scholarly journals Fresco Paintings of Southwest Crimea Cave Churches According to Igor Grabar

2021 ◽  
pp. 116-130
Author(s):  
Yuriy Mogarichev ◽  
Alena Ergina
Keyword(s):  
Full Text ◽  
The State ◽  
Art Conservation ◽  
Russian Art ◽  
Old Russian ◽  
Mural Paintings ◽  
The Crimea ◽  
Points Of View ◽  
The Temple ◽  
The Church

Introduction. Today, the remains of fresco paintings are preserved in six cave churches of Taurica: the temple of the Southern Monastery (Mangup); church in the field of Kielse-Tubu (district of Mangup); the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the church number 12 on Zagaytansky rock (Inkerman). Authors of the 19th – early 20th centuries left descriptions of the now lost murals of six more monuments. Methods. Frescos of Crimean cave churches in historiography received insufficient comprehension. Only one monograph was published on this issue (1966). Analysis. Opinions and comments regarding the mural paintings of the cave churches of Crimea, expressed by reputable art historians and specialists in fresco paintings, are relevant. These include Igor Grabar. He was in Crimea in 1927, as the head of the Central Art Conservation Center by Glavnauka of the RSFSR. The Manuscript Department of the State Tretyakov Gallery stores leaflets from the notebook “Igor Grabar’s trip notes in the Crimea and about Old Russian art”. Authors publish the full text of Igor Grabar’s notes concerning the murals of cave churches: the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the temple of the Southern Monastery (Mangup). Results. Igor Grabar’s notes help us clarify many points of view in the study of frescos of cave temples in Crimea. The study of the murals of the temple of the Three Horsemen by Igor Grabar allows us to justifiably discard the versions of “three Georges” and “portraits of real local figures”. There are images of three holy warriors: Dmitry, Theodore (Stratilates or Tyrone), and George in the cave temple. The study of the Mangup Church fresco by Igor Grabar allowed us to develop a periodization of the formation of fresco paintings of this monument.

On the Origin of the Zaraysk Gospel

2021 ◽  
Vol 70 (2) ◽  
pp. 193-204
Author(s):  
Alexey B. Mazurov ◽  
Alexander V. Rodionov
Keyword(s):  
19Th Century ◽  
17Th Century ◽  
Theoretical Development ◽  
Old Russian ◽  
15Th Century ◽  
Art Historians ◽  
Ancient Manuscripts ◽  
The 19Th Century ◽  
The Temple ◽  
The Church

The article considers theoretical development of the problem of the origin and provenance in the 15th — the first quarter of the 19th century of the famous Old Russian book monument — the Zaraysk Gospel. Although it has repeatedly attracted the attention of archaeographers, textologists, paleographers, linguists and art historians, this article is the first experience of studying these issues. Created in 1401 in Moscow, the Gospel, which is parchment manuscript, was purchased in 1825 by K.F. Kalaidovich for Count N.P. Rumyantsev from the Zaraysk merchant K.I. Averin, that determined its name by the place of discovery. The scribe book of Zaraysk in 1625 in the altar of the Pyatnitsky chapel of the St. Nikolas wooden church (“which’s on the square”) in the city’s Posad, recorded the description of the manuscript Gospel, corresponding by a number of features to the Zaraysk Gospel. The connection of the codex with the St. Nicholas church is indirectly confirmed by the drawing of the church placed on one of its pages (f. 156 ver.) with the remains of inscription mentioning St. Nicholas the Wonderworker. This allows concluding that the manuscript in the 17th century was in the book collection of the temple. In the 17th century, the ancient St. Nicholas church was re-consecrated to the Epiphany, and the sacristy was moved to the stone St. Nicholas cathedral in Zaraysk. It is most likely that in the first quarter of the 19th century, the merchant K.I. Averin purchased the Gospel from the members of the cathedral’s clergy. The article analyzes the context of the early contributions of the 15th century “to the Miraculous Icon of St. Nikolas of Zaraysk”, one of which, most likely, was the parchment Zaraysk Gospel. The authors assume that this contribution is related to the chronicle events of 1401 or 1408. The study is significant in terms of the theoretical development of methods for identifying ancient manuscripts and their origin.

scholarly journals Monitoring the State of Conservation of the Mural Paintings in the Rupestral Church Corbii de piatră

