Pub Date : 2022-01-01DOI: 10.15826/adsv.2022.50.016
Dmitri I. Makarov
The article addresses Theodore Metochites’ assessment of the phenomenon of monastery and monastic life (mostly according to Chapter 40 of his Sententious Notes) in juxtaposition with his predecessors in the ekphrastic genre, such as Michael the Rhetor. The descriptions in question and the “conceptual portrait” of the monastic institution(s) and of the monk as an ascetic draw on a centuries-long Late Antique Jewish and, later on, Christian tradition of conceptualizing Temple, firstly that of Solomon, but then also every Christian one (first of all, St Sophia of Constantinople), as: a) a focal point of the believers’ life; b) antitype of the Heavenly Temple, i. e., of the New Jerusalem, the Divine Tabernacle, whereas its eschatological coming will be seen by the just in the Kingdom of God, according to the Bible. For Theodore, monastery is both spiritual and sensorial realization of the Divine Kingdom on earth, being a brilliant and luminous sacred space. In its description, which is being used by the author as a tool of its contraposition to the turmoil of the theatrum mundi (kosmikon theatron), some traits of hierotopicity are clearly to be seen. The description was carried out in the genre of ekphrasis, but different features of other genres as well (such as philosophical & theological essay or threnos) are discernible there. Metochites cries out that now all the Church buildings and monasteries are destroyed or put in disorder, all their magnificence remaining in the past, and it is Joseph Bryennios in the fifteenth century who picks up the corresponding topics. Also typical for the style of Metochites’ thought are some allusions at Pseudo-Dionysius the Areopagite. Theodore’s Notes with its Ch. 40 allow us to support the fresher speculations of Byzantinists concerning creative freedom and wild imagination of those Byzantine intellectuals and polymaths who, like the Great logothete, used to construe their own virtual worlds and attract those keen on reading to them.
{"title":"Some Traits of Ekphrasis Interweaving with Hierotopy in Theodore Metochites’ Monastery Descriptions","authors":"Dmitri I. Makarov","doi":"10.15826/adsv.2022.50.016","DOIUrl":"https://doi.org/10.15826/adsv.2022.50.016","url":null,"abstract":"The article addresses Theodore Metochites’ assessment of the phenomenon of monastery and monastic life (mostly according to Chapter 40 of his Sententious Notes) in juxtaposition with his predecessors in the ekphrastic genre, such as Michael the Rhetor. The descriptions in question and the “conceptual portrait” of the monastic institution(s) and of the monk as an ascetic draw on a centuries-long Late Antique Jewish and, later on, Christian tradition of conceptualizing Temple, firstly that of Solomon, but then also every Christian one (first of all, St Sophia of Constantinople), as: a) a focal point of the believers’ life; b) antitype of the Heavenly Temple, i. e., of the New Jerusalem, the Divine Tabernacle, whereas its eschatological coming will be seen by the just in the Kingdom of God, according to the Bible. For Theodore, monastery is both spiritual and sensorial realization of the Divine Kingdom on earth, being a brilliant and luminous sacred space. In its description, which is being used by the author as a tool of its contraposition to the turmoil of the theatrum mundi (kosmikon theatron), some traits of hierotopicity are clearly to be seen. The description was carried out in the genre of ekphrasis, but different features of other genres as well (such as philosophical & theological essay or threnos) are discernible there. Metochites cries out that now all the Church buildings and monasteries are destroyed or put in disorder, all their magnificence remaining in the past, and it is Joseph Bryennios in the fifteenth century who picks up the corresponding topics. Also typical for the style of Metochites’ thought are some allusions at Pseudo-Dionysius the Areopagite. Theodore’s Notes with its Ch. 40 allow us to support the fresher speculations of Byzantinists concerning creative freedom and wild imagination of those Byzantine intellectuals and polymaths who, like the Great logothete, used to construe their own virtual worlds and attract those keen on reading to them.","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67248284","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 : 2022-01-01DOI: 10.15826/adsv.2022.50.024
Nataliia Vitalievna Ginkut
The appearance of the local centres of glazed ware production in the Palaiologean Period allowed the development of local schools of parade table ware. In the Crimean Peninsula, the local production centres were active in the fourteenth and fifteenth centuries. In the Genoese castle of Cembalo, there were glazed ware workshops from the second half of the fourteenth to the third quarter of the fifteenth century. Along with the manufacture of various forms of original pottery, the artisans of these workshops copied the ornamental compositions which were popular in the Mediterranean area. This article addresses the vessels attributed to the so-called “imitations” or “counterfeits”, which reproduced the samples of the Byzantine glazed pottery of the group of Elaborate Incised Ware, so widespread in the region. Among these vessels, there possibly were the pieces produced in the same workshop or by the same artisan: small handleless cups with small flaring ring-base, bowls, and tureens or dishes with the so-called “aslant” ring-base typical of the Byzantine pottery from the thirteenth and fourteenth centuries. The finds in question testify to the popularity of the Byzantine Elaborate Incised Ware in the Northern Black Sea Area, and the Genoese castle of Cembalo in particular, in the fourteenth and early fifteenth centuries.
