scholarly journals The royal doors from the Church of St. Nicholas in the village Prisovjani

2007 ◽  
pp. 567-573 ◽  
Author(s):  
Saso Cvetkovski
Keyword(s):  
16Th Century ◽  
National Museum ◽  
Key Features ◽  
Great Prosperity ◽  
First Time ◽  
The Village ◽  
The City ◽  
The Church

In this paper for the first time the Royal Doors from the church of St Nicholas at Prisovjani are published. According to style, the selected woodcarving motifs, and the iconography of the Annunciation these doors belong to the group of Royal Doors that are linked to Ohrid and its existing artistic workshops from the mid 16th century. Namely, the Royal Doors from the church of St. Clement in Ohrid (now housed in the National Museum in Ohrid), from the church of St. George in the Vlach district of the city, from an unidentified church in Ohrid or its surrounding (now kept in the National Museum in Belgrade) from St. Panteleimon in Nerezi, and the those from the church of St. Nicholas at Korenica. The Royal Doors from Prisovjani bear two key features from the above mentioned works, the carving and the painting. The carving is distinct by the concept of the tablets, and the motifs: the interlacing ornament, known as 'Solomon's seal', the running meander, and the ornament resembling a maggoty effect. The style of the icon painting, and the manner in which the depiction of Archangel Michael and the Holy Virgin were achieved had led previous scholars to believe that these works were accomplished under the influence of the Cretan painting of this period. The Royal Doors from Prisovjani are dated to the mid 16th century, the period of the Ohrid Archbishop Prochor, a period of great prosperity in all arts moreover since the archbishop himself was one of the great patrons.

scholarly journals Ukrainian icons of the late 15th — early 20th centuries from the collection «Studion» in the collection of the Andrey Sheptytskyi National Museum in Lviv

2020 ◽  
pp. 280-298
Author(s):  
Marija Helytovych
Keyword(s):  
National Museum ◽  
Xvii Century ◽  
Creative Style ◽  
Style Of Writing ◽  
First Time ◽  
The Village ◽  
The City ◽  
The Church ◽  
Comprehensive Study ◽  
Comprehensive Coverage

The article deals with a number of icons belonging to the «Studion» Museum at the Monastery of Studyts fathers in Lviv, founded in 1909 on the initiative of Metropolitan Andrey Sheptytskyi and transferred to the National Museum in Lviv in 1939 and 1945. The most important monuments of this collection, which are essential for the study of various aspects of Ukrainian icons, in particular, iconography, creative heritage of masters, painting centers, formation and peculiarities of the iconostasis, etc. are analyzed. It emphasizes the importance of individual works and their complexes for the reproduction of artistic processes that took place in the sacral painting of the end of the XVI — the first half of the XVI centuries. In particular, it concerns the theme of the image of the Virgin in the Ukrainian icon. It is also about the activities of individual painters and painting centers, among which is the creativity of an anonymous painter with a pronounced creative style of writing, which worked for the church of St. Paraskeva in the village Novycia in Lemkivshchyna. For the first time, it is pointed the necessity to study and systematize the iconic heritage of the church in Novycia, from which the monuments from different periods are originated; most of them belonged to «Studion». The question is posed of a comprehensive study of the iconography of Lemkivshchyna, for which the works of this collection will be important. It is emphasized the importance of another painting direction related to the painting center, which was active in the XVII century in the city of Sudova Vyshnia, from which the complex of icons from the iconostasis of the Church of Archangel Michael in the village Dobra is still little studied. The latest research on the attribution of a number of works is presented. The significance of the collection for more comprehensive coverage of the features of the Ukrainian icon at different stages of its history is revealed. A number of new monuments are being introduced. Keywords: icon, master, «Studion», tradition, research.

scholarly journals ARCHAEOLOGICAL EXCAVATIONS IN THE LOWER PART OF THE NIZHNIY NOVGOROD KREMLIN (PRELIMINARY RESULTS OF THE 2018-2019 EXCAVATIONS)

