Pub Date : 2019-01-01DOI: 10.15826/adsv.2019.47.007
E. Khairedinova
In the second half of 6 th -7 th centuries in the South-Western Crimea, finger rings imported from Byzantium and produced in the local workshops on imported patterns with a cross were popular with Goth-Alanian population. According to the peculiarities of the image, they are presented in four variants: A - with a deeply cut equal-ended cross with flared tips; Б - with a cross formed by engraved geometric figures; B - with a cross formed by thin mortise lines with cross lines at the ends; Г - with a cross-shaped flap with flared ends, the surface of which is inlaid with glass. The finger rings with the cross originating from the Crimea belonged to male warriors and young women who had a high social status. Most of the finger rings come from female burials. Women wore them on their hands, as a rule, on the right index finger and in the breast necklaces that connected fibulas. The image of the cross was not used for decorating objects. The cross, first of all, is a religious symbol, a sign of belonging to a Christian denomination. Apparently, the finger rings with the image of the cross were not a simple piece of jewellery, but in the view of the people wearing them, they were equated with the subject of personal piety, served as a kind of analogue to the cross under clothes. In addition, the cross in its very symbolism performed a protective function. The image of the cross on the shield of the ring endowed the item of jewellery with the properties of an amulet that protected the person who wore it from all misfortunes. The study of finger rings allows us not only to expand knowledge about the items of jewellery that existed in the early medieval time, but also adds to our knowledge of everyday life and the beliefs of the inhabitants of the early medieval Crimea. Findings of this kind testify to the unity of culture in the Christian world and are a good example of the close economic and cultural ties of Crimea with the Byzantine Empire in the early Middle Ages.
{"title":"Finger-Rings with the Image of Cross from the Second Half of Sixth and Seventh Centuries from the South-Western Crimea","authors":"E. Khairedinova","doi":"10.15826/adsv.2019.47.007","DOIUrl":"https://doi.org/10.15826/adsv.2019.47.007","url":null,"abstract":"In the second half of 6 th -7 th centuries in the South-Western Crimea, finger rings imported from Byzantium and produced in the local workshops on imported patterns with a cross were popular with Goth-Alanian population. According to the peculiarities of the image, they are presented in four variants: A - with a deeply cut equal-ended cross with flared tips; Б - with a cross formed by engraved geometric figures; B - with a cross formed by thin mortise lines with cross lines at the ends; Г - with a cross-shaped flap with flared ends, the surface of which is inlaid with glass. The finger rings with the cross originating from the Crimea belonged to male warriors and young women who had a high social status. Most of the finger rings come from female burials. Women wore them on their hands, as a rule, on the right index finger and in the breast necklaces that connected fibulas. The image of the cross was not used for decorating objects. The cross, first of all, is a religious symbol, a sign of belonging to a Christian denomination. Apparently, the finger rings with the image of the cross were not a simple piece of jewellery, but in the view of the people wearing them, they were equated with the subject of personal piety, served as a kind of analogue to the cross under clothes. In addition, the cross in its very symbolism performed a protective function. The image of the cross on the shield of the ring endowed the item of jewellery with the properties of an amulet that protected the person who wore it from all misfortunes. The study of finger rings allows us not only to expand knowledge about the items of jewellery that existed in the early medieval time, but also adds to our knowledge of everyday life and the beliefs of the inhabitants of the early medieval Crimea. Findings of this kind testify to the unity of culture in the Christian world and are a good example of the close economic and cultural ties of Crimea with the Byzantine Empire in the early Middle Ages.","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67245914","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 : 2019-01-01DOI: 10.15826/ADSV.2019.47.019
Андрей Васильевич Шаманаев, A. V. Shamanaev
The article deals with the problem of the organization cultural heritage protection in the Russian Empire. The author focuses on the description and analysis the practices architectural and archeological heritage protection in the Western Crimea in the late 18 th – early 20 th century. The study is based on the legislative acts, personal documents, official documents of state and academic institutions, scientific publications. The particular attention is paid to the activities of Taurida Provincial Academic Archival Commission ( Tavricheskaia uchenaia arkhivnaia komissiia ) in the sphere of the Western Crimea archeological heritage protection. In the accordance sources data the cultural heritage protection was limited architectural objects in the Yevpatoria (first of all – Juma-Jami mosque) at the end of the 18 th – the first half of the 19 th century. The low interest of official structures and scientific organizations to the antiquities of the Western Crimea led to the loss of most medieval buildings. In the second half of the 19 th – beginning of 20 th century considerable attention was paid to the organization of the archaeological sites protection in the region. Significant efforts were directed at suppressing predatory excavations and destruction of archeological monuments. The attempts were made for restriction of archaeological finds trading. The author describes the main factors affected to the destructions and damages the Western Crimea cultural heritage: effectless system of registration and monitoring architectural and archeological sites, grave robbing and treasure-hunting, cultural properties trading and collecting, unregulated economic and construction activity.
