scholarly journals THE SERBIAN ORTHODOX CHURCH AND SERBIAN EDUCATION IN BOSNIA AND HERZEGOVINA IN THE LAST CENTURY OF OTTOMAN RULE

Author(s):  
BORIVOJE MILOŠEVIĆ ◽  
SANDRA LUKIĆ

The origins of initial education of the Serbian people in Bosnia and Herzegovina are found in the Serbian Orthodox churches and monasteries. Monks and priests, although having a modest education, also worked as teachers besides their regular religious functions. The first students were young men, who were trained in the profession of priests. They usually inherited this position from their fathers. The initial courses were of a limited religious character and were not able to provide a broader education to students. Literacy obtained within the sphere of the church could not respond to the needs and spirit of the new age in the middle of the 19th century. Therefore, it was prominent and wealthy Serbian merchants that made a strong impact in establishing modern private schools. Most Serbian schools were financially supported by Serbia and Russia during that century, up until the Austro-Hungarian occupation. Serbian Orthodox church – school municipalities very often addressed Belgrade for help for reconstruction or building schools and churches. The foundation of Pelagic’s Seminary in Banja Luka in 1866 made a significant impact on the cultural progress of Serbs, especially those living in the area of Bosanska Krajina.

2021 ◽  
pp. 91-96
Author(s):  
ARTEM V. KRESTYANINOV ◽  
◽  
ANDREY U. MIKHAILOV ◽  

The article presents a message of the Old Believers’ Spasovo denomination by a peasant Ivan Gerasimov from the Kazan Province. The document is introduced into scientific circulation for the first time. The approximate date of writing this text refers to the time interval between June 15, 1849 and June 10, 1850. The appearance of the “message” was caused by the reaction of I. Gerasimov to the initiation of an investigative case against him with apostasy of schism. Like most representatives of the Spasovo denomination (“glukhoy netovshchiny” or “starospasovtsev”), he was baptized in the Orthodox Church. However, like other old believers, I. Gerasimov denied the existence of the church, and thus did not perform the rites accepted in the Orthodox Church, which was a formal reason for accusing him of evading a split. It was in the process of investigation that he wrote this message, the recipient of which was the local Orthodox priesthood. The uniqueness of this source lies in the fact that the message is one of the rare written documents that emerged in the first half of the XIX century...