2021 ◽  
pp. 322-338
Author(s):  
Н. Н. Грибов ◽  
Т. А. Марьенкина ◽  
Н. В. Иванова
Keyword(s):  
Large Scale ◽  
Historical Context ◽  
Urban Centers ◽  
Preliminary Results ◽  
History Of Development ◽  
History Of ◽  
First Time ◽  
The City ◽  
The Temple ◽  
The Church

В статье представлены предварительные результаты первых масштабных археологических исследований в нижней части Нижегородского кремля. Раскоп, заложенный в зоне воссоздания храма Святого Симеона Столпника, вскрыл культурные отложения двух периодов - XIII - начала XV в. и XVI - середины XVIII в. Впервые средневековая усадебная застройка Нижнего Новгорода зафиксирована на таком элементе волжской долины, как береговой склон. Выдающееся значение для нижегородской археологии имеют обнаружение стратифицированных культурных напластований XIII - начала XV в. и зафиксированный на стратиграфических разрезах перерыв в активном освоении городской территории, соответствующий большей части XV в. Предложена реконструкция истории освоения раскопанного участка. Выяснилось, что связанный с храмом малоизвестный нижегородский Симеоновский монастырь вряд ли существовал до строительства Нижегородского кремля. Наиболее раннее, предположительно, монастырское сооружение, возникшее после исчезновения усадебной застройки XIII - начала XV в., датировано концом XV - серединой XVI в. С этим периодом связано строительство деревянного моста, обеспечивавшего транспортное сообщение между «нагорным» и приречным районами города. Обнаружение остатков этого свайного сооружения существенно корректирует известную реконструкцию застройки кремлевской территории начала XVII в., выполненную по письменным источникам. Дано обоснование времени функционирования обнаруженного некрополя Симеоновского монастыря в пределах середины XVI - начала XVIII в., приведена общая характеристика изученных погребений. В общеисторическом контексте материалы исследований представляют интерес для изучения процессов, сопровождающих превращение удельных городских центров в города Московской Руси. The article presents preliminary results of the first large-scale archaeological research in the lower part of the Nizhniy Novgorod Kremlin. The excavation, laid in the area of the reconstruction of the Church of St. Simeon the Stylite, uncovered cultural layer of two periods - the XIII - early XV centuries and the XVI - mid XVIII centuries. For the first time, the medieval estate development of Nizhniy Novgorod was recorded on such an element of the Volga valley as the coastal slope. The discovery of stratified cultural strata of the XIII - early XV centuries and the break in the active development of urban territory recorded on stratigraphic sections, corresponding to most of the XV century, are of outstanding significance for Nizhniy Novgorod archeology. The reconstruction of the history of development of the excavated site is proposed. It turned out that the little-known Nizhniy Novgorod Simeon monastery associated with the temple hardly existed before the construction of the Nizhniy Novgorod Kremlin. The earliest, presumably, monastic structure that arose after the disappearance of the manor buildings of the XIII -early XV centuries., dated to the end of the XV - mid XVI centuries. This period is associated with the construction of a wooden bridge that provided transport links between the «Nagorny» and riverine districts of the city. The discovery of the remains of this pile structure significantly corrects the well-known reconstruction of the Kremlin territory of the beginning of the XVII century, made according to written sources. The justification for the functioning of the necropolis discovered Simeon monastery in the middle of the XVI century - beginning of the XVIII centuries, the general characteristics of the studied burials. In the general historical context, the research materials are of interest for studying the processes that accompany the transformation of specific urban centers into cities of Muscovite Russia.

scholarly journals John Damascus’s Church-Singing Brotherhood in Nizhny Novgorod at Beginning of 20th Century

2021 ◽  
pp. 302-316
Author(s):  
N. E. Arkhipova
Keyword(s):  
Sacred Music ◽  
Moral Values ◽  
Russian Society ◽  
Professional Musicians ◽  
High Performing ◽  
Financial Condition ◽  
The One ◽  
First Time ◽  
The City ◽  
The Church