{"title":"Imitation of the Late Byzantine Pottery Samples by the Local Production in the Genoese Castle of Cembalo","authors":"Nataliia Vitalievna Ginkut","doi":"10.15826/adsv.2022.50.024","DOIUrl":"https://doi.org/10.15826/adsv.2022.50.024","url":null,"abstract":"The appearance of the local centres of glazed ware production in the Palaiologean Period allowed the development of local schools of parade table ware. In the Crimean Peninsula, the local production centres were active in the fourteenth and fifteenth centuries. In the Genoese castle of Cembalo, there were glazed ware workshops from the second half of the fourteenth to the third quarter of the fifteenth century. Along with the manufacture of various forms of original pottery, the artisans of these workshops copied the ornamental compositions which were popular in the Mediterranean area. This article addresses the vessels attributed to the so-called “imitations” or “counterfeits”, which reproduced the samples of the Byzantine glazed pottery of the group of Elaborate Incised Ware, so widespread in the region. Among these vessels, there possibly were the pieces produced in the same workshop or by the same artisan: small handleless cups with small flaring ring-base, bowls, and tureens or dishes with the so-called “aslant” ring-base typical of the Byzantine pottery from the thirteenth and fourteenth centuries. The finds in question testify to the popularity of the Byzantine Elaborate Incised Ware in the Northern Black Sea Area, and the Genoese castle of Cembalo in particular, in the fourteenth and early fifteenth centuries.","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67249006","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 : 2022-01-01DOI: 10.15826/adsv.2022.50.005
M. Kazanski, Anna Vladimirovna Mastykovа
This article examines the inlaid artefacts with garnets decorated with carved spirals, which originate from Kerch and date from the late stage of the Great Migration Period. According to B. Arrhenius, carved gemstones occurring in Europe in the Hunnic and Post-Hunnic Periods were the products of Mediterranean workshops, primarily of Constantinople. This stone-working technology requires specific skills; the barbarians did not have this technology in the period in question. The finds from Kerch were possibly imported from Constantinople, as the Cimmerian Bosporos was closely connected with the Eastern Roman Empire in political and economic respect. However, it is still possible that the artefacts featuring the carved designs in question were produced in the Western Mediterranean workshops. The first thing to meet the eye is the appearance of a significant number of metal ware showing comparable spiral decorations in the Barbaricum in the said period. The artefacts showing the most similar style concentrated in Eastern Europe; there also are the finds of the kind from Central Europe and southern Scandinavia. It is very likely that metal objects with spiral decorations, prestigious in themselves and in some cases undoubtedly originated from “chieftain” complexes or the centres of power, imitated even more prestigious artefacts featuring carved garnets, like those found in Kerch. If it was the case, the Central European and Scandinavian finds possibly imitated not only Byzantine ware, but also certain ornaments from the Western Mediterranean, for example from Ravenna. Be that as it may, it seems that the rather wide distribution of metal artefacts featuring two-scroll spiral decorations indicates a significant influence of the elite Mediterranean / Byzantine culture on the barbarian elite, which also occurred in other elements of the “princely” civilization of the European Barbaricum in the fifth and sixth centuries.
