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 “The Escape in the Desert” in Book Culture and Literature of Pre-Peter Russia

2020 ◽  
Vol 27 (1) ◽  
pp. 56-72
Author(s):  
Tatiana A. Isachenko
Keyword(s):  
19Th Century ◽  
17Th Century ◽  
Russian Society ◽  
Western Literature ◽  
19Th Century Literature ◽  
Old Russian ◽  
World Outlook ◽  
The Subject ◽  
The 19Th Century ◽  
Century Literature

<p>&nbsp;The motif of &ldquo;the escape from paradise&rdquo; has recently become one more time the subject of historical poetics. This motif is opposed to &ldquo;the expulsion from paradise&rdquo; accepted in Western literature. In the perception of scholars the motif of &ldquo;the escape from paradise&rdquo; in 19th century literature took a paradoxical form of &ldquo;loneliness&rdquo; (Dmitriev, Pushkin, Ostrovsky and Batyushkov) and then was designated as a &ldquo;moving&rdquo; model of a Russian man&rsquo;s life who escapes from Paradise&nbsp;&mdash; a &ldquo;homeostatic&rdquo; society (L.&nbsp;N.&nbsp;Gumilev). The transformation of the motif from a &ldquo;stable&rdquo; model to a &ldquo;moving&rdquo; one led to formation of a new Russian character&nbsp;&mdash; a &ldquo;homeless wanderer&rdquo; mentioned by F.&nbsp;M.&nbsp;Dostoevsky in his &ldquo;Pushkin Speech&rdquo;. The article puts forward a thesis that under the influence of wandering a part of Russian society feel inclined for Old Russian forms of world outlook that incites person&rsquo;s searches for life paradise in his own soul. This trend appears in the pilgrimage and theological literature of the 19th century. The transformation of the ratio between the &ldquo;stable&rdquo; and the &ldquo;moving&rdquo; towards the Old Russian ideal of wandering brings man to the saving paths of evangelical commandments. The theme of &ldquo;escape in the desert&rdquo; is closely related to the theme of &ldquo;Mental Paradise&rdquo;. In this regard, the key plot of the popular collection &ldquo;Mental Paradise&rdquo; popular in the 17th century and released in Wallay Iversky Monastery in 1658&ndash;1659 is considered. Based on the manuscripts the article shows how the motives of &ldquo;Paradise&rdquo; and &ldquo;escape in the desert&rdquo; having preceded the trends and having been developed in the 19th century leading to the prosperity of pilgrimage literature, are presented in literature of pre-Peter Russia.</p>

scholarly journals MIDDLE BRONZE AGE JERUSALEM: RECALCULATING ITS CHARACTER AND CHRONOLOGY

Radiocarbon ◽  
2021 ◽  
pp. 1-31
Author(s):  
Johanna Regev ◽  
Yuval Gadot ◽  
Helena Roth ◽  
Joe Uziel ◽  
Ortal Chalaf ◽  
...  
Keyword(s):  
Bronze Age ◽  
19Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Southern Levant ◽  
15Th Century ◽  
Middle Bronze Age ◽  
In The Beginning ◽  
The 19Th Century ◽  
Early Phases

ABSTRACT The following paper presents the results of radiocarbon (14C) dating of Middle Bronze Age (MB) contexts in Jerusalem. The dates, sampled with microarchaeology methods from three different locations along the eastern slopes of the city’s ancient core, reveal that Jerusalem was initially settled in the early phases of the period, with public architecture first appearing in the beginning of the 19th century BC and continued to develop until the 17th century BC. At that time, a curious gap in settlement is noted until the 16th century BC, when the site is resettled. The construction of this phase continued into the early 15th century BC. The dates presented are discussed in both the site-level, as well as their far-reaching implications regarding MB regional chronology. It is suggested here that the high chronology, dating the Middle Bronze Age between 2000 and 1600 BC is difficult to reconcile with dates from many sites. In contrast, a more localized chronology should be adopted, with the Middle Bronze Age continuing into the early 15th century BC in certain parts of the southern Levant, such as the region of Jerusalem.

scholarly journals The Roman epigraphic collection of 17th century antiquarian Ferenc Lugossy from Petreștii de Jos (Cluj County)

2020 ◽  
Vol 57 ◽  
pp. 187-204
Author(s):  
Dávid Petruț ◽  
Keyword(s):  
Original Composition ◽  
20Th Century ◽  
19Th Century ◽  
Construction Material ◽  
17Th Century ◽  
Stone Monument ◽  
15Th Century ◽  
Humanist Tradition ◽  
Set Up ◽  
The 19Th Century

