scholarly journals DEACON CORESI (C. 1510 - C. 1583) AND HIS ACTIVITY AS A PRINTER IN THE CONTEXT OF THE 16TH CENTURY PROTESTANT PROPAGANDA

2021 ◽  
Vol 7 (14) ◽  
pp. 37-75
Author(s):  
Ion Marian CROITORU ◽  
Keyword(s):  
Printing Press ◽  
16Th Century ◽  
Orthodox Church ◽  
Biographical Data

The biographical data about the life of deacon Coresi (Coressius) are extremely few and it has been admitted, after many debates, studies and analyses, that he was from Târgoviște, it is supposed that he joined a school in Slavonic at Dealu Monastery, and that he was the owner of a printing press, yet standing out as a skillful printing master. It is also known that he had a son, called Șerban, whom he taught the art of the printing press. The name of deacon Coresi is mentioned in the books he had printed in Brașov (during two periods: 1556-1557; 1560-1583, at irregular intervals), Târgoviște (1557-1558), Alba Iulia (1567-1568) and SasSebeș (1580), during five great periods (1556-1558, 1559-1565, 1566-1570, 1571-1577, 1578-1583), in Romanian and Slavonic. Thus, by his activity, deacon Coresi contributed to the introduction of the Romanian language in the cult of the Orthodox Church of the Romanian Countries, but also in the use of the princely administrative offices of the extra-Carpathian Romanian Countries.

scholarly journals Relasi Narasi Visual dan Teks dalam Ikon Transfigurasi Paroki St. Dionysios Yogyakarta

2021 ◽  
Vol 7 (2) ◽  
pp. 57-63
Author(s):  
Alex Cristian Justisia Ginting
Keyword(s):  
Catholic Church ◽  
16Th Century ◽  
Orthodox Church ◽  
Late Period ◽  
Visual Form ◽  
Byzantine Art ◽  
Artistic Heritage

Seni lukis Byzantine adalah salah satu warisan kesenian dunia yang belum banyak dibahas oleh kalangan akademisi seni di Indonesia. Warisan seni lukis Byzantine sering disamakan dengan Ikonografi, yaitu gambar-gambar suci yang sampai hari ini masih dipertahankan fungsinya dalam gereja-gereja yang menggunakan ritus Byzantine (Gereja Orthodox dan Gereja Katolik Ritus Byzantine). Seni Byzantine dibagi tiga periode, yaitu awal, tengah, dan akhir, dimana pada periode Tengah-Akhir muncul ikon berjenis Menologion. Seni lukis Byzantine dikaji menggunakan Ikon Pesta Transfigurasi yang merupakan digitalisasi dari ikon aslinya yang berasal dari abad ke-16 untuk menjelaskan bentuk visual, struktur dan hubungannya dengan narasi. Kajian  menemukan ada kesamaan antara visualisasi narasi ikon dengan struktur pesta Gerejawi yang memiliki tiga pola (Pra Pesta – Pesta – Pasca Pesta/Apodosis).Byzantine painting is one of the world's artistic heritage that art academics have not widely discussed in Indonesia. The legacy of Byzantine painting is often equated with iconography, which is sacred images that still retain their function in churches that use the Byzantine rite (Orthodox Church and Byzantine Rite Catholic Church). Byzantine art had developed in three periods, namely beginning, middle, and end, wherein the Middle-Late period, an icon of the Menologion type appears. The byzantine painting was studied using the Transfiguration Feast Icon, digitizing the original icon dating from the 16th century to explain its visual form, structure, and relationship to narrative. The study found similarities between the visualization of the iconic narrative and the ecclesiastical party structure with three patterns (Pre Pesta – Pesta – Post-Pesta / Apodosis). 

scholarly journals Organizacja i funkcjonowanie diecezji chełmskiej w świetle relacji „ad limina” z 1594 r.