{"title":"Inlaid Buckles and Plates from the Great Migration Period Showing Relief Scroll Decorations: Byzantium and Barbaricum","authors":"M. Kazanski, Anna Vladimirovna Mastykovа","doi":"10.15826/adsv.2022.50.005","DOIUrl":"https://doi.org/10.15826/adsv.2022.50.005","url":null,"abstract":"This article examines the inlaid artefacts with garnets decorated with carved spirals, which originate from Kerch and date from the late stage of the Great Migration Period. According to B. Arrhenius, carved gemstones occurring in Europe in the Hunnic and Post-Hunnic Periods were the products of Mediterranean workshops, primarily of Constantinople. This stone-working technology requires specific skills; the barbarians did not have this technology in the period in question. The finds from Kerch were possibly imported from Constantinople, as the Cimmerian Bosporos was closely connected with the Eastern Roman Empire in political and economic respect. However, it is still possible that the artefacts featuring the carved designs in question were produced in the Western Mediterranean workshops. The first thing to meet the eye is the appearance of a significant number of metal ware showing comparable spiral decorations in the Barbaricum in the said period. The artefacts showing the most similar style concentrated in Eastern Europe; there also are the finds of the kind from Central Europe and southern Scandinavia. It is very likely that metal objects with spiral decorations, prestigious in themselves and in some cases undoubtedly originated from “chieftain” complexes or the centres of power, imitated even more prestigious artefacts featuring carved garnets, like those found in Kerch. If it was the case, the Central European and Scandinavian finds possibly imitated not only Byzantine ware, but also certain ornaments from the Western Mediterranean, for example from Ravenna. Be that as it may, it seems that the rather wide distribution of metal artefacts featuring two-scroll spiral decorations indicates a significant influence of the elite Mediterranean / Byzantine culture on the barbarian elite, which also occurred in other elements of the “princely” civilization of the European Barbaricum in the fifth and sixth centuries.","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"596 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67247586","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 : 2022-01-01DOI: 10.15826/adsv.2022.50.014
V. Maiko
The article supplies the information on the glazed pottery showing the images of fishes obtained during all the years of excavations at mediaeval Sougdaia and collected for the first time. According to the scholars who have analysed the zoomorphic scenes on the glazed pottery from Sougdaia dating to the Byzantine and Golden Horde Periods, there was almost complete predominance of images of birds, with a minimum number of those of animals. The images of fishes are more than four times less common than birds. In total, the collection of pottery originating from the excavations at the ancient town of Sougdaia comprises ten specimens, four of which were imported from Byzantium and the rest were locally made. This is one of the most representative collections of the kind in the Crimean Peninsula. It does not include the plates depicting fishes and belonging to the Italian group graffita arcaica tirennica from Savona, which were uncovered by the underwater researches in the bay of the modern settlement of Novyi Svet. So far, this type of plates does not occur in the ancient town of Sougdaia. In the collection in question, there is one fragment combining the images of a bird and a fish. Archaeological contexts of finds in questions vary from closed assemblages from the second half of the twelfth century to closed assemblages and stratigraphical horizons from the second half of the fourteenth century. Among the local ware, there are three groups showing specific scenes. The origins of the images of fishes on them are most likely associated with the Byzantine pottery group Fine Sgraffito Ware produced by pottery workshops of Halkis.