Author(s):  
Paweł Sygowski

<p>W czasach Rusi Halicko-Włodzimierskiej osadnictwo ruskie na terenie dzisiejszej Lubelszczyzny posuwało się systematycznie na zachód. W XV i XVI w. dotarło do doliny Wieprza. W jego środkowym biegu powstało wówczas kilka parafii prawosławnych – Łęczna, Puchaczów, a także Milejów. Parafie te po przystąpieniu diecezji chełmskiej do unii brzeskiej stały się unickimi. Usytuowanie ich na terenie ze wzrastającą przewagą osadnictwa polskiego spowodowało przechodzenie wiernych na rzymsko katolicyzm. Proces ten szczególnie widoczny jest w 2 połowie XVIII w. i 1 połowie XIX w. Parafia w Milejowie należąca do najstarszych na tym terenie, pod koniec XVIII w. liczyła zaledwie kilku parafian, a na początku XIX w. rezydował tu jedynie proboszcz unicki, ks. Bazyli Hrabanowicz. W 2 dekadzie XIX w. ówczesny właściciel dóbr milejowskich – Adam Suffczyński – rozpoczął starania o przekształcenie parafii unickiej w parafię rzymskokatolicką, a cerkwi unickiej w kościół. Okazało się to dosyć skomplikowane. Najpierw parafię unicką należało zamknąć, a dopiero potem utworzyć parafię rzymskokatolicką. Proces ten kontynuowała siostra Adama – Helena Chrapowicka, która wkrótce przekazała to zadanie kuzynowi Antoniemu Melitonowi Rostworowskiemu, a po jego śmierci założeniem parafii i budową kościoła zajęła wdowa po nim – Maria z Jansenów, a następnie ich syn Antoni Rostworowski. Parafia unicka została zamknięta w 1852 r., cerkiew rozebrana, a murowany kościół został wzniesiony w latach 1855-1856. Po śmierci wspomnianego proboszcza unickiego w 1832 r. (ostatniego tutejszego parocha), cerkwią opiekował się proboszcz Dratowa. Część wyposażenia cerkwi milejowskiej została przeniesiona do świątyni dratowskiej, gdzie spłonęło ono w roku 1886 r., w pożarze tamtejszej świątyni. Część wyposażenia zabezpieczona została we dworze milejowskim i po wybudowaniu kościoła przeniesiona do niego. Wśród tego wyposażenia wyróżnia się pochodząca z 2 połowy XVII w. ikona Matki Boskiej z Dzieciątkiem (w typie Eleusy), odnowiona w latach 2012-2013 staraniem ówczesnego proboszcza – ks. Andrzeja Juźko. Po akcji rozbiórkowej cerkwi w 1938 r. to jedna z wyjątkowo nielicznych, ocalałych ikon dawnej diecezji Kościoła wschodniego na Lubelszczyźnie.</p><p><strong>On the Religious Borderland. A Defunct Uniate Church under the Invocation of St. Praxedes the Martyr in Milejów and its Equipment</strong></p>SUMMARY<p>The parish in Milejów was one of the early Orthodox parishes in the Wieprz valley, recorded in the 1470s. The presence of the Orthodox priest in Milejów is documented in tax registers in the 16th century. More information on the Uniate parish and its Orthodox church can be found in the documents of the 18th-19th centuries. The author presents the history of the Milejów Uniate church and the parish with particular reference to the equipment of the church. First, the old Uniate church is described (the last quarter of the 17th and the fi rst half of the 18th century). The church had the high altar and three side altars; in addition, there were inter alia, liturgical vessels, altar bells, the bells on the belfry, liturgical books, an perhaps an iconostasis. The new Uniate church (the second half of the 18th and the fi rst half of the 19th century) – erected in the second half of the 18th century in place of the old one (which burnt down in ca. 1760) contained the high altar with the picture of Our Lady (painted on canvas) and two side altars. The equipment also included, inter alia, a silver and gilded pro Venerabili vessel, a chalice with a paten and a spoon, a can “for sick people”, an altar tin cross, a brass thurible, a metal swag lamp, three altar bells, a bell at the sacristy, four reliquaries, two small brass candlesticks, a processional cross, pictures, liturgical books. The next described stage is the end of the Uniate parish and the beginnings of the creation of the Roman-Catholic parish in the 19th century, founded in 1858. The new church – erected a few hundred meters from the place of the Uniate church – was consecrated in 1859. The equipment of the Uniate church before its demolition (the second quarter of the 19th century) included in 1828, inter alia, the above mentioned three altars, a new choir, a crucifi x, a confessional, a pulpit, candlesticks, pictures, and a new umbraculum. The inventory of 1847 also mentioned, inter alia, four icons situated near the high altar, a stoup, four benches, twenty candlesticks, and a porcelain chandelier. In the next part of the text the author describes the icons preserved in the Milejów church: „Matka Boska z dzieciątkiem” [Madonna and Child] and „Przemienienie Pańskie” [the Transfi guration of the Lord]. In the next parts of the article the author describes the history of the owners of Milejów, patrons and parish priests. At the end of the article he synthetically presents the history of the Milejów parish.</p>