2020 ◽  
Vol 68 (4 Zeszyt specjalny) ◽  
pp. 139-158
Author(s):  
Bogumił Szady
Keyword(s):  
Comparative Analysis ◽  
Historical Context ◽  
The State ◽  
16Th Century ◽  
Orthodox Church ◽  
Council Of Trent ◽  
The Reformation ◽  
Territorial Structure ◽  
Apostolic See ◽  
Present Text

The major aim of the present article is to assess the credibility and provide criticism of the source value of the first account on the state of the Chełm diocese from 1594 in reference to the organizational state of the diocese at the end of the 16th century, which was before the fire of the archives of the Episcopal curia in Krasnystaw (7 April, 1597), when most of the documents and books burnt down. The account analyzed in the present text is one of the oldest preserved reports sent by the Polish bishops to the Apostolic See after the Council of Trent. The criticism of the Chełm account from 1594 is preceded by an introduction referring to the research tradition and the editorial tradition related to this category of sources. The circumstances and the historical context concerning the account are presented. The evaluation of the reliability of the information passed to the Apostolic See by the representative of bishop Stanisław Gomoliński was conducted by means of the comparative analysis referring to the content of the account together with the information on the state and organization of the Chełm diocese which comes from other sources and scientific studies. The author of the account pointed to a number of difficulties in the functioning of his diocese in the area where the Orthodox Church prevailed and the network of Latin churches, additionally weakened by the Reformation, did not make up a regular and compact territorial structure. This caused a lot of problems in the material protection of the benefices and in pastoral services (a lack of clergymen, accumulation of benefices, disregarding the duty of residence). The account from 1594, as compared to later reports, has the character of a letter (“stylus epistolaris”), and not a form. It is short and fairly general. Its informative value, especially when we analyze particular problems or particular issues, is only supplementary. It can present greater value while studying the bishop’s relation to his diocese and the way of managing it. It is worth looking at this source in the comparative context – especially through the prism of the accounts presented by the same bishop from various dioceses which were under his management during his pastoral career. This will enable criticism of this source and the answer to the question about the extent to which the accounts were the personal work of a given bishop or the work of the Episcopal curia circles and to what extent the traditions of the bishopric.

scholarly journals Later Echoes of the So-called Kniazheskii Izbornik in Old Slavic Literatures

Slovene ◽  
2015 ◽  
Vol 4 (1) ◽  
pp. 277-297
Author(s):  
Anissava Miltenova
Keyword(s):  
Middle Ages ◽  
Primary Sources ◽  
16Th Century ◽  
Orthodox Church ◽  
15Th Century ◽  
Late Middle Ages ◽  
John Chrysostom ◽  
Romanian Orthodox Church ◽  
Slavia Orthodoxa ◽  
Romanian Orthodox

There is a proposition in palaeoslavistics that the reconstructed prototype of the Izbornik of 1076 is a composition designated as the Kniazheskii Izbornik, which originated from the time of the Bulgarian Tsar Peter (927–969). This article presents an overview of the contents of three manuscripts, which are copies of texts in the so-called Kniazheskii Izbornik: No. 162 from the collection of the Moscow Theological Academy, from the 15th century, Russian origin; No. 189 from the collection of the Hilandar Monastery and which is composed of two parts: Part 1 from the beginning of the 17th century, probably written by a copyist from Moldavia, and Part 2 from 1684, Russian in origin; and No. 280 (333) from the collection of St. Synod of the Romanian Orthodox Church, 15th–16th century, Moldavian in origin. There are suggestions for primary sources of these manuscripts, and the article considers the paths by which texts identical to the Kniazheskii Izbornik found their way into miscellanies in the Late Middle Ages. The three miscellanies under discussion are important witnesses of the paraenetic literature in the earliest period of the Slavia Orthodoxa, which integrated homilies of John Chrysostom, question and answers, interpretations of the Scripture, wise sayings, narration, and apophthegmata from the Paterikon and fragments of the Kniazheskii Izbornik.

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.

scholarly journals Bishops of the Diocese of Lviv and Peremyshko of the Russian Orthodox Church (Kyiv Metropolitanate) in unified search at the end of the 16th century

2006 ◽  
pp. 135-144
Author(s):  
Mykola Shkriblyak
Keyword(s):  
Modern Science ◽  
16Th Century ◽  
Natural Phenomenon ◽  
Russian Orthodox ◽  
Orthodox Church ◽  
Russian Orthodox Church

The polemical literature of the late sixteenth and early seventeenth centuries, comprehensively covering the issue of unification, had already outlined most of the important issues surrounding the transition of part of the Ukrainian Orthodox clergy to the union with Rome. However, their resolution raises a lot of controversy and ambiguous estimates of this controversial event. Therefore, actualization of this problem in modern science is a natural phenomenon. Today, as V. Shevchenko rightly points out, “the passionate relevance of the unified issue has already acquired the importance of historical urgency”. In addition, the role of the two most influential dioceses of the Kyiv Metropolitanate, Lviv and Peremyshka, which actually defined the fate of both Ukrainian Orthodoxy and Ukrainian Greek Catholicism, has not yet been properly considered and objectively assessed in these processes.

