Outlines of Russian Culture. By Paul Miliukov. Edited by Michael Karpovich. Translated by Valentine Ughet and Eleanor Davis. In three parts: Part I. Religion and the Church. 220 pp. $2.50. Part II. Literature. 130 pp. $1.50. Part III. Architecture, Painting and Music. 159 pp. $2.00. The Set, $5.00

Social Forces ◽  
1943 ◽  
Vol 21 (3) ◽  
pp. 365-366
Author(s):  
A. Davis
Keyword(s):  
Russian Culture ◽  
The Church

scholarly journals Artistic peculiarities of Nikolay Koshelev’s church painting

2021 ◽  
pp. 127-137
Author(s):  
Vladimir Vladimirovich Zverev
Keyword(s):  
Detailed Analysis ◽  
Russian Culture ◽  
Cultural Life ◽  
Public Consciousness ◽  
Religious Painting ◽  
New Perspective ◽  
Church Art ◽  
Xix Century ◽  
The Church

This article is dedicated to the works of the Russian artist Nikolay Koshelev of the turn of the XIX – XX centuries in the genres of religious and church painting. The introduction of the principles of historicism and realism into the Russian culture of the XIX century discovered a new perspective on religion themed easel paintings, church art and iconography, as well as created opportunities for the new content and formal means for depicting the subjects of painting. The article leans on the monumental cycle “The Passion Journey of Christ” by Nikolai Koshelev for the Church of Saint Alexander Nevsky in Jerusalem. The article traces the complex intertwinement with of the features of church painting with the features of academic easel religious painting in the context of artistic culture of the turn of the XIX – XX centuries. The detailed analysis of the monumental cycle of “The Passion Journey of Christ” at the Alexander Metochion in Jerusalem (created between 1890 and 1900)  reveals certain peculiarities of the artistic form of Nikolay Koshelev's works in the context of Russian church and religious painting of the XIX - early XX centuries. This topic should be viewed in relation to the general problems of modernization of public consciousness and cultural life in Russia of that time.

Andrzej Walicki and Fr. George Florovsky (Meetings). A. Valitsky’s Letters to Fr. G. Florovsky

2021 ◽  
pp. 119-125
Author(s):  
Teresa Obolevitch ◽  
◽  
Keyword(s):  
Twentieth Century ◽  
Russian Philosophy ◽  
Academic World ◽  
Russian Culture ◽  
Princeton University ◽  
European Philosophy ◽  
Western Influences ◽  
The Church

The article examines the personal and scholarly relationship between two promi­nent twentieth-century thinkers: Russian theologian and the founder of Neopa­tristic synthesis, George Florovsky and Polish scholar Andrzej Walicki. On the basis of Walicki’s memoirs and the epistolary heritage of both philosophers, it has been established that they first met in 1960 at Harvard. Florovsky had a sig­nificant influence on the young Polish scholar’s interpretation of Slavophilism. At the same time, Walicki interpreted Russian philosophy as a part of European philosophy, while Fr. George, although criticized Western influences in Russian thought, sought to indicate its originality appealing to the Fathers of the Church and the development of a Neopatristic synthesis. Other aspects of both thinkers are noted in the article: their studies in historiosophy and their emphasis on inde­terminism in history, and the fact that both Florovsky and Walicki were apolo­gists for Russian culture in the Western academic world. This article is an intro­duction to the publication of two letters from Walicki to Florovsky stored at the archives of Princeton University: they were sent in 1965 and deal with the exchange of ideas and books between the two scholars.