Proceedings ◽  
2020 ◽  
Vol 57 (1) ◽  
pp. 47
Author(s):  
Ileana Mohanu ◽  
Ioana Gomoiu ◽  
Dan Mohanu ◽  
Nicoleta Cirstea ◽  
Adriana Moanță ◽  
...  
Keyword(s):  
The State ◽  
14Th Century ◽  
Mural Paintings ◽  
Sandstone Rock ◽  
Microclimate Conditions ◽  
The Church

The church carved from sandstone rock, Corbii de Piatră, dated from the 14th century, in Argeș County, faces difficult microclimate conditions. [...]

scholarly journals Little Known Russian Church Wooden Sculpture Works of 18th-19th Centuries

2020 ◽  
pp. 93-109
Author(s):  
Анна Леонидовна Павлова
Keyword(s):  
Russian Art ◽  
Old Russian ◽  
Central Russia ◽  
Plastic Arts ◽  
Special Paper ◽  
The Common ◽  
Church Art ◽  
First Time ◽  
Common Character ◽  
The Church

Во время экспедиций по программе Свода памятников выявляется довольно много церковной скульптуры. Однако деревянная пластика рассеяна по разным томам Свода, а краткие тексты и отсутствие достаточного числа фотографий не позволяют судить о характере найденных произведений. В сложившихся условиях возрастает необходимость отдельной статьи, специально посвящённой неизвестным ранее скульптурам. Основная часть произведений, приведённых в статье, находится в храмах Владимирской, Рязанской, Тверской и Калужской областей. Практически все они впервые вводятся в научный оборот. Изучение данной скульптуры расширяет представление о развитии не только церковного, но всего отечественного искусства Нового времени. Публикуемые памятники отражают разнообразные стилистические направления, технические и художественные приёмы мастеров Центральной России, несмотря на общность процессов искусства в России того времени. Одной из основных задач публикации стало стремление внести ясность в многообразие направлений регионального искусства, что может способствовать более точной атрибуции. Среди богатства направлений условно выделяются несколько основных, зачастую связанных между собой и пронизанных древнерусскими реминисценциями, - тяготеющее к примитиву, барочное и классицистическое. В статье приводятся шесть Распятий и три Усекновенные главы Иоанна Предтечи, каждая из которых по-своему уникальна и заслуживает отдельного исследования в будущем. Знакомство с данными памятниками русского резного искусства даёт возможность провести параллели с широко известными произведениями. In the course of the expeditions undertaken within the Code of monuments project many works of church sculpture were revealed. However, the plastic arts pieces are dispersed over the different volumes of the Code, moreover, the short descriptive texts and the lack of sufficient number of photographs do not allow us to properly estimate the significance of the works found. This situation necessitates a special paper devoted to the previously unknown sculptures to be prepared. The main part of the works described in the paper is from the churches of Vladimir, Ryazan, Tver and Kaluga regions. Practically all of them are introduced for scientific use for the first time. The study of the sculptures broadens our knowledge about the development not only of the church art but of the whole Russian art of New time. The monuments being published reflect different stylistic trends, the technical and artistic devices of the Central Russia masters despite the common character of the artistic processes in Russia of that time. One of the major tasks of the publication is striving to put in order the regional art trends diversity that is to provide for the more exact attribution. Within the wealth of stylistic trends it is possible to conditionally distinguish several basic ones - those next to primitivism, in baroque and classicistic - often closely associated with each other and all permeated with the Old Russian reminiscences. There are six Crucifixions and three Heads of St. John the Forerunner described in the paper each of which is unique in its own way and deserves a separate study in future. Getting to know the introduced monuments of the Russian carved arts makes it possible to draw a parallel between them and well-known works of art.

scholarly journals Pamięć zdeponowana. Dyplom memoratywny z gałki sygnaturki kościoła Dominikanów w Krakowie z 1863 r.