{"title":"Images of Fishes on the Glazed Ware from Sougdaia from the Second Half of Thirteenth and Fourteenth Centuries","authors":"V. Maiko","doi":"10.15826/adsv.2022.50.014","DOIUrl":"https://doi.org/10.15826/adsv.2022.50.014","url":null,"abstract":"The article supplies the information on the glazed pottery showing the images of fishes obtained during all the years of excavations at mediaeval Sougdaia and collected for the first time. According to the scholars who have analysed the zoomorphic scenes on the glazed pottery from Sougdaia dating to the Byzantine and Golden Horde Periods, there was almost complete predominance of images of birds, with a minimum number of those of animals. The images of fishes are more than four times less common than birds. In total, the collection of pottery originating from the excavations at the ancient town of Sougdaia comprises ten specimens, four of which were imported from Byzantium and the rest were locally made. This is one of the most representative collections of the kind in the Crimean Peninsula. It does not include the plates depicting fishes and belonging to the Italian group graffita arcaica tirennica from Savona, which were uncovered by the underwater researches in the bay of the modern settlement of Novyi Svet. So far, this type of plates does not occur in the ancient town of Sougdaia. In the collection in question, there is one fragment combining the images of a bird and a fish. Archaeological contexts of finds in questions vary from closed assemblages from the second half of the twelfth century to closed assemblages and stratigraphical horizons from the second half of the fourteenth century. Among the local ware, there are three groups showing specific scenes. The origins of the images of fishes on them are most likely associated with the Byzantine pottery group Fine Sgraffito Ware produced by pottery workshops of Halkis.","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67248346","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 : 2022-01-01DOI: 10.15826/adsv.2022.50.023
Svetlana V. Bliznyuk
The crusading movement covers about 500 years of European history; the crusading idea affected all social groups in Europe and became an element of the knightly culture. This article highlights two main turning points in the history of the crusading movement: the Fourth Crusade and the conquest of Constantinople in 1204 and the end of the Latin Kingdom of Jerusalem in 1291. These events lead to rethinking of the goals, objectives, and directions of the crusading movement and to expanding its geography. The crusades of the Late Middle Ages were generally more local, purposeful, pragmatic, prudent, professional, and less emotional than the campaigns of 1096–1291. The development of crusading forced the Europeans to look for explanations and justifications of their deeds. This led to the creation of the legends of their ancestors in the East. The idea of the Trojan origin of the Latins and revenge to the schismatic Greeks became important in the twelfth- and thirteenth-century crusading literature. With the growing Turkish threat, the idea of the Frankish origin of the Turks appeared. The Trojans of Aeneas were replaced by the Trojan Turks, and in the sixteenth century by the Druze people, who were considered descendants of the first crusaders survived in the Holy Land. From the fourteenth to sixteenth century, the plans for new crusades and the legends concerning the ancestors of the crusaders were a nutritious cultural environment preserving the crusading idea. The demonstration of crusading piety and crusading zeal contributed to the achievement of the socio-cultural and political goals of kings and knights. Through the historical memory of the ancestors of the crusaders, illusions and rhetoric about the return of the Holy Land or Constantinople, the myths and legends, the crusading idea gradually passed from real wars into a moral category and becomes a psycho-cultural phenomenon of the political and intellectual elite of European society.
{"title":"The Crusading Movement in the Late Middle Ages and Early Modern Period","authors":"Svetlana V. Bliznyuk","doi":"10.15826/adsv.2022.50.023","DOIUrl":"https://doi.org/10.15826/adsv.2022.50.023","url":null,"abstract":"The crusading movement covers about 500 years of European history; the crusading idea affected all social groups in Europe and became an element of the knightly culture. This article highlights two main turning points in the history of the crusading movement: the Fourth Crusade and the conquest of Constantinople in 1204 and the end of the Latin Kingdom of Jerusalem in 1291. These events lead to rethinking of the goals, objectives, and directions of the crusading movement and to expanding its geography. The crusades of the Late Middle Ages were generally more local, purposeful, pragmatic, prudent, professional, and less emotional than the campaigns of 1096–1291. The development of crusading forced the Europeans to look for explanations and justifications of their deeds. This led to the creation of the legends of their ancestors in the East. The idea of the Trojan origin of the Latins and revenge to the schismatic Greeks became important in the twelfth- and thirteenth-century crusading literature. With the growing Turkish threat, the idea of the Frankish origin of the Turks appeared. The Trojans of Aeneas were replaced by the Trojan Turks, and in the sixteenth century by the Druze people, who were considered descendants of the first crusaders survived in the Holy Land. From the fourteenth to sixteenth century, the plans for new crusades and the legends concerning the ancestors of the crusaders were a nutritious cultural environment preserving the crusading idea. The demonstration of crusading piety and crusading zeal contributed to the achievement of the socio-cultural and political goals of kings and knights. Through the historical memory of the ancestors of the crusaders, illusions and rhetoric about the return of the Holy Land or Constantinople, the myths and legends, the crusading idea gradually passed from real wars into a moral category and becomes a psycho-cultural phenomenon of the political and intellectual elite of European society.","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67248810","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 : 2022-01-01DOI: 10.15826/adsv.2022.50.006