Religion and the Church in Russia. (Part I of Outlines of Russian Culture)

1963 ◽  
Vol 3 (1) ◽  
pp. 124
Author(s):  
Nicholas S. Timasheff ◽  
Paul Miliukov
Keyword(s):  
Russian Culture ◽  
The Church

scholarly journals Reconstruction of bell rings in architectural and urban development planning on the map of Moscow

2019 ◽  
Vol 25 (2) ◽  
pp. 358-369
Author(s):  
Alexander Malinov ◽  
Evgeny Davutov
Keyword(s):  
Western Europe ◽  
Dominant Role ◽  
Development Planning ◽  
Town Planning ◽  
Spiritual Values ◽  
Russian Culture ◽  
New Churches ◽  
Spatial System ◽  
The City ◽  
The Church

The possibility of reconstructing the bells in the architectural and town planning structure is considered on the example of the city of Moscow. The basis of the Russian cities are a fortress, fortifications, towns and settlements. With the adoption of Christianity, the dominant role in the planning-spatial system of Russian cities belongs to spiritual objects (temples, bell towers, monasteries). Each settlement has its own cathedral church, which is an architectural dominant. It also serves as a compositional and spiritual guide. Russian city becomes the keeper of spiritual values. The warning and the call of the townspeople are conducted from deep antiquity, an important role in this is played by the bells that came to life of the Russian people with the adoption of Christianity at the end of the ХХ century, most likely from Western Europe, and almost immediately became part of Russian culture. With the invention of flat bells for the first time in the world, it is possible to carry out studies of bell ringing in the laboratory. The Moscow bells of the first half of the ХVIII century, decreed by the Dicasteria (spiritual consistory) in 1727, was reconstructed using the method of imposing on the plan of Moscow created by architect Ivan Michurin at 1739 in accordance with the list of temples and monasteries participating in the bells after the Cathedral bells of the Great Assumption Cathedral. The Church of the Resurrection of Christ in Kadashi is located on the main compositional and sentinel axis of Moscow (the Ivan the Great Bell Tower is the Church of the Ascension in the village of Kolomenskoye). New churches are being built, there is a revival of the traditions of the bell ringing — a unique component of Russian culture, which must be integrated into the spiritual life of the city and the Russian tourist practice.

«A corner of paradise near Moscow …» Estates «Boblovo», «Shakhmatovo», «Tarakanovo» in Solnechnogorskiy and Klinskiy districts

2015 ◽  
Vol 9 (2) ◽  
pp. 126-133
Author(s):  
Ольга Мойко ◽  
Olga Moyko ◽  
Валерий Чехомов ◽  
Valeriy Chekhomov ◽  
Ирина Емельянова ◽  
...  
Keyword(s):  
Family Members ◽  
Russian Culture ◽  
Professional Activities ◽  
The Family ◽  
Russian Poetry ◽  
The Church

The article is devoted to the professional activities of woman family members of the Beketovs and their contribution to the Russian culture and education. The family owned the estate in the suburbs «Shakhmatovo», which is considered to be the spiritual home of Alexander Blok. It>s a cultural thing, «nest» from which, in the figurative expression ofS. Solovyov (second cousin of the poet), «the swan flew the new Russian poetry». The article describes the legacy left by the descendants of Elizabeth, Ekaterina, Maria Beketovs, Sofya and Alexandra Kublitskaya-Piottukh´s. This article contains information about the epistolary heritage of the family of Alexander Blok and the Beketovs with outstanding Russian scientists and writers. From the estate of Captain Tarakanov are related important events in the life of Alexander Blok. Here, in the church of the Archangel Michael held his wedding with Lyubov Mendeleeva as reflected in the work of the poet. The article lists the artifacts stored in the estate and nearby museum institutions associated with this outstanding family.

scholarly journals On the History of the Vocabulary of the Thematic Group «Christian Virtues and Sins»: Based on the Translated Church Slavonic Hymnography

2021 ◽  
Vol 14 (10) ◽  
pp. 1547-1555
Author(s):  
Tatiana S. Borisova ◽  
Keyword(s):  
Target Language ◽  
16Th Century ◽  
Greek Text ◽  
Early 20Th Century ◽  
Russian Culture ◽  
Leading Role ◽  
Idiomatic Expressions ◽  
History Of ◽  
The Church