{"title":"Охрана памятников Западного Крыма в конце XVIII – начале XX вв.","authors":"Андрей Васильевич Шаманаев, A. V. Shamanaev","doi":"10.15826/ADSV.2019.47.019","DOIUrl":"https://doi.org/10.15826/ADSV.2019.47.019","url":null,"abstract":"The article deals with the problem of the organization cultural heritage protection in the Russian Empire. The author focuses on the description and analysis the practices architectural and archeological heritage protection in the Western Crimea in the late 18 th – early 20 th century. The study is based on the legislative acts, personal documents, official documents of state and academic institutions, scientific publications. The particular attention is paid to the activities of Taurida Provincial Academic Archival Commission ( Tavricheskaia uchenaia arkhivnaia komissiia ) in the sphere of the Western Crimea archeological heritage protection. In the accordance sources data the cultural heritage protection was limited architectural objects in the Yevpatoria (first of all – Juma-Jami mosque) at the end of the 18 th – the first half of the 19 th century. The low interest of official structures and scientific organizations to the antiquities of the Western Crimea led to the loss of most medieval buildings. In the second half of the 19 th – beginning of 20 th century considerable attention was paid to the organization of the archaeological sites protection in the region. Significant efforts were directed at suppressing predatory excavations and destruction of archeological monuments. The attempts were made for restriction of archaeological finds trading. The author describes the main factors affected to the destructions and damages the Western Crimea cultural heritage: effectless system of registration and monitoring architectural and archeological sites, grave robbing and treasure-hunting, cultural properties trading and collecting, unregulated economic and construction activity.","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"47 1","pages":"264-280"},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67246154","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 : 2019-01-01DOI: 10.15826/adsv.2019.47.017
P. Schreiner
The author of the article considers the perception of Byzantium, the assessment of its role and place in world history by the example of the analysis of historical and cultural studies, fiction and poetry, as well as assesses the contribution of Russian Byzantine studies in the formation of modern ideas about Byzantium. Historical research has long sought to find a fair place in the history of Byzantium, but the opinion of the superiority of the West is still found in the scientific literature. The study of Byzantine art helped to discover homo byzantinus and explore the everyday culture of Byzantine civilization. The article highly assesses the role of Russia in the creation of the modern image of Byzantium and notes the contribution of Russian scientists of the nineteenth – early twentieth century in the formation of ideas about Byzantine civilization. The reflection of Byzantium in European literature is considered on the example of the works of Frank Thiess, Luigi Malerba, Umberto Eco. The author also analyzes the three polar images of Byzantium created by William Butler Yeats, Konstantinos Kavafis and Josif Brodsky.
{"title":"Byzantium Today: Determining the Place of the Gone World","authors":"P. Schreiner","doi":"10.15826/adsv.2019.47.017","DOIUrl":"https://doi.org/10.15826/adsv.2019.47.017","url":null,"abstract":"The author of the article considers the perception of Byzantium, the assessment of its role and place in world history by the example of the analysis of historical and cultural studies, fiction and poetry, as well as assesses the contribution of Russian Byzantine studies in the formation of modern ideas about Byzantium. Historical research has long sought to find a fair place in the history of Byzantium, but the opinion of the superiority of the West is still found in the scientific literature. The study of Byzantine art helped to discover homo byzantinus and explore the everyday culture of Byzantine civilization. The article highly assesses the role of Russia in the creation of the modern image of Byzantium and notes the contribution of Russian scientists of the nineteenth – early twentieth century in the formation of ideas about Byzantine civilization. The reflection of Byzantium in European literature is considered on the example of the works of Frank Thiess, Luigi Malerba, Umberto Eco. The author also analyzes the three polar images of Byzantium created by William Butler Yeats, Konstantinos Kavafis and Josif Brodsky.","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67246489","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 : 2019-01-01DOI: 10.15826/adsv.2019.47.002
A. Aibabin
{"title":"A Town of Thema Chersonos on the Plateau of Eski-Kermen","authors":"A. Aibabin","doi":"10.15826/adsv.2019.47.002","DOIUrl":"https://doi.org/10.15826/adsv.2019.47.002","url":null,"abstract":"","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67245951","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 : 2019-01-01DOI: 10.15826/adsv.2019.47.013
N. Ginkut
: The article addresses a few finds of glazed ceramic ware from the thirteenth to sixteenth centuries, manufacture in Italy and excavated in the Consulate of Cembalo and the castle of Cembalo. These archaeological artefacts comprises fragments of jugs, bowls, ceramic dishes of the Archaic Majolica Ware (Maioliche Arcaiche I), Proto–Majolica Ware (Proto–Maiolica I, II, Ramina, Manganese, Rosso (RMR)), Renaissance Majolica Ware (Maiolica Rinascimentali), and vessels with the “ingobiatta e graffita a stecca” designs. These vessels feature different decorations: from simple geometric patterns and floral motifs to complex scenes popular in the Apennine peninsula. There is outstanding a small bowl from the early sixteenth century showing the joining of right hands called the “dexteraum iunctio” gesture. The vessel was probably a gift donated in betrothal or marriage. Another unique phenomenon of the material culture of the castle of Cembalo comprises the fragments of side of a dish belonging to the polychrome Beautiful Majolica Ware (“stile bello”) in the style called “primo istoriato” (“first story–telling”) showing military symbols of the Republican period, which became popular in the Renaissance. The spread of Italian ceramic ware in the region under analysis was directly related to the activities of Italian merchants. However, the artefacts presented in this article most likely were not the subject of commercial transactions. Quite plausibly, they came in the merchants’ baggage, a reminder of “faraway homeland” or simply a gift.