E. Khairedinova
The bronze pendant in question in the form of a fine shield was discovered in the south-western Crimea, in the vicinity of mediaeval Cherson. Its front side depicts a holy rider piercing a demon with a cross; the first words of Psalm 90 (according to the Orthodox Bible numeration) are engraved on the back. The image of a horse-rider piercing with a spear a daemon laying below the legs of his horse is one of most popular apotropaic scenes. It appeared on amulets in the Late Roman Period and became widespread in the Early Byzantine Period. The rider possibly designated Solomon as the fighter against daemons, or “the only deity who overcomes evil”, or St Sisinios, the fighter against the she-devil Helle, who harmed women during childbirth and babies. On some amulets, the image of the rider is compared with Christ. In the Early Byzantine epigraphy, Psalm 90 with its reputation as a powerful remedy for misfortune was one of the most frequently quoted Biblical texts. Its lines appeared on the window and door jambs, walls of living rooms and graves. According to the shape, iconography of the holy rider, execution style of the image, and features of palaeography and spelling of the inscription, the pendant in question belongs to the group of Byzantine metal magical amulets protecting from every evil, which were produced in the sixth and seventh centuries in the Syrian-Palestinian region. The Crimean find testifies to the distribution of this type of amulets far beyond the region where they were made. It is possible that the amulet pendant was brought from the holy places by a pilgrim as an eulogia.
{"title":"Amulet Featuring the Image a Holy Rider from the South-Western Crimea","authors":"E. Khairedinova","doi":"10.15826/adsv.2022.50.006","DOIUrl":"https://doi.org/10.15826/adsv.2022.50.006","url":null,"abstract":"The bronze pendant in question in the form of a fine shield was discovered in the south-western Crimea, in the vicinity of mediaeval Cherson. Its front side depicts a holy rider piercing a demon with a cross; the first words of Psalm 90 (according to the Orthodox Bible numeration) are engraved on the back. The image of a horse-rider piercing with a spear a daemon laying below the legs of his horse is one of most popular apotropaic scenes. It appeared on amulets in the Late Roman Period and became widespread in the Early Byzantine Period. The rider possibly designated Solomon as the fighter against daemons, or “the only deity who overcomes evil”, or St Sisinios, the fighter against the she-devil Helle, who harmed women during childbirth and babies. On some amulets, the image of the rider is compared with Christ. In the Early Byzantine epigraphy, Psalm 90 with its reputation as a powerful remedy for misfortune was one of the most frequently quoted Biblical texts. Its lines appeared on the window and door jambs, walls of living rooms and graves. According to the shape, iconography of the holy rider, execution style of the image, and features of palaeography and spelling of the inscription, the pendant in question belongs to the group of Byzantine metal magical amulets protecting from every evil, which were produced in the sixth and seventh centuries in the Syrian-Palestinian region. The Crimean find testifies to the distribution of this type of amulets far beyond the region where they were made. It is possible that the amulet pendant was brought from the holy places by a pilgrim as an eulogia.","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67247752","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 : 2022-01-01DOI: 10.15826/adsv.2022.50.011
V. Naumenko
The Theme Period in the history of Mangup dates from 841 to the mid-eleventh century. For the first time in many years of archaeological researches at the site, recent excavations revealed two major repairs of the defensive structures of the fortress. These works date from the periods far from each other, and namely the mid-ninth century and the late tenth century; therefore, one may assume that the local Byzantine administration permanently paid attention to the defence capacity of the fortress. The mid-ninth century repair, which traces have been documented by the studies of the fortification A.XI in Tabana-dere ravine, occurred as a consequence of the inclusion of Mangup fortress into the Byzantine theme, established in Taurica in no later than 841. There was a significant reconstruction of the original defensive line, which was erected in the final years of Emperor Justinian I (527–565). The late tenth-century repair was of a larger scale and had an exact date, no later than 994–995. It is mentioned in the building inscription showing the name of Topoteretes Tzoulas, which survived in situ in the masonry of a fortification tower in Tabana-dere ravine. These works resulted in the radical reconstruction of at least two key fortifications at the northern front of the fortress defence, fortifications A.XI and A.XIV located on the slope of Chufut-Cheargan-burun promontory. The reconstruction of two important fortifications of Mangup in the late tenth century was not an accident: it fit well into the general context of the military and political history of the Crimea in the period under study. Most likely, it was the case of the purposeful strengthening of Mangup fortress after the establishment of the tourmarchia of Gothia in the mountainous Crimea and as the centre of the military-administrative unit. In this connection, Topoteretes Tzoulas, mentioned in the 994–995 inscription, who supervised the fortification works, should be considered both the commandant of a remote Byzantine fortress and also an officer of importance, who was directly subordinated to the tourmarches of Gothia, thus following the widespread administrative practice of tenth-century Byzantium.
