Acoustical modelling of a Swedish 13th century church ruin, and its use for musical production.

2021 ◽  
Vol 263 (6) ◽  
pp. 752-756
Author(s):  
Sebastian Holm

Visby is an old hanseatic town on the island of Gotland in Sweden. The town has a large number of old church ruins, one of which goes by the name of St. Lars. The church is believed to be a 13-century orthodox church, and abandoned in the 16 century, all that is left today are the stone walls and parts of the inner ceiling vaults. Through collaboration with the local museum, St.Lars has now been measured and 3D-modelled by the author, Sebastian Holm from Efterklang, who is also a part-time musician. The model has been fitted with what is assumed to be an historically accurate ceiling structure and materials as well as windows, doors, various furnishings and a make-up stage. With acoustical modelling and auralisations made in Odeon, various source and receiver positions has been tested for acoustical qualities, and the impulse responses are now used for musical production for the medieval band known as Patrask. The mixing process uses the impulse response from left and right side of the stage to produce a stereo reverb, and the results are compared to auralisations of the music made with Odeon. The overall process is discussed, with links to the music itself.

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.


Starinar ◽  
2016 ◽  
pp. 161-171
Author(s):  
Dejan Radicevic ◽  
Ana Cicovic

The medieval settlement on the Rudnik Mountain was established, most probably, in the final decades of the 13th century. Soon it evolved into one of the best known mining and commercial centres in the Serbian state and reached its peak during the 14th and in the first half of the 15th century. The importance of Rudnik in the medieval period is confirmed by numerous material traces in the field. The most important discoveries in the course of archaeological investigations carried out since 2009 have been encountered in the area called Drenje, not far from the centre of the town of Rudnik (figs. 1, 2).Three churches (two Orthodox and one Roman Catholic), as well as many profane structures dated to the time of a thriving medieval Rudnik have so far been discovered. It indicates that in that area are the remains of the main settlement and the medieval market place of Rudnik, known from written sources. Among other structures at the site of Drenje, in the garden of S. Markovi}, the remains of rather a large building consisting, according to present data, of at least two rooms, have been investigated during the past three years (fig. 3). Important for dating the structure is a coin of the Hungarian king Sigismund of Luxembourg (1387-1437), discovered on the floor. Traces of an earlier phase of life were encountered under the structure (fig. 5). Coins have been found in two earlier pits. In the soil inside pit 11 a coin of the Hungarian king Charles Robert (1308-1342) was found, while in the top level of pit 2 a coin attributed to Prince Lazar (around 1370-1389) was found. Also from pit 2 came a, so far, unique archaeological find in our territory. It has been explained as a seal-die used for producing seals (fig, 7, 8). The representation in the central field and the contents of the inscription bear witness to the fact that the seal-die belonged to Prince Lazar. A helmet with bull horns engraved on the front side is understood to be the coat of arms of Prince Lazar, also used by his successors. The central field is surrounded by two concentric circles and between them is a circular inscription (fig. 9): + SI ? HARB GDNA KNEZA LAZARA SVE SRBSKE ZEMLE Translation of the inscription: + this is the grace of Lord Prince Lazar of the whole Serbian lands A seal stamped using the seal-die from Rudnik has not yet been found. The content of the inscription on the Rudnik sealdie is also quite unusual and unique. The word har? is translated to mean grace, a word that has not been recorded on any other stamp to date. On the other hand, the word grace has a distinct meaning in Serbian charters, denoting the legal activity of specific contents by which the ruler awarded nobles, the Church, market-towns, etc. The ruler?s grace as a legal act of distinct content must have been apparent and public and, as evidence of this grace, there would have been a distinct document. The very word grace is used in the documents as the name for a legal public document by which rulers ?created grace?, ?made grace? or allowed something by their grace. Taking this into account, it could be concluded that any seal stamped with the Rudnik sealdie as a means of notarisation of the document confirmed that the document represented the ruler?s grace in the sense of a valid legal public document. Considering the shape and size of the seal-die, it could be ascribed to the seal-die group for which it is characteristic that the seal was obtained not by impressing the seal-die in wax but by pressing the wax onto the seal-die, disregarding whether it was an applied or hanging seal. Supporting this assumption is the existence of small notches in the bottom corners of the Rudnik seal-die that were most probably used for connecting to the top part, making possible a better stamping of the seal, possibly even allowing the seal to have representations on both sides. The seal-die is dated from the time of Lazar?s rule over Rudnik, between 1373 and 1389. Mentioned in the inscription is the rule of Prince Lazar over all Serbian lands, suggesting that the date of the seal-die could be fixed in the final decade of Lazar?s life. It was most probably buried in 1390, during the time of King Sigismund?s attack on Serbia. One of the most important theatres of war in that campaign was the Rudnik region.


2021 ◽  
Vol 13 (1) ◽  
pp. 16-30
Author(s):  
Nikolaos Asproulis

Abstract The document titled For the Life of the World: Toward a Social Ethos of the Ortho dox Church, authored by a special commission of Orthodox scholars appointed by the Ecumenical Patriarch Bartholomew is a document that can be definitely understood as a political manifesto of Eastern Orthodoxy for the 21st century, namely for this period of history and not for a by-gone historical setting or a Christian utopia (either the Byzantine Empire or Holy Russia), a period of time with urgent problems and challenges that call for our attention. Therefore, bringing to the fore the personalist anthropological view inherent in the document itself, an attempt has been made in the text to critically reflect and highlight certain relevant aspects of the document (a positive reception of liberal democracy, human rights language, solidarity to the poor, etc.). The goal is to show how theologically important this document is for the Church witness to our pluralistic world.