2019 ◽  
Vol 1 (1) ◽  
pp. 71-79
Author(s):  
Predrag DJOKOVIĆ

This paper explains the musical treatment of the hymnographic genres within the Serbian chanting practice. As it is known, the original Byzantine poetic structure written in verse — which was in perfect unity with the Byzantine chant concerning the rhythm and meter — was lost in Church-Slavonic translations. The Slavonic hymnography in prose inevitably caused modification of the music language, i.e. establishing of the new bond between the word and a tone. Accordingly, a creative practise of “tailoring” the church melodies to the structure and semantics of the particular hymnographic genre occurred within Serbian chanting practise. Eventually, many songs from the Octoechos, General Chanting, as well as certain songs of the Festal Chanting, gained the status of the “fixed” chants, the proof of which are the first Serbian chanting collections from the 19th century written in staff notation. In these chants semantics and music are set in a specific manner and they represent a model by which the chanters govern themselves while singing other church hymns. Ideal unity of hymnography and music in the fixed chants is reflected in coinciding of textual and music phrases. Such an ideal balance contributes to the clear transmission of the hymnographic content to the faithful. However, sticheras, irmoses, troparions and kontakions which lack the ideal balance, may cause the hymnographic narration and, at some places, even the theological points to be incomprehensible and imprecise. To creative chanters it is an opportunity to “tailor”, i.e. to reinterpret the chants in order to compensate for these imperfections. Such a creative interpretation is possible only by skilled chanters who, above all, thoroughly understand the meaning and structure of a particular hymnographic work. Amongst such chanters were some of the bishops and patriarchs of the Serbian Orthodox Church. Certain chants related to this problem are examined in this paper.


Author(s):  
Анна Леонидовна Краснова

В XVIII в. на основании общего интереса к святыням Востока, а также единой тенденции для крупных монастырей изготавливать гравюры на память для паломников, многие греческие гравюры свидетели русско-афонских отношений попадают на территорию Российской Империи. Сохранились такие гравюры и в Церковноархеологического кабинете Московской духовной академии, собрание которых насчитывает 29 эстампов. Пять гравюр из этого собрания имеют надписи на греческом и на славянском языке. Надписи свидетельствуют о месте и времени создания гравюры, о граверах и заказчиках, являются источниками кратких исторических сведений. В статье приведены выявленные дополнительные факты об этих гравюрах, которые свидетельствуют о наличии церковных, экономических и политических отношений на базе культурных связей между Российской Империей и странами православного Востока. The Russ has always been supporting the relationship with the Orthodox Church of the East. As a result of these connections, we have a lot of icons and other gifts from The Mount Athos, The Saint Catherine’s Monastery and others holy places. There are five Greek engravings in the collection of The Museum of Church Archaeology at the Moscow Theological Academy, which have inscriptions in Greek and Slavic. These engravings were to be spread in Slavic countries. They are dated from the 17th to the 19th century. Some of them were made in Moscow. The images and the inscriptions of the engravings are the subject of a research presented in this article.


Author(s):  
Alexey B. Mazurov ◽  
Alexander V. Rodionov

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.


Author(s):  
Ahmet Hadrovic

The Dzider familyʹs house in the Crnoc village near Kakanj is located on the flat terrain of a steep slope with southwestern insolation (Figure 1). It is one of a large number of relatively preserved bosnian chardaklia houses in the area of Kakanj, in the territory of Bosnia and Herzegovina where the most developed types of Bosnian chardaklia house were built (Figure 2). The house was built during the reign of the Ottoman Empire (before the 19th century), but to date it has undergone a number of reconstructions and renovations[1]. It belongs to the type of two-tracts bosnian chardaklija house. One of the most valuable features of this house (except for its age) is the fact that it was erected on a living water source, which is still in the basement of the house today.