{"title":"Two Examples of the Reconstruction of the Main Defense Line of Mangup Fortress in the Theme Period of Its History","authors":"V. Naumenko","doi":"10.15826/adsv.2022.50.011","DOIUrl":"https://doi.org/10.15826/adsv.2022.50.011","url":null,"abstract":"The Theme Period in the history of Mangup dates from 841 to the mid-eleventh century. For the first time in many years of archaeological researches at the site, recent excavations revealed two major repairs of the defensive structures of the fortress. These works date from the periods far from each other, and namely the mid-ninth century and the late tenth century; therefore, one may assume that the local Byzantine administration permanently paid attention to the defence capacity of the fortress. The mid-ninth century repair, which traces have been documented by the studies of the fortification A.XI in Tabana-dere ravine, occurred as a consequence of the inclusion of Mangup fortress into the Byzantine theme, established in Taurica in no later than 841. There was a significant reconstruction of the original defensive line, which was erected in the final years of Emperor Justinian I (527–565). The late tenth-century repair was of a larger scale and had an exact date, no later than 994–995. It is mentioned in the building inscription showing the name of Topoteretes Tzoulas, which survived in situ in the masonry of a fortification tower in Tabana-dere ravine. These works resulted in the radical reconstruction of at least two key fortifications at the northern front of the fortress defence, fortifications A.XI and A.XIV located on the slope of Chufut-Cheargan-burun promontory. The reconstruction of two important fortifications of Mangup in the late tenth century was not an accident: it fit well into the general context of the military and political history of the Crimea in the period under study. Most likely, it was the case of the purposeful strengthening of Mangup fortress after the establishment of the tourmarchia of Gothia in the mountainous Crimea and as the centre of the military-administrative unit. In this connection, Topoteretes Tzoulas, mentioned in the 994–995 inscription, who supervised the fortification works, should be considered both the commandant of a remote Byzantine fortress and also an officer of importance, who was directly subordinated to the tourmarches of Gothia, thus following the widespread administrative practice of tenth-century Byzantium.","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67247784","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 : 2022-01-01DOI: 10.15826/adsv.2022.50.018
I. Okhlupina
This article presents the analysis of the accounts of the Late Byzantine writers about the food traditions and preferences of the Turks, Mongols, and Latins according to the works of Manuel II Palaiologos, George Pachymeres, Constantine Stilbes, and Demetrios Kydones. The aim of the investigation is to consider ethnographic accounts at Byzantine written sources as a way of food identification of the peoples and a marker of the “otherness” of “strangers” in the texts. The analysis of historical evidence of polemical, historiographical, and epistolographic works of the Byzantine intellectuals is complicated due to the nature of the kinds of Byzantine written sources. It is taken into account that the Byzantine authors often used traditional rhetorical models, imitated the language and style of ancient Greek and Roman authors and regularly used the allusions to the texts of the Holy Scriptures in their written works. The examples of the Byzantine authors’ ambiguous attitudes to joint meals with the Turks are considered in the paper. It has been shown that the judgments regarding joint meals with the Turks made by the same writer sometimes significantly vary. In some cases, the author’s estimation could be influenced by the personal attitude towards the participants in the meal, and his mood, self-awareness, as well as his taste preferences. The differences in the food habits of the Mongols, Turks, and Latins mentioned in the writings of Late Byzantine authors were often used to describe representatives of a different culture in a negative light and had little to do with historical realities, since they were a kind of inversion of Byzantine ideas about normal, “cultural” food, which should be eaten. It has been determined that these accounts often reproduced the stereotypes regarding the eating habits of the “barbarians” and nomadic peoples, which existed in Byzantine society and written tradition from the Antiquity on.