scholarly journals Patronesses of the Orthodox Church from the prince's families of the Ukrainian lands of the Jagiellonian state in the 1st half of the 16th century

2017 ◽  
Vol 25 (1) ◽  
pp. 43
Author(s):  
Mykola Yuriiovych Bulanyi
Keyword(s):  
Early Modern ◽  
16Th Century ◽  
Orthodox Church ◽  
Modern Time ◽  
Early Modern Time ◽  
Role Of Women ◽  
Important Position ◽  
The Right

The article contains the evolution of the right of patronage using for example women-patronesses from princely families and using them patronage in presenting church lands and giving church positions at the first half of the 16th century at the reign of the Jagiellonian dynasty. Important position for building the image of patroness in Early Modern time was acted in interaction masculine and feminine natures, which were continued traditional community around of some important Church problems in that time. Beside this research was described whole developing of womenʼs patronage though of prism of family relatoins. That's why at women patronage the most ponderable was influence death of relatives or marriages. Also in the article was displayed the development of relationships between different kinds of patrons and described the role of women on the uses of patronage for improvement of Orthodox Church.

scholarly journals Johann Misch Astrophilus’ book “Medicina Pauperum” in Hungarian. Copy of a lost or hidden book from 1660

2011 ◽  
Vol 152 (27) ◽  
pp. 1093-1097
Author(s):  
István Kiss ◽  
Mariann Tavaszy ◽  
Gergely Kiss
Keyword(s):  
Printing Press ◽  
16Th Century ◽  
Book Printing ◽  
15Th Century ◽  
Facsimile Edition ◽  
Value Preservation

Doctors and pharmacies in the 15th Century only used handwritten copies of the prescription collections available in their time. At the beginning of book printing the publishing of prescription collections immediately became popular. They could be found on the pages of medical and pharmaceutical books of many various editions with different structure and origin, as the forerunner of the official pharmacopoeias. From the 16th Century onwards books with the title “Medicina Pauperum” were published which helped the educated people to tend to themselves, the household, the servants and their immediate surroundings case of an illness. The first work specifically on the topic or of genre of the “Medicina Pauperum” according to our knowledge appeared in Hungarian in the year 1660 and currently seems to survived only in fragments under the title of “Medicina Pauperum”, from an unknown author. A rare incident occurred in the present days as a “book” believed to be lost for us turned up from thin air. It is a “copied” manuscript in the size of 97×139 mm attached to the ribs with hemp cord, cropped around and in an unbound state. The book known before only in fractions is now available entirety handwritten on 318 pages, distributed to seven distinct parts. The research of its origin suggests that the author lived and worked in Nagyszombat and was called Johann Misch Astrophilus. The identification of the printing office was possible thanks to the examination of the initials and the gaudily, as well as the fonts and the watermark. By these results the printing very likely occurred in the Brewer Printing Press in Lőcse. For the possibility of more extensive research and value preservation the manuscript was bounded. The facsimile edition contains the magnified and digitalized pages of the original one and is published in numbered issues. Orv. Hetil., 2011, 152, 1093–1097.

Patterns of Spanish Emigration to the Indies 1579-1600

1976 ◽  
Vol 33 (1) ◽  
pp. 78-95 ◽  
Author(s):  
Peter Boyd-Bowman
Keyword(s):  
New World ◽  
Basic Research ◽  
16Th Century ◽  
Biographical Data ◽  
Spanish Colonial ◽  
Colonial Society ◽  
Women And Children ◽  
Shed Light

This article examines the data contained in the last volume of our five-part index of 16th Century Spanish emigrants to the New World. Originally entitled the Indice geobiográfico de 40, 000 pobladores españoles de América en el siglo XVI, the series in fact now furnishes biographical data on a total of roughly 55,000 individual men, women, and children, known to have emigrated to the Indies before 1600, whose birthplace we have identified from contemporary records. So far we have found publishers only for the first two of these five useful reference volumes, however a series of articles in both Spanish and English have presented our findings on each of the roughly twenty-year periods into which we have divided that all-important century during which Spanish colonial society was first taking shape. Though in conducting this basic research our primary goal has always been a linguistic one, i.e., to shed light on the early dialect differentiation of New World Spanish, the work is designed to be of use to historians and sociologists also.

scholarly journals Històries escrites, històries cantades i històries pintades. Els goigs en el Barroc valencià