2020 ◽  
pp. 126-136
Author(s):  
Константин Рева

В настоящей статье предпринята попытка рассмотреть влияние Придворной певческой капеллы на развитие богослужебной практики Русской Православной Церкви в Синодальный период. После церковного раскола XVII в. продолжающееся развитие богослужебной практики не находило отражения в корпусе богослужебных книг. В XVII в. в Русской Церкви было два практически равновеликих по значению образцовых столичных хора: хор патриарших певчих дьяков и хор государевых певчих дьяков. С упразднением патриаршества и переносом столицы в Санкт¬-Петербург в Синодальный период истории Русской Православной Церкви Придворная певческая капелла стала главным церковным хоровым коллективом, основной обязанностью которого было пение за богослужением в придворных церквях. В XIX в. Придворная певческая капелла была на делена особыми административными правами в церковно-¬певческой сфере, связанны ми с цензурой церковно-¬певческих произведений и подготовкой церковных регентов. Исключительные права по изданию церковно¬-певческих книг в Русской Православной Церкви, закрепленные Святейшим Синодом за Придворной певческой капеллой, стали причиной широкого распространения литургических особенностей богослужения придворных церквей в Российской империи. Практика обязательной аттестации церковных регентов Придворной певческой капеллой усилила распространение не только её церковно-¬музыкальной традиции, но и придворного литургического порядка, что оказало существенное влияние на практику совершения кафедрального и приходского богослужения. Изучение богослужебной практики Русской Православной Церкви в XVIII-XX вв. немыслимо без учёта деятельности и наследия Придворной певческой капеллы. This article attempts to consider the influence of the Court Singing Chapel on the development of divine practice of the Russian Orthodox Church during the synodal period. After the Church split of the 17th century, the continuing development of liturgical practice was not re flected in the corpus of liturgical books. In the XVII century the Russian Church had two almost equal in importance exemplary Metropolitan choirs: the choir of Patriarchal singing deacons and the choir of sovereign singing deacons. With the abolition of the Patriarchate and the transfer of the capital to Saint Petersburg during the Synodal period of the history of the Russian Orthodox Church, the Court singing Capella became the main Church choral group, whose main duty was to sing at divine services in the court churches. In the 19th century, the Court singing chapel was giv en special administrative rights in the Church singing sphere related to the censorship of Church singing works and the training of Church Regents. The exclusive rights to publish Church sing ing books in the Russian Orthodox Church, which were assigned by the Holy Synod to the Court singing chapel, caused a wide spread of liturgical features of the service of court churches in the Russian Empire. The practice of mandatory certification of Church Regents by the Court singingchapel has increased the spread of not only its Church music tradition, but also the court liturgical order, which has had a significant impact on the practice of performing Cathedral and parish ser vices. The study of the liturgical practice of the Russian Orthodox Church in the XVIII-XX centuries is unthinkable without taking into account the activities and heritage of the court singing chapel.


2020 ◽  
pp. 096853322097617
Author(s):  
Sarah Fox ◽  
Margaret Brazier

Throughout the 19th century, midwives were depicted as incompetent slatterns in both popular imagery and medical literature. We examine how, between 1500 and 1800, midwifery was regulated by a combination of formal licensing by the Church and informal oversight within the community. We argue that episcopal licensing demanded that midwives demonstrate knowledge and competence in midwifery, not only that they were spiritually fit to baptise dying infants. Although episcopal licensing lacked statutory authority, the symbiosis of formal and informal systems of regulation ensured good midwifery practice and midwives were regarded as experts in all matters relating to childbirth. The Midwives Act 1902 introduced statutory regulation of midwives, restoring their ‘professional status’ if in a subordinate role. We show that the history of the regulation of midwives across four centuries casts light on the interplay between formal and informal regulation and matters of gender and professional status.


1996 ◽  
Vol 52 (4) ◽  
Author(s):  
A. D. Pont

Church vis it vis culture among the republican Afrikaner of the 19th century - an historical investigation. In this study attention is given to the question of the correlation between and/or position of the church vis a vis culture among the republican Afrikaner of the 19th century. Initially attention is given to  a workohle definition of church and culture and then, in the light of Calvinist theology, the relationship is discussed. Eventually the stated problem is discussed and the conclusion formulated that the culture of the Afrikaner was strongly influenced and directed by its theological viewpoints. A few conclusions are drawn.


2019 ◽  
Vol 50 (2) ◽  
pp. 97-114
Author(s):  
Krisztina Fehér ◽  
Balázs Halmos

Since the 19th century, the church of Zsámbék was continuously a focus of scholars' interest. The present paper intends to research the church ruins with a new aspect. Using an accurate terrestrial laser scan survey, the geometry of the plan is analysed in order to find proportions among the dimensions. The main goal of the study is to gather information about the design logic of the first masters of the 13th-century Premonstratensian abbey. In addition, our goal was to detect contributions to the 13th-century construction history of the church, that cannot be found in archives of graphic sources. The latest archaeological excavation achieved excellent results concerning several crucial historical points; however, the periodization of the church is still not entirely clarified. From the 19th century, different scholars have proposed various hypotheses about this topic, without consensus.


Sign in / Sign up

Export Citation Format

Share Document