The organization, composition, financial condition and activities of the John Damascus’s singing brotherhood are considered. The relevance of the study is associated with the need to revive spiritual and moral values in modern Russian society. The novelty of the esearch lies in the fact that for the first time, according to the chronicle of the church press, the functioning of the brotherhood was reconstructed, the choir of which consisted of representatives of the city clergy, and the conductors were professional musicians. The author notes that, despite the increase in the number of performers in peacetime, the unstable composition of the choir did not allow them to achieve high performing skills. It is shown that the brotherhood performed organizational, missionary, spiritual, educational, charitable  functions. It is proved that the work of the brotherhood contributed to the activation of concert and choral activities in the city, helped to preserve the ancient singing tradition, on the one hand, and introduced the audience to modern sacred music on the other hand. It is emphasized that in the conditions of the expansion of secularization at the beginning of the 20th century, charitable spiritual concerts  organized  by the brotherhood helped to maintain, strengthen and develop religious and moral feelings, thoughts, moods in listeners. It is concluded that the deteriorating living conditions during the war years, and then revolutionary events stopped the functioning of the organization.

scholarly journals Religiøs ikonografi og politisk agitation

1986 ◽  
Author(s):  
Carsten Riis
Keyword(s):  
Virgin Mary ◽  
Historical Background ◽  
Considerable Degree ◽  
16Th Century ◽  
Orthodox Church ◽  
Historical Aspect ◽  
Explanatory Text ◽  
The City ◽  
The Church ◽  
Religious Aspect

About the painting “The Siege of Constantinople” as found on six churches from the 16th century in Moldavia. In the first decades of the 16th century the late Byzantine iconography flourished in Moldavia on church exteriors. On six churches within a radius of 30 kilometres are found a siege scene, “The Siege of Constantinople”, in connection with a painting of the Akathist Hymn. The article seeks the historical background of the painting in the siege of Constantinople by the Turkish army in 1453. In uncovers, through an interpretation of the painting from the Moldovita Monastery, the Moldavian painters’ knowledge of the fall of Constantinople. At the same time, this was the defeat of the centre of the Orthodox Church to which Moldavia belonged. From the connection with the Akathist Hymn and the explanatory text which follows the painting on the church in Arbore, the religious aspect of the paintings is connected to the Persian siege of Constantinople in 626, where an intervention by Virgin Mary was believed to have saved the city. During the Turkish pressure in the 1530’s, this tradition is moulded into an anti-Turkish ideological manifest in Moldavia. This takes place by altering the historical scene for the events in 626, and in this manner the situation of Moldovia is incorporated into the paintings. The church of Arbore has been painted as the last one and has an account which varies in considerable degree from the five others regarding the historical aspect, because at that time Turkish control of the area increased. However, its religious aspect is still Christian and anti-Turkish. After 1541 the picture is no longer painted, probably because of even stronger Turkish control.

Scholarship, trade and politics: Andalusian contribution to the Mediterranean standing of Tripoli (3rd/9th–5th/11th centuries)

2021 ◽  
pp. 1-10
Author(s):  
Aurélien Montel
Keyword(s):  
Close Contact ◽  
16Th Century ◽  
Systematic Analysis ◽  
History Of ◽  
The Rich ◽  
First Time ◽  
The City ◽  
Fresh Insight ◽  
Insight Into ◽  
Mediterranean City

Abstract Given the lack of local sources, the history of Tripoli as a global Mediterranean city remains unclear until the Ottoman conquest of the 16th century. Given that documentary record, the exploration of the rich Arabic tradition written in al-Andalus provides a fresh insight into how Tripoli constructed its Mediterranean stature prior to the 11th century. First, the systematic analysis of Islamic biographical literature (ṭabaqāt) shows Tripoli was one of the most visited cities by the Andalusian scholars across the Islamic world. It also reveals they were in close contact with the Tripolitanian Mālikī networks. Eventually, The Tripolitanian elites took advantage, of that specific Andalusian connection, and using the rivalry between the caliphal powers at the dawn of the 11th century they assured the independence of the city for the first time while rejecting the Fatimid-Zirid power and recognizing the sovereignty of the Spanish Umayyads.