2016 ◽  
Vol 22 ◽  
pp. 98-138
Author(s):  
Marcin Sanak
Keyword(s):  
Social Status ◽  
The State ◽  
Main Text ◽  
Holy Trinity ◽  
Funding Sources ◽  
Time Capsule ◽  
Pius Ix ◽  
Pope Pius Ix ◽  
The Temple ◽  
The Church

W 1850 r. kościół i klasztor Dominikanów w Krakowie spłonął w czasie wielkiego pożaru miasta; wkrótce potem ruszyła odbudowa kompleksu. W czasie prac na dachu nawy głównej kościoła św. Trójcy, 19 października 1863 r., w kuli wieńczącej sygnaturkę umieszczono „kapsułę czasu”. Znalazł się w niej m.in. pergaminowy dyplom memoratywny, spisany przez przeora o. Piotra Wilhelma. Opisuje on wielki pożar Krakowa oraz odbudowę dominikańskiej świątyni, a także katastrofę budowlaną w kościele z kwietnia 1855 r. Dokument wymienia wybitne postacie związane z konwentem na przestrzeni wieków oraz członków obecnego i wcześniejszego komitetu odbudowy kościoła. Przedstawiono także sposoby pozyskiwania funduszy potrzebnych do restauracji świątyni. Dalej dyplom informuje o odpuście udzielonym przez papieża Piusa IX dla ofiarodawców, uroczystościach 600-lecia śmierci św. Jacka i powtórnym pochówku szczątków księcia Leszka Czarnego w 1857 r. Dokument opisuje także ówczesny stan prac w kościele oraz podaje sumę pieniędzy zebranych ze składek i ofiar wiernych. Pod koniec tekstu głównego o. Wilhelm wspomina o trwającym wówczas powstaniu styczniowym oraz „jubileuszu tysiąclecia istnienia narodu”, nawiązując do 1 000. rocznicy rozpoczęcia przez śś. Cyryla i Metodego działalności misyjnej w Państwie Wielkomorawskim. Pod tekstem widnieje ponad 60 autografów osób z różnych warstw i grup społecznych, uczestników uroczystości umieszczenia „kapsuły czasu” w kuli sygnaturki. Dyplom stanowi interesujące świadectwo uniwersalnego ludzkiego pragnienia pozostawienia po sobie materialnego śladu. Lodge of Memory. Document from a sphere in the flèche of the Dominican church in Krakow from 1863 In 1850, the Dominican church and priory in Krakow burned down during the Great Fire. Shortly after this disaster, the Order began rebuilding them both. While the works on the roof of the central nave of the Holy Trinity Church were underway, a “time capsule” was placed in a sphere at the top of the flèche on 19 October 1863. A document written on parchment by Piotr Wilhelm was put inside. The text describes the Great Fire of Krakow and the rebuilding of the Dominican temple, as well as a construction disaster in April 1855. text names prominent people associated with the friary over the centuries, as well as members of the last two church rebuilding committees. The document also contains a description of funding sources necessary to restore the temple. The text then speaks of the indulgence granted by Pope Pius IX for benefactors, the 600th anniversary of St. Hyacinth’s death, and the second funeral of Leszek II the Black’s remains in 1857. The source also describes the state of works in the church and provides information concerning the amount of money accumulated through contributions and collections of the congregation. At the end of the main text, Father Wilhelm mentions the ongoing January Uprising and the “millennium jubilee of the nation’s existence”, alluding to the 1 000th anniversary of St. Cyril and St. Methodius beginning their missions in Great Moravia. The document concludes with over 60 signatures of people of various rank and social status, who participated in the celebration of placing the “time capsule” in a sphere at the top of the flèche. The source is an interesting testimony of universal human aspirations to leave behind a material vestige.

scholarly journals Imágenes, alhajas, ornamentos y mobiliario de la Compañía de Jesús en Murcia. Inventario y distribución de sus bienes tras la expulsión de 1767

Imafronte ◽  
2021 ◽  
pp. 1-26
Author(s):  
Ignacio José García Zapata
Keyword(s):  
The State ◽  
Society Of Jesus ◽  
Administrative System ◽  
General Picture ◽  
The Temple ◽  
The Church