2018 ◽  
Vol 11 (11) ◽  
pp. 131
Author(s):  
Joan Carles Gomis Corell
Keyword(s):  
Sixteenth Century ◽  
Diffusion Process ◽  
18Th Century ◽  
Literary Tradition ◽  
Printing Press ◽  
16Th Century ◽  
Linguistic Variation ◽  
Literary Genre ◽  
Semantic Change ◽  
And Function

Resum: A partir de principis de la setzena centúria, la implantació de la impremta i el consegüent afermament de la tradició escrita propiciaren que els goigs iniciaren, particularment a València, un progressiu procés de difusió. El nou invent facilitava incloure a l’estampació la reproducció de la imatge sagrada a la qual anava dedicada la composició, de manera que, a més de transmetre el text de l’oració, assoliren el valor i funció d’estampes devocionals. No incloïen, però, la música, la qual cosa indicaria que hagué de quedar fiada a la memòria i bon fer interpretatiu dels cantors de les capelles musicals. La posterior implantació dels postulats contrareformistes afavorí la difusió i popularització dels goigs, que culminà en la segona mitat del segle XVIII, quan la religiositat barroca fou qüestionada pels nous postulats il·lustrats. Els texts, de la lloança i invitació a la meditació pròpies del segle XVI, es transformaren majorment en peticions de favors i en històries narratives d’aparicions, troballes d’imatges i esdeveniments miraculosos, carregats de teatralitat i efectisme. L’Església contrareformista va veure en els goigs un bon mitjà per a exalçar els personatges sagrats i estimular la pietat dels fidels sense deslligar-se de la tradició literària de les hagiografies cultes. Els goigs passaren a ésser versions reduïdes d’aquest gènere literari, i també de les “vertaderes històries”, fent properes i comprensibles als fidels, gràcies a l’oralitat que els conferia el cant, les històries escrites, les quals, a la vegada, servien als pintors per a compondre llurs històries pintades.. Paraules clau: goigs, Barroc, Contrareforma, València, festa.   Abstract: From the beginning of the sixteenth century, the implantation of the printing press and the consequent affirmation of the written tradition caused that the goigs initiated, particularly in Valencia, a progressive diffusion process. The new invention facilitated the reproduction of the sacred image to which the composition was dedicated, so that, in addition to transmitting the text of the prayer, they achieved the value and function of devotional prints. They did not include, however, music, which would indicate that it had to be trusted to the memory and good performing of the singers of the musical chapels. The subsequent implantation of the counter-reformist postulates favoured the dissemination and popularization of goigs, which culminated in the second half of the 18th century, when Baroque religiosity was questioned by the new illustrated postulates. The texts, from the praise and invitation to meditation typical of the 16th century, were mainly transformed into requests for favours and narrative stories of appearances, finding images and miraculous events, full of theatricality and effect. The counter-reform Church saw in goigs a good way to exalt sacred characters and stimulate the piety of the faithful without getting rid of the literary tradition of cult hagiographies. Goigs happened to be small versions of this literary genre, as well as of the “true stories”, making them understandable to the faithful, thanks to the orality conferred by singing, written stories, which, at the same time, they served the painters to compose their painted stories.  Keywords: catalan syntax, linguistic variation, diachronic linguistics, semantic change.

scholarly journals Mission and Limitations. Back to the Origins of Lutheran-Orthodox Contacts in the 16th Century

2018 ◽  
Vol 10 (1) ◽  
pp. 90-103
Author(s):  
Dietmar Plajer
Keyword(s):  
Direct Contact ◽  
City Council ◽  
16Th Century ◽  
Orthodox Church ◽  
The Reformation ◽  
The City ◽  
The Church ◽  
Printing House

Abstract The Reformation in Transylvania, Lutheran in structure, has been from its very beginning in direct contact with representatives of the Orthodox Church. An Orthodox clergyman, Philippus Pictor (Filip Moldoveanul), had worked for decades in Hermannstadt in the service of the magistrate, with tasks – among other responsibilities – in the printing house; it was probably during his activity in office that the (now lost) Romanian catechism of 1544, the church-slavonic and the bilingual (Slavonic-Romanian) gospels were printed. There are good reasons to assume that these prints were made directly by the initiative of the city council; but this was not an attempt at the conversion of Romanians to the Evangelical faith, but rather an exercise of the duty – emerging from Luther’s theology – to make possible for all people the access to Scripture.

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