steadily increasing interest in the artist's work, including his monumental paintings in Montefalco. The subject of this article is to clarify the program design of the chapel, which probably belonged to Fra Jacopo of Montefalco, a Franciscan theologian and rector of the church. The appearance of rare plots, atypical for earlier and later Franciscan cycles in Italy, and a careful analysis of each composition in connection with the literary tradition of the Franciscan order, allowed us to more fully substantiate that the idea of "Francis as another Christ" (Franciscus alter Christus) was consistently carried out in the chapel program. The cycle executed by Gozzoli includes twelve fresco compositions and a stained glass window. All of them represent twenty episodes from the life of St. Francis from his birth to his ascension to heaven, which are accompanied by explanatory comments in Latin. Many of the scenes are multi-episode, reflecting the passion for storytelling in the middle of the XV century and the desire to bring all the details and details necessary to explain the plot. The analysis of the compositions in comparison with hagiographic literature allows us to conclude that the compilers of the program mainly relied on three main texts about the life of the saint: the first and second lives of Thomas by Chelan, as well as the Great Legend by St. Bonaventure. The choice of subjects and the overall design of the chapel emphasize the living ministry of the saint, and also reflect another, more important by this time, Franciscan idea – the glorification of Francis as another Christ. The depictions of scenes telling about the birth, childhood and about the early years of Francis' life, appearing in the pictorial tradition for the first and last time, make this painting cycle truly unique.
蒙特法尔科圣方济各会主教堂唱诗班中以圣方济各生平为主题的壁画是贝诺佐·戈佐利(Benozzo Gozzoli)于1452年绘制的。很长一段时间以来，对它们的研究很少，周期的程序也不清楚。二十世纪末的研究表明，人们对这位艺术家的作品，包括他在蒙特法尔科的不朽画作，越来越感兴趣。本文的主题是澄清教堂的方案设计，它可能属于蒙特法尔科的Fra Jacopo，一位方济会神学家和教堂的牧师。罕见情节的出现，不典型的早期和后来的意大利方济各会周期，并仔细分析每一个组成与方济各会秩序的文学传统，使我们能够更充分地证实，“弗朗西斯作为另一个基督”(Franciscus alter Christus)的想法一直在教堂程序中执行。戈佐利的作品包括12幅壁画和一扇彩色玻璃窗。所有这些都代表了圣弗朗西斯从出生到升天的二十段生活，并附有拉丁语的解释性评论。许多场景都是多集的，反映了十五世纪中叶人们对讲故事的热情，以及用所有必要的细节和细节来解释情节的渴望。通过对这些作品与圣徒传记文献的对比分析，我们可以得出这样的结论:该节目的编纂者主要依赖于三个关于圣人生活的主要文本:切兰的托马斯的第一次和第二次生活，以及圣博纳文蒂尔的伟大传奇。主题的选择和礼拜堂的整体设计强调了圣徒的生活事工，同时也反映了方济各会的另一个更重要的思想——将方济各尊为另一位基督。讲述出生、童年和弗朗西斯早年生活的场景的描绘，第一次也是最后一次出现在绘画传统中，使这一绘画周期真正独一无二。
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Pub Date : 2022-09-30DOI: 10.15382/sturv202247.74-109
I. Starikova, O. Tyurina
The history of Byzantine chant goes back many centuries. The modal system of Octoechos, that regulates most of liturgical compositions, emerged even before the appearance of the musical notation in the chant books, and then continuously developed. Over the centuries, this octomodal system absorbed a lot of divergent influences, so Byzantine and post-Byzantine modes appear as a fusion of archaic, classical and modern features. After a detailed study of the modal content of the fourth authentic mode, the authors reconstruct its melodic image and its evolution from the classical Byzantine period to the samples of the later Greek tradition. The present study is based on different sticheras of the hebdomadal and annual liturgical circles taken from the middle-Byzantine Sticherarion of the 12th to the 14th century, from post-Byzantine versions of the Sticherarion by the 17th-century authors Chrysaphos the Younger and Germanos of New Patras, and from collections of selected chants: the Anastasimatarion of Chrysaphos the Younger (17th century), the Doxastaria of Iakovos the Protopsaltis and Petros Peloponnesios, the Anastasimatarion of Peter Peloponnesios (18th century). The middle Byzantine evidence points to the special place of the fourth authentic mode in the octomodal system, as possessing a peculiar modal content: while other authentic modes have a third-fifth structure of the main cadences, in the fourth authentic mode the main cadences are arranged in a second relation. This trait impacts also the melodic formulas of the chants. Over the centuries, this peculiar feature has been preserved in the mutual relationship of the main cadences of the fourth mode. Accordingly, the melismatic enrichment of older versions of Sticheraria took place, but the main characteristics of the mode remained unchanged, in spite of the addition of supplementary modal cadences. The modal particularity of the fourth authentic mode may be explained by the combination of several modal components: the archaic features, inherited from pre-octomodal forms, merged with later elements and were embedded into the classical modal system.