本文根据Manuel II Palaiologos、George Pachymeres、Constantine Stilbes和Demetrios Kydones的作品，分析了晚期拜占庭作家关于突厥人、蒙古人和拉丁人的食物传统和偏好的描述。调查的目的是考虑拜占庭书面来源的民族志记录，作为人们食物识别的一种方式，以及文本中“陌生人”的“他者性”的标记。由于拜占庭文献来源的性质，对拜占庭知识分子的论战、史学和书信体作品的历史证据的分析是复杂的。考虑到拜占庭作家经常使用传统的修辞模式，模仿古希腊和罗马作家的语言和风格，并经常在他们的书面作品中使用对圣经文本的典故。本文考虑了拜占庭作者对与土耳其人共同进餐的模棱两可态度的例子。已经证明，同一作者对与土耳其人共同进餐的判断有时差别很大。在某些情况下，作者的估计可能会受到个人对用餐参与者的态度，他的情绪，自我意识以及他的口味偏好的影响。晚期拜占庭作家的著作中提到的蒙古人、突厥人和拉丁人饮食习惯的差异，经常被用来负面地描述不同文化的代表，与历史现实没有什么关系，因为它们是拜占庭人对正常的“文化”食物的一种颠覆，应该吃。人们已经确定，这些描述经常复制关于“野蛮人”和游牧民族的饮食习惯的刻板印象，这些习惯存在于拜占庭社会和古代的书面传统中。
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Pub Date : 2022-01-01DOI: 10.15826/adsv.2022.50.002
E. Zaitseva
This article discusses the social mobility among the Roman senatorial aristocracy in the late third and early fourth centuries. According to the accounts of narrative, legislative, and epigraphic sources and applying the methods of prosopography, the author analyzes the possibilities that the Roman senators had for their rise. The Roman aristocracy can be divided into several subgroups. Particularly closed and privileged was the group of patrician senators. The main channels of their social mobility were the conclusion of legal marriage, the birth within the legal marriage, the adoption of “new persons” by a representative of the patrician family, and, to a lesser extent, the procedure of the imperial adlectio. The modes of social mobility of other subgroups of the Roman senatorial aristocracy were more variable due to their activities in the imperial service. For senators who were not patriciates, the emperor acted as the main regulator of the influx of “new persons” and the rise of existing aristocrats. Under Emperors Diocletian and Constantine I, the promotion of aristocrats was situational, depending on state tasks. The only targeted reform to increase the total number of the senatorial aristocracy of Rome was carried out from 312 to 326; in result, the number of senators significantly increased for the first time in a long period and amounted to 2,000. In contrast to the interpretation established in historiography, in the late third and early fourth century, the senatorial aristocracy kept its privileged position in relation to other social groups. Having recovered from the consequences of the third-century crisis, the Roman senators managed to rally; they represented a political force that the rulers had to reckon with. In result, the aristocrats got real opportunities to realize their political potential.
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Pub Date : 2022-01-01DOI: 10.15826/adsv.2022.50.007
V. Chkhaidze
This article analyses one of the few items of fine Christian plastic art originating from the territory of Alania. This round medallion with side loops and two-side image of saints was found in 1986 in Nizhnii Arkhyz, the capital of the Alan bishopric, in the area of the Northern Zelenchuk Church, in one of the four burials in cists. Currently, the medallion resides in the State Karachay-Cherkessia Historical, Cultural, and Natural Museum Preserve (Cherkessk). The article supplies the description of the medallion and suggests that the images on its sides belong to SS Theodore Stratelates and Theodore Teron. This assumption seems preferable especially if one assumes that the person who ordered this medallion was called Theodore. This medallion was secondary used as pectoral pendant; it is more likely that initially it formed a part of wrist bracelet. Presumably, the medallion in the bracelet was made in a provincial city of the Byzantine Empire, whence it was delivered to Alania. Since direct parallels to the medallion in question are absent, only its large dating is possible as the eleventh or twelfth century.
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