Rebirth of Tambov Eparchy orthodox traditions in the ministration period of St. Luke (Voyno-Yasenetsky) (as exemplified in narrative materials)

2019 ◽  
pp. 166-178
Author(s):  
Viktor Lisyunin
Keyword(s):  
Active Part ◽  
Famous Scientist ◽  
Military Life ◽  
Church Life ◽  
House Museum ◽  
First Time ◽  
The City ◽  
The Voice ◽  
The Church ◽  
Detailed Picture

We present a memories witnesses collection of the life and ministration of St. Luke – a famous scientist, renowned surgeon, doctor of medicine, professor, winner of the Stalin Prize of the first degree. The topic throughout all of the analyzed data is the significance of the personal contribu-tion of the Bishop of Tambov St. Luke (Voyno-Yasenetsky) to the revival of the Tambov Eparchy: the renewal of the successive tradition of the church life, the return of previously closed churches to believers, the decoration of the interior of churches, strict selections in the recruitment of cadres, innovations in church missionary ministration, preaching. At the same time, witnesses testify that the nationwide fame of the archpriest-surgeon was a response to his ministration as a surgeon-consultant for Tambov evacuation hospitals, thanks to which, many people he healed came to faith, following the high example of the archpastor. The voice of witnesses provides a detailed picture of military life, under which conditions St. Luke had to restore a destroyed eparchy. Recorded, collected together and processed oral memories, legends and testimonies about the exploits of the ministration of St. Luke in Tambov, taken as a whole, colorfully illustrate the events that are not generally accepted in official documents and studies. It is also valuable that in the current decade a lot of previously unknown evidence of the Tambov period of ministration of Archpriest Luke was discovered, among which particular interest shown in memories of direct witnesses to the saint's archpastoral exploit. We present the memories of the prior of the Pokrovsky Cathedral, an honorary citizen of the city of Tambov – archpriest Nikolai Stepanov and his wife Nina Petrovna Stepanova, whose mother, being a nurse, helped Luke in surgeries; testimonies of the famous Tambov ethnographer Valentina Andreyevna Kuchenkova, who in her childhood was brought to the Pokrovsky Cathedral for blessing. We also consider testimonies of: Roza Petrovna Sebyakina, Raisa Semyonovna Muravyova, Valentina Ilinichna Dobronravova, Tamara Ivanovna Komarova, Nina Vasilyevna Malina, Zoya Vladimirovna Illarionova, Valeria Pavlovna Bogoyavlenskaya, Lyudmila Alekseevna Taganova, Lyudmila Alekseevna Ivanova. Fragments of diary entries from 1944–1945 are published for the first time. They were written by Vyacheslav Tikhonovich Grozdov, son of the famous Tambov surgeon, Tikhon Mitrofanovich Grozdov. Thanks to the acquaintance and communication with daughter of V.T. Grozdov – Marina Vyacheslavovna Ganieva, there is an opportunity to study these diaries by museum specialists, who take an active part in the creation of the house-museum of St. Luke in the city of Tambov. All surviving memories and witness accounts of the earthly exploits of the ministration of St. Luke are a living chronicle, preserving the sincere memory of a kind, merciful archpastor – healer of suffering people.

The 700th Anniversary of Bethlem

1947 ◽  
Vol 93 (393) ◽  
pp. 740-747
Author(s):  
Duncan Whittaker
Keyword(s):  
Fish Ponds ◽  
House Of Commons ◽  
The North ◽  
The Family ◽  
The Gift ◽  
Own Name ◽  
First Time ◽  
The City ◽  
English Culture ◽  
The Church