本文介绍了在意大利切巴洛领事馆和切巴洛城堡出土的几件13至16世纪的釉瓷制品。这些考古文物包括古马约利卡陶器(Maioliche Arcaiche I)，原始马约利卡陶器(原始马约利卡陶器I, II, Ramina, Manganese, Rosso (RMR))，文艺复兴时期马约利卡陶器(Maiolica Rinascimentali)的水壶，碗，陶瓷盘子的碎片，以及带有“ingobiatta e graffita a steca”设计的容器。这些器皿有不同的装饰:从简单的几何图案和花卉图案到亚平宁半岛流行的复杂场景。有一个突出的小碗从16世纪早期显示右手连接称为“灵巧功能”手势。这艘船可能是订婚或结婚时捐赠的礼物。Cembalo城堡物质文化的另一个独特现象包括一个盘子的侧面碎片，属于彩色美丽的马乔里卡陶器(“stile bello”)，其风格被称为“primo istoriato”(“第一个故事讲述”)，显示了共和时期的军事符号，在文艺复兴时期流行起来。意大利陶瓷在所分析地区的传播与意大利商人的活动直接相关。然而，本文中呈现的工件很可能不是商业交易的主题。很有可能，它们是商人的行李，是对“遥远祖国”的提醒，或者只是一份礼物。
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Pub Date : 2019-01-01DOI: 10.15826/adsv.2019.47.004
O. Osharina
{"title":"Biblical Scenes in the Coptic Art","authors":"O. Osharina","doi":"10.15826/adsv.2019.47.004","DOIUrl":"https://doi.org/10.15826/adsv.2019.47.004","url":null,"abstract":"","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67246000","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 : 2019-01-01DOI: 10.15826/adsv.2019.47.001
A. Kozlov
{"title":"On the Sources of Cassiodorus’ Chronicle","authors":"A. Kozlov","doi":"10.15826/adsv.2019.47.001","DOIUrl":"https://doi.org/10.15826/adsv.2019.47.001","url":null,"abstract":"","PeriodicalId":33782,"journal":{"name":"Antichnaia drevnost'' i srednie veka","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67245758","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 : 1900-01-01DOI: 10.15826/adsv.2020.48.018
V. Stepanenko
This paper addresses the history of research of a Byzantine seal dating from the twelfth century and analyzes of its iconography. In 1884, Gustave Schlumberger first published an anonymous Byzantine seal from his private collection in the famous Byzantine Sigillography (p. 502). Between 1905 and 1910, Nikolai P. Likhachev acquired a part of G. Schlumberger’s collection. This anonymous seal attracted Likhachev’s special attention, as evidenced by the inventory card written by his hand that survived. When entering the State Hermitage Museum collection, this seal got the number M–8759. Later on, it became a subject of the research by Valentina S. Shandrovskaia. According to the legend on the reverse, the seal belonged to an official of unknown name with the rank of protospatharios ἐπὶ τοῦ Χρυσοτρικλίνου, who held the position of the domestikos tes ypourgeias (δομέστικος τῆς ὐπουργείας) at the Christ-loving despotes (i. e. emperor). The front side of the seal features St. George spearing a dragon. It has been noticed that the scene showing this saint performing the feat rarely occurs on the tenth-to-twelfth century Byzantine seals with similar iconography.
本文论述了12世纪拜占庭印章的研究历史，并分析了其图像。1884年，古斯塔夫·斯伦贝谢(Gustave Schlumberger)首次在著名的《拜占庭Sigillography》(第502页)中发表了他私人收藏的一个匿名拜占庭印章。1905年至1910年间，Nikolai P. Likhachev获得了一部分G. Schlumberger的收藏。这个匿名印章引起了利哈乔夫的特别注意，他手写的库存卡保存了下来。当进入艾尔米塔什博物馆收藏时，这枚印章的编号是M-8759。后来，它成为Valentina S. Shandrovskaia研究的课题。根据背面的传说，这枚印章属于一名不知名的官员，其等级为protospatharios ς π ς το ο Χρυσοτρικλίνου，他在爱基督的暴君(即皇帝)中担任domestikos tes ypourgeias (δομ κος τ τ ς ς πο ργε ας)的职位。印章正面的图案是圣乔治用长矛刺龙。值得注意的是，显示这位圣人表演壮举的场景很少出现在10至12世纪具有类似图像的拜占庭印章上。
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