This study examines the formation and further evolution of the Church Slavonic and Russian vocabulary describing Christian virtues and sins. Our research was conducted on the available Church Slavonic translations of four Byzantine hymns (the Akathistos Hymn, the Great Canon of Repentance by St. Andrew of Crete, the Alphabetical Stichera from the Great Canon service, and the Great and Holy Friday Antiphons) found in Southern and Eastern Slavonic manuscripts of the 11th‑16th century, as well as Russian editions dating back to the 17th – early 20th century. The textological study revealed five main stages in the evolution of these texts caused by systematic corrections in accordance with the Greek text. Based on these results, the linguistic textological method was applied in order to reveal the main differences between said stages in regard to conveying terms relevant to Christian virtues and sins. We examined a total of 110 Greek words and idiomatic expressions in this thematic field and classified them following the method suggested by E. M. Vereshchagin who focused on ways of terms creation. There were revealed main ways these terms were formed in the target language and the general tendencies in their translation during different stages in the history of Church Slavonic. The results of our research showcased the leading role of transposition in the formation of the terms, the negligible amount of lexical loans, as well as the growing role of calquing in the history of Church Slavonic. We also showed the ways in which the Church Slavonic and Russian languages adopted new linguistic and cultural realities and reinterpreted the system of Greek ethical terms, which helps us understand the mechanisms of intercultural transfer, as well as the linguistic factors that contribute to the identification of Russian culture in the general Orthodox context

scholarly journals THE ITALIAN-STYLE AL FRESCO PAINTING THE RESURRECTION OF CHRIST IN I. S. TURGENEV’S FATHERS AND CHILDREN

2021 ◽  
Vol 19 (1) ◽  
pp. 140-172
Author(s):  
Gennady Karpenko
Keyword(s):  
Semantic Space ◽  
The Novel ◽  
Russian Culture ◽  
Russian Word ◽  
Religious Painting ◽  
The Church

The article focuses on the unsolved mystery of the novel by I. S. Turgenev Fathers and Children — the Italian-style al fresco painting The Resurrection of Christ, located above the entrance to the church at the entrance to the Odintsova estate. None of the researchers and commentators of Turgenev’s novel were puzzled by the question: what does “Italian-style” mean in the Easter image? Meanwhile, Turgenev directly points out that, instead of the gateway Orthodox icon, there is a religious painting The Resurrection of Christ (al fresco painting) in the church, where both the sacrament itself and the outsider witness (“a swarthy warrior in a spiked helmet in the foreground”) are presented. In the Orthodox Easter iconography, however, an outside figure is an unacceptable detail, and the sacrament of the Resurrection as the highest sacred reality in accordance with the spirit and letter of the Gospel was not depicted. The Easter sacrament was replaced by the scene of the Descent into Hell, but such an icon was still called Resurrection. Meanwhile, canonically, the procession of Christ is captured, when the Savior does not descend into hell, but rises from there on the icon of the Resurrection of Christ/Descent into Hell: he leads Adam and other biblical heroes out of the underworld by “grabbing of the wrist.” In this way, the Resurrection of Christ begins with the salvation of man, with co-resurrection. In the value and semantic space of the novel, the Orthodox icon of the Resurrection of Christ/Descent into Hell is concealed behind the “Italian” fresco-veil. If Turgenev knows the “Italian” semantics of the Resurrection, then it is quite natural that the author is more familiar with the semantics of the Orthodox icon from liturgical recollection and makes it covertly actual. The behind-the-scenes presence of the icon of the Resurrection of Christ/Descent into Hell and everything that is liturgically and theologically associated with it and experienced transubs the structure of Fathers and Children. The Easter hierotopy of the novel, outlined by the Orthodox icon and supported by the prayerful hopes of the finale 1) creates a very special, breathtaking and enlightening value space, correlated with eternity, the infinity of the spiritual, which affirms, elevating all present to endless life through participation; 2) sets up the supertext dimension, gives rise to the motive of transcendental hope: “You will not leave my soul in hell”; 3) and also strengthens the Russian word as the Christocentric foundation of Russian culture.

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