This year marks the seven hundredth anniversary of the foundling of the House of Bethlem. Seven hundred years! It takes us back to the very beginnings of English culture. Much in our constitution that we hold dear dates from this thirteenth century, which saw the foundation of Bethlem. In 1215 King John signed the Magna Carta, and in 1265 Simon de Montfort summoned not only the knights of the shire, but for the first time two representatives from each of the chartered boroughs, the precursor of the House of Commons. It was between these two dates on the Wednesday after the Feast of St. Luke the Evangelist, which in the year 1247 fell on 23 October, that Simon FitzMary, a citizen of London, signed the deed-poll which founded this hospital. He had given and granted to God and the church of St. Mary of Bethlem all that land of his which he had in the parish of St. Botolph without Bishopsgate London, to wit, all that he had or might have there, in houses, gardens, orchards, fish-ponds, ditches, marshes and all other things appertaining thereto as defined by their boundaries. These extended in length from the king's highway on the east to that ditch on the west which was called Depeditch, and in breadth to the land which belonged to Ralph Dunning on the north and to the land of St. Botolph's church on the south. The gift was for the formation of a priory under the rule and order of the church of Bethlem, the brothers and sisters to wear publicly upon their copes and mantles the badge of a star. He further declared in the deed poll that: “For the greater security of this gift I have placed myself and mine outside the said property, and I have solemnly put in actual possession of it, and have handed over the possession of all things aforesaid to the lord Godfrey of the family of the Prefetti of the city of Rome, at this time bishop-elect of Bethlem (as by our lord the pope confirmed) and at this time actually in England, in his own name, and in that of his successors, and in the name of the chapter of the church of Bethlem. And he has received possession of the said property, and has entered upon it in the form prescribed.”

scholarly journals Treasures of the Elite of the Bulgharian Ulus of the Gol­den Horde

2021 ◽  
Vol 9 (3) ◽  
pp. 520-546
Author(s):  
Konstantin A. Rudenko ◽  
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Study Results ◽  
Archaeological Materials ◽  
The Republic ◽  
First Time ◽  
Gold Coins ◽  
The Village ◽  
The City ◽  
Made In

Research objectives: To analyze the materials of the most famous hoards of the Golden Horde era found on the territory of the Bulgharian ulus on the basis of a comprehensive analysis. To identify the coincidence of jewelry that they contained. To determine the similarities and differences with other finds from this territory, as well as to identify the possible place of their manufacture and their connection with archaeological sites. Research materials: Preserved jewelry from the Karasham and Juketau hoards. The former was found in 1950 near the village of Karasham in the Zelenodolsk district of the Republic of Tatarstan. The latter was found in 1924 on the outskirts of the city of Chistopol in the Chistopol district of Tatarstan, next to the medieval settlement – the remnants of the Bulgharian city of Juketau which existed from the tenth to early fifteenth centuries. In addition to jewelry, both hoards contained silver and gold coins which made it possible to determine the time when these hoards were buried. The hoard near the village of Karasham was deposited at the beginning of the fifteenth century. The Juketau hoard was deposited in the 1350–70s. Both hoards are not fully preserved. The author carefully studied jewelry from the hoards that are now stored in the National Museum of the Republic of Tatarstan, as well as in the State Hermitage. Items from other hoards of this time found in the territory of Tatarstan, as well as published materials from private collections, are also involved in the study. Results and novelty of the research: The author investigated, for the first time ever, the surviving part of the Karasham hoard, including jewelry that was not considered in the studies of other scholars. A comparative analysis of the jewelry was carried out. To find out the distribution of such jewelry, a search was made for analogies and similar jewelry that was found in other hoards as well as among the archaeological materials from settlements of the Golden Horde era. It was found that the most significant part of the Karasham hoard’s jewelry was made in the jewelry workshops of the city of Bolghar, and partly by the jewelers from other craft centers in the Golden Horde. It should be noted that jewelry was made in both gold and silver in Bolghar. The most popular products were bracelets with images of the lion’s muzzle on the ends of objects, as well as bracelets with stylized images made using niello. Such bracelets were found both in the hoard from Karasham and from Juketau. The existence of jewelry workshops in Bolghar is also confirmed by archaeological excavations. In the second half of twentieth and at the beginning of the twenty-first centuries, archaeologists found several jewelry workshops in the central part of the city dated to the fourteenth century. Crucibles, jewelry tools, and more than hundred foundry molds were discovered here. The author assumes that a famous jeweler from Bolghar named Shagidulla worked here at the beginning of fourteenth century. It was also found that the hoard from Karasham was most likely collected by several generations of the same family. In contrast, the hoard from Juketau was a personal treasure.