La expulsión de los jesuitas en 1767 supuso la puesta en marcha de un amplio sistema administrativo centrado en la gestión de las posesiones que habían pertenecido hasta entonces a la Compañía de Jesús. Una de los cometidos que tenían que llevar a cabo estos consejos estaba centrado en el inventariado y distribución de las alhajas y ornamentos que esta orden tenía en sus colegios e iglesias. En el caso de Murcia, el inventario efectuado para tal fin, ofrece una panorámica general del estado en el que se encontraba la Iglesia de San Esteban aquel año. Asimismo, la documentación conservada refleja el destino de algunas alhajas y ornamentos que, siguiendo las indicaciones reales, fueron divididas y distribuidas, quedando algunas en el templo original, pasando otras a las parroquias pobres y llegando otras al convento franciscano de Santa Catalina del Monte. En este artículo se analiza este inventario, así como la distribución de sus alhajas y ornamentos, conforme a lo que sucedió en otros territorios españoles, incluyendo el propio caso de Caravaca de la Cruz, con el fin de ofrecer una visión global. The expulsion of the Jesuits in 1767 entailed the setting up of a broad administrative system focused on the management of the goods heretofore belonging to the Society of Jesus. Among the tasks that these councils were meant to accomplish appears the inventory and distribution of the silverware and ornaments that had been preserved by this order in its colleges and churches. In the case of Murcia, the executed inventory for that purpose offers an overview of the state of the Church of San Esteban in that year. Additionally, the documentation preserved reflects the destination of the silverware and ornaments: some of them were kept in the temple, some were sent to poorer parishes and some ended up in the Franciscan convent of Santa Catalina del Monte. This inventory has been analysed in this paper, as well as the distribution of its silverware and ornaments, according to what occurred in other Spanish territories, including the case of Caravaca de la Cruz, with the aim of offering a general picture.

scholarly journals “Diatriba de Europaeorum linguis” by Joseph Justus Scaliger and the Church Slavonic Translation of the 17th century

Slovene ◽  
2018 ◽  
Vol 7 (2) ◽  
pp. 105-134
Author(s):  
Natalia V. Nikolenkova
Keyword(s):  
Full Text ◽  
Linguistic Analysis ◽  
17Th Century ◽  
The State ◽  
New Words ◽  
Personal Names ◽  
Latin Language ◽  
Lexical Structure ◽  
The Church ◽  
Original Edition

The article contains a linguistic analysis of the Church Slavonic translation of a short fragment of one of the chapters from the Latin-language geographical atlas compiled by the Dutch cartographers Willem and Joan Blaeu in the first half of the 17th century. The fragment we’re interested in is the Diatriba de Europaeorum linguis (Diatribe on the Languages of the Europeans) by Joseph Justus Scaliger, written in 1599 and published in 1610. Joan and Willem Blaeu include the complete text in their chapter on Europe. The translation of the first part of the Atlas, which contained this chapter, was carried out by Epiphanius Slavinetsky in 1650s in Moscow, and is preserved in the author’s draft, as well as in the clean copy made by a Moscow scribe, both of which are located today in the State Historical Museum manuscript collection. The language of this translation provides a vivid example of the “scholarly” register of Church Slavonic, which was developing at the time, indeed, amongst Slavinetsky’s circle of companions. The article is mainly concerned with the lexical structure of the translation; creation of new words, expanding meanings of lexemes and use of rare Church Slavonic words are characteristic for the Atlas’ translation as a whole, and they have been found in the analysed fragment in particular. We are also inspecting some graphical and orthographic specifics of the translation, mainly the ways of interpreting personal names, which are fairly frequent in a geographical text. The article includes the full text of Scaliger’s Diatribe according to the 1645 edition of the Blaeu’s Atlas, with marked differences from the original edition of 1610, as well as Slavinetsky’s Church Slavonic translation according to the manuscript kept in the State Historical Museum (Moscow).

scholarly journals Inscriptions in the Artistic Structure of the Items of Medieval Silversmiths. Works of Church Art from Tikhvin in the State Russian Museum

2021 ◽  
Vol 11 (3) ◽  
pp. 467-493
Author(s):  
Anna A. Makarova ◽  
◽  
Olga V. Klukanova ◽  
Nadezhda V. Pivovarova ◽  
◽  
...  
Keyword(s):  
The State ◽  
Applied Art ◽  
Art Works ◽  
State Museum ◽  
The Subject ◽  
Technical Features ◽  
Church Art ◽  
The Temple ◽  
The Church ◽  
Made In