拜占庭圣歌的历史可以追溯到许多世纪以前。八旬歌的调式系统，规范了大多数的礼拜乐曲，甚至在圣歌书中的乐谱出现之前就出现了，然后不断发展。几个世纪以来，这种八模式体系吸收了许多不同的影响，因此拜占庭式和后拜占庭式模式呈现出古代、古典和现代特征的融合。作者在详细研究第四真实调式的调式内容的基础上，重构了第四真实调式的旋律形象及其从古典拜占庭时期到后期希腊传统的演变过程。本研究基于12至14世纪拜占庭中期的Sticherarion, 17世纪新帕特拉斯(New Patras)的小Chrysaphos和Germanos的后拜占庭版本的Sticherarion，以及精选的圣歌集。小Chrysaphos的anastasatartion(17世纪)，Iakovos的Doxastaria (prototopsaltis)和Petros Peloponnesios, Peter Peloponnesios的anastasartion(18世纪)。拜占庭中期的证据指出了第四真实调式在八调式体系中的特殊地位，因为它拥有一种特殊的调式内容:其他真实调式的主节奏是第三-第五结构，而第四真实调式的主节奏是第二关系。这一特点也影响了圣歌的旋律公式。几个世纪以来，这种独特的特征一直保存在第四调式的主要节奏的相互关系中。因此，尽管增加了补充的调式节奏，但旧版本的Sticheraria的装饰音丰富发生了，但调式的主要特征保持不变。第四种真实模态的模态特殊性可以通过几种模态成分的组合来解释:从前八模态形式继承下来的古老特征，与后来的元素合并，并嵌入到经典模态系统中。
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Pub Date : 2022-09-30DOI: 10.15382/sturv202247.136-157
Valentin Golubev
The article is devoted to the “podnosnoy” with the view of the Likhvin Dobryi Monastery of Intercession of Theotokos near Kaluga from the collection of the Andrey Rublev Central Museum of Ancient Russian Culture and Art (CMAR): the dating of the monument is specified, its typology is determined, the iconography and style are characterized. Due to the information about chronology of construction transformations carried out in the monastery it is possible to date the icon with the time range of 1818-1832. The lower dating limit is based on the stylistic features of this icon are formed by influence of architectural drawing from 1818. The upper limit determined due to the typological characteristics of the icon as a gift (testimonial icon) for a special important person in memory of the solemn consecration of the renovated monastery ensemble in 1832. The typological characteristic of the monument as a special gift is supported by a number of iconographic and typological analogies. The iconographic program of the icon shows the principles of compositional constructing of "podnosnoy" (tray) and "razdatochnyy"(handout) icons: the pictorial surface is divided into two parts; at the bottom a panoramic view of the city or monastery placed, and at the top of it there are celestial patrons. Taking into account the administrative dependence of the Likhvin Dobryi Monastery from the Kaluga diocese and comparing the icon with a number of dated works close to it in style, it was possible to place them in the circle of works of the Kaluga icons and artistic context of Empire era. A number of these analogies constitutes a separate stylistic line of this regional artistic tradition: it is distinguished by delicate coloring, sentimentality and classical restraint.
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