scholarly journals The Marriage Allegation No. 17: Text and Fate (Dostoevsky’s Wedding in Kuznetsk on February 6, 1857)

2020 ◽  
Vol 7 (4) ◽  
pp. 132-157
Author(s):  
Boris Tikhomirov
Keyword(s):  
Significant Part ◽  
Main Body ◽  
First Marriage ◽  
Memorial Museum ◽  
Authentic Text ◽  
First Time ◽  
The City ◽  
The Church ◽  
Made In

The article introduces for the first time the authentic text of the marriage allegation, compiled by the clergy of the Holy Mother of God-Odigitrievsky Church in the city of Kuznetsk in preparation for the wedding of Fedor Mikhailovich Dostoevsky and Maria Dmitrievna Isaeva on February 6, 1857. The original of this document has not been preserved, as it probably burned down during a fire that occurred in the Kuznetsk Church in December 1919. In the biographical literature, the text of the marriage allegation, which dates back to a handwritten copy made around 1916 by the priest of the Odigitrievsky Church, Nikolai Rudichev, is preserved and now stored in the Memorial House of F. M. Dostoevsky in Semey (Semipalatinsk until 2007). In 1916, it was published with a number of inaccuracies by the priest and local historian B. G. Gerasimov in the now-missing publication “Siberian chronicle.” In this article, the marriage search is reproduced from a photocopy of the lost original, which was made in 1910 and is now stored in the Literary and Memorial Museum of F. M. Dostoevsky in St. Petersburg. The signature autograph of the writer under the text of the marriage allegation makes it an official personal document, which warrants the inclusion of the marriage allegation in the main body of the Academic Complete Works of the writer, in the “Official letters and business papers” section. A significant part of the article contains the polemic with the hypothesis of Siberian local historians M. M. Kushnikova and V. V. Togulev, who believe that the said marriage allegation was removed from the Church archives and destroyed before the fire of 1919. They believe that it was done in order to hide the forgery contained in its text, which makes Dostoevsky’s first marriage illegitimate. While agreeing that the document really did contain forgery, the author of the article relies on the then-contemporary legislation in proving that the conclusion about the illegality of the writer’s marriage is a great exaggeration, and the hypothesis about the seizure and destruction of the marriage allegation has no serious grounds.

scholarly journals Prilog poznavanju kasnogotičke skulpture u Rijeci: prijedlog za Leonarda Thannera i nepoznata grupa Oplakivanje Krista

Ars Adriatica ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 61-80
Author(s):  
Mario Pintarić ◽  
Damir Tulić
Keyword(s):  
16Th Century ◽  
Stylistic Analysis ◽  
Parish Church ◽  
The Third ◽  
15Th Century ◽  
First Time ◽  
Santa Maria ◽  
The Church

The article discusses a late Gothic statue of Pietà in the permanent collection of the Maritime and Historical Museum of the Croatian Littoral in Rijeka. It is a wooden statue with poorly preserved traces of polychrome painting and gilding, discovered in 1920 in the attic of the parish church of Mary’s Assumption in Rijeka. Vanda Ekl dated it to the end of the third quarter of the 15th century without specifying its circle of origin or its history. Based on a stylistic analysis, as well as a series of typological and formal analogies, the Pietà of Rijeka can now be brought into connection with the woodcarver Leonardo Thannner from Bavarian Landshut, active in Friuli during the second half of the 15th century. A crucial comparative example can be found in Thanner’s polychromatic wooden group of The Lamentation of Christ from the church of Santa Maria della Fratta in San Daniele del Friuli (1488). Rijeka Lamentation, a hitherto unknown and here for the first time published statue, can be linked with a workshop or a circle of the Friulian sculptor Giovanni Martini and approximately dated to the first quarter of the 16th century.

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