The question of Roman epigraphic and antiquities collections in Transylvania is typically associated with the antiquarian activity of the local aristocracy during the 19th century, especially the “ruin parks” set up on their country estates. The beginnings of these antiquarian endeavours however date back to much earlier times, being linked to the circle of humanist church intellectuals active in Alba Iulia/Gyulafehérvár starting with the 15th century. The collection founded by Ferenc Lugossy, prominent member of the Transylvanian princely court during the second half of the 17th century, can be regarded as a later manifestation of the aforementioned humanist tradition, even though it was established at his estate in Petreștii de Jos/Magyarpeterd, situated at the foot of the Turda Gorge (Cheile Turzii/Tordai‑hasadék), rather than the princely capital. The sources indicate that we are dealing with one of the most important, if not the most important local Roman stone monument collections of the time. Documents also inform us that following the death of its founder – probably in 1692 – the collection swiftly began to disintegrate, and by the beginning of the 20th century it had completely ceased to exist, the monuments being either taken away or used as construction material by the locals. The present paper is an attempt to reconstruct the history and original composition of this important collection.

scholarly journals The wooden architectural complex of the city and royal residence of the John III Sobieski in Kukizów

2020 ◽  
Vol 18 (4) ◽  
pp. 059-082
Author(s):  
Mykola Bevz
Keyword(s):  
Urban Planning ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
Art Historians ◽  
The 19Th Century ◽  
The City ◽  
Early 18Th Century ◽  
European Architecture

The palace in Kukizów of King of Poland John III Sobieski is known only to a narrow group of architecture and art historians. The palace and park complex ceased to exist in the 19th century. The architecture of the palace is known especially from the descriptions in the inventory documents from the early 18th century. Although the authorship of the palace design belongs to the well-known artists of the era – Augustyn Wincenty Locci and Piotr Beber, its architecture has not yet been reconstructed. A specific feature of the royal residence in Kukizów was the construction of royal buildings and town buildings in a wooden material. The intention to create a city complex and an entirely wooden residence was a unique experiment in the field of European architecture and urban planning of the 17th century. In the paper we present the results of our research on the architecture of the palace and town for the end of the 17th century.

Woodcarvings in Temples “St. Dimitar” and “St. app. Peter and Paul” in Svishtov

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Simeon Zahariev ◽  
Keyword(s):  
19Th Century ◽  
Field Studies ◽  
The Other ◽  
Literary Sources ◽  
The Subject ◽  
The 19Th Century ◽  
The Temple ◽  
The Church

The subject of this text are the altar doors of the iconostasis in the temple “St. Dimitar” and the iconostasis at the temple “St. app. Peter and Paul” in Svishtov. Literary sources, field studies, and comparative material from other carvings give us reason to make suggest about the possible dating and attributing. It can be assumed that the woodcarving of the iconostasis in the church “St. app. Peter and Paul” in Svishtov is a work of carvers from the group of Georgi from Vidin. The work was created in the first half of the 19th century. Perhaps at the same time was made the holy gates of the altar of the other Svishtov church “St. Dimitar”.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

The Concept of “Zemsky Sobor” in the Interpretation of State Authority in Russia of the 19th Century: From Karamzin to Stepnyak-Kravchinsky

2018 ◽  
Vol 42 ◽  
pp. 140-155
Author(s):  
Dmitry A. Badalyan
Keyword(s):  
19Th Century ◽  
Political Discourse ◽  
17Th Century ◽  
The Political ◽  
Key Concepts ◽  
State Authority ◽  
The 19Th Century

“Zemsky Sobor” was one of the key concepts in Russian political discourse in the 19th and the beginning of the 20th centuries. It can be traced to the notion well-known already since the 17th century. Still in the course of further evolution it received various mew meaning and connotations in the discourse of different political trends. The author of the article examines various stages of this concept configuring in the works of the Decembrists, especially Slavophiles, and then in the political projects and publications of the socialists, liberals and “aristocratic” opposition.

Origine et diffusion des expressions romanes du type jaune paille

2021 ◽  
Vol 133 (1) ◽  
pp. 3-27
Author(s):  
Sara Matrisciano ◽  
Franz Rainer
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Romance Languages ◽  
Short Discussion ◽  
Colour Term ◽  
The 19Th Century ◽  
And Diffusion

All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.

«Russia, Russia! Keep Yourself, Keep it!..» Book review: Essays on the History of Russian Custodians (‘Khranitel’stvo’

2021 ◽  
pp. 367-370
Author(s):  
Boris Yu. Aleksandrov ◽  
Olga Ye. Puchnina
Keyword(s):  
19Th Century ◽  
Precise Definition ◽  
Russian Society ◽  
Intellectual Culture ◽  
Old Russian ◽  
Russian State ◽  
History Of ◽  
Original Phenomenon ◽  
The 19Th Century

The ideas of conservative modernization of Russian society are currently very relevant. However, the concept of «conservatism» in modern discourse is very ambiguous, and most importantly, not fully relevant to the complex of domestic socio-political and religious-philosophical ideas that have developed since the existence of the Old Russian state. A much more precise definition in this regard is the concept of “Khranitel’stvo”, which organically developed in the Russian tradition almost until the end of the 19th century and which is a unique and original phenomenon of the intellectual culture of Russia. On the basis of large historical and theoretical material, the authors of the monograph study the ideological origins, essence and evolution of «Khranitel’stvo» as a specific socio-political direction of Russian thought.

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