The article presents the results of studying inscribed and dated objects of applied art of the 16th–17th century from the State Russian Museum in St. Petersburg. The subject of the research is the set of church plates from the monasteries of the Dormition of Our Lady and the Presentation of the Virgin in the Temple in Tikhvin and the precious tsata from the Tikhvin icon of the Mother of God (Stockholmskaya) from the Tikhvin Cathedral of the Transfiguration. In 1928, the items were given to the State Russian Museum from the department of ecclesiastical property of the State Museum fund. The majority of these items were made in the Moscow workshops. The study provided an opportunity to identify the items fabricated by Tikhvin silversmiths. The authors analyze the iconography, style, structural and technical features of a number of art works including liturgical vessels, a church lamp and several altar Gospels. The study substantiates new attributions of the chalice and the church lamp from the Cathedral of Dormition of Our Lady. Attention is given to the inscriptions on the items. The authors examine the specifics of the forms of inscriptions and cite new data on the donors such as Ivan Nikitich Romanov, Ivan Ivanovich Shuiskii and the Mikhalkov family.

scholarly journals From the Experience the Scientific Library N.I. Lobachevsky of the Kazan Federal University and the State Museum of Fine Arts of the Republic of Tatarstan Cooperation: Joint Projects With the Department of Old Russian Art

2020 ◽  
Vol 23 (5) ◽  
pp. 914-922
Author(s):  
Anna Kalina
Keyword(s):  
Fine Arts ◽  
The State ◽  
Joint Work ◽  
Russian Art ◽  
Old Russian ◽  
State Museum ◽  
Museum Of Fine Arts ◽  
Rare Books ◽  
The Republic ◽  
The City

The article describes the exhibitions prepared by the Department of Old Russian Art of the State Museum of Fine Arts of the Republic of Tatarstan together with the Department of Manuscripts and Rare Books of the Scientific Library N.I. Lobachevsky of the Kazan Federal University in the period from 2013 to 2016. These projects reflect only a small part of the joint work of the State Museum of Fine Arts of the Republic of Tatarstan with the Department of Manuscripts and Rare Books of the Scientific Library N.I. Lobachevsky, all of them became significant events in cultural life of the city and the republic.

scholarly journals Art of a Book of D. Stelletsky

2011 ◽  
pp. 62-69
Author(s):  
Galina V. Aksenova
Keyword(s):  
Xxth Century ◽  
Russian Art ◽  
Old Russian ◽  
Graphic Artist ◽  
The Arts ◽  
Stylistic Unity ◽  
The Church ◽  
The Trinity ◽  
Art School ◽  
Art Critics

Dmitry Stelletsky was a sculptor, a painter, a graphic artist and a glorious representative of the Russian retrospectivism at the end of the XIXth — the first quarter of the XXth century that paid his attention to the art of manuscript book. The paper examines one of the most important aspects of his work such as book graphics which received positive enthusiastic reviews of artists and art critics. The papere shows the artist’s career from the studying at the Higher Art School of the Arts Academy and his work in the M.K. Tenisheva atelier till the painting of the church of the Trinity-St Sergius monastery in Paris and the creating of the manuscript masterpiece called «The Lay of Igor’s Warfare».In his book graphic works Dmitry Stelletsky was able to achieve as close as possible to the traditions of ancient Russian art and to revive the old Russian book tradition of compositionally stylistic unity of letters, ornaments and illustrations.

scholarly journals Religious Freedom Against the Background of the Ukrainian-Russian War: Some Legal Aspects

2016 ◽  
Vol 1 (19) ◽  
pp. 106-113
Author(s):  
Dmytro Vovk
Keyword(s):  
Religious Freedom ◽  
Legal Aspects ◽  
Political Conflict ◽  
The State ◽  
Law And Order ◽  
Political Analysis ◽  
The Crimea ◽  
The Military ◽  
Domestic Law ◽  
The Church

This essay deals with various issues of religious freedom and state-church relations that arose during and in connection with the Revolution of Dignity and the military and political conflict between Ukraine and Russia. I do not propose any completed answers, but I rather formulate the question which answers need, based on the fact that one of the reasons that led to both EuroMaydan and the annexation of the Crimea and the war on the Donbass is the European choice of Ukraine. This choice does not only mean the institutional integration of Ukraine into certain European structures. First of all, it predetermines the perception by the Ukrainian society and the state of a certain set of legal values ​​(the rule of law, democracy, respect for human rights, etc.) and related values ​​and principles that must be embodied in domestic law and order. It should also be emphasized that the following considerations are considerations of a lawyer. I do not have sufficient qualifications for religious or political analysis, and I propose only a look at the religious freedom and relations between the state and the church, which focuses on the above legal values.

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