2016 ◽  
Author(s):  
Κωνσταντία Κεφαλά (Konstantia Kefala)

The study focuses on the monumental painting of the island of Rhodes, Greece, during the 13th century and specifically from the year 1204, when the Byzantine official Leo Gabalas took over the administration of the island, until the arrival of the Knights of Saint John in 1309. The remains of the artistic production are located in six churches in the town and the countryside of Rhodes. The monuments in question are presented in chronological order. After the detailed description and iconographic examination follows the stylistic analysis of the murals along with the proposed dating. In particular, the study deals with the frescoes of Saint Phanourios in the Medieval Town of Rhodes, of the monastery of the Archangel Michael at Thari, of Saint John the Theologian at “Koufas” in Paradeissi, of + Saint Nicetas in Damatria, of Saint George Vardas in Apolakkia and of Saint George in Asklepeio. Two sections in the unit on the church of Saint George Vardas were expanded because of their special interest: one concerns the epithet Panagia Akedioktene which accompanies the representation of the Virgin Glykophilousa and the other deals with the iconography and local cult of Saint Philemon, given his representation in the church. Given that the paintings of the church of Saint George Kounaras at Asklepeio is ascribed to the same hand as that of Saint George Vardas, the painter’s style in both monuments and the particularities of his art are examined in a special chapter. In the final part of the book is developed the overall consideration of the artistic production: the structure and order of the iconographic programmes are assessed, some interesting issues of iconography are discussed, as well as matters concerning the donors of the churches. The stylistic trends are analysed, compared with monuments from other Dodecanese islands and within the artistic currents of the first and second half of the 13th century.


2007 ◽  
pp. 203-219
Author(s):  
Zoran Vukadinovic

Activity of the Serbian Orthodox Church during the enslavement under the Turks was of decisive and invaluable significance for maintaining the national spirit of the Serbian nation in the region of the Old and South Serbia. The construction of monasteries and temples, as the centers of Serbian spirituality, was the primary goal of The Serbian Orthodox Church and The Government of The Kingdom of Serbia. Kosovska Mitrovica is a small town which got its Orthodox church last. The construction of the church (1896-1921) went slowly, depending on the political and economic (mis)happenings. Anger of the Albanians, obstinacy of the Turks, two Balkan and one world war dictated the speed of the construction of the church. The project of the church (Andra Stevanovic) and of the bell-tower (Aleksandar Deroko) was also economically expensive. The executor(s) of the work, master masons from Veles and painters from Macedonia were also expensive. The church was built with the great effort of The Church Municipality and it was the spiritual center of the Serbs in Kosovska Mitrovica and its surroundings between the two world wars. The Temple of St. Sava celebrates a great jubilee on August 6, 2007 - the 110th anniversary from the beginning of its construction. The Serbs do not live in the so-called South Mitrovica, where the church, the bell-tower, the chapel and the cemetery are located. From the distance of 500 meters, the Serbs from Northern Mitrovica watch the burnt temple, destroyed chapel and broken monuments in the southern part of the town, waiting for the new construction of the church, of the chapel, of the cemetery...


Author(s):  
G.V. Mosaleva

The article regards “Crime and Punishment” from the perspective of temple-related poetics which encompasses a universal pattern of both dogmatic and mystic Orthodox teaching about the Universe. It has enabled us to trace the connection between the novel itself and the Orthodox church service. Liturgics of the novel reveals itself through poetization of church services and sacraments. Among the sacraments mentioned above Confession and the Blessed Sacrament reflected in the Marmeladov’s storyline are of symbolic nature. Christ proves to be the most mysterious central image of the novel. Dostoevsky reproduces the Evangelic Image of Christ through the liturgic “listening” of the paroemia about the resurrection of Lazarus. The image of the priest which penetrates through the whole novel is associated with the iconography of the image of Christ. Liturgics of “Crime and Punishment” is supported by numerous evangelic images, in particular by the analogy of coffin-like room of Raskolnikov with shelters of the possessed, with the poetics of the New Testament related names and objects. The image of the Orthodox Church with its gleaming dome (the Church Raskolnikov is trying to sever all ties with) is regarded as a substantial image of particular relevance associated with the “Crime” of the novel. Exacerbation of the “spiritual impatient man” fades away in the Divine love which is reflected in love of his family and dear ones, in liturgic support of Christian symbols up to Epilogue (the most repeated symbols include images of cross, icon, grave candle, pray), motives of the sign of the cross, his mother’s blessing, cheerful acceptance of other’s person guilt. The studying of “Crime of Punishment” in the context of temple-related poetics has allowed us to define trans-historic nature of liturgic storylines. A striking point in this case could be “zaraisky storyline” which is connected with the colourman Mikolay, a native of Ryazan who reproduces the image of the Cup as Unity in Christ and as self-giving love. “Zaraisky storyline” connects “Crime and Punishment” with tragic events of the 13th century, with the cycle of stories about Nicola Zaraisky which tell about the invasion of Batu Khan and about the destruction of natives of Ryazan for the sake of faith as a reflection of the national ideal. Liturgucs of “Crime and Punishment” is strengthened by the hidden autobiographic storyline which turns the first of the Dostoevsky’s five novels into the novel-penitence.


2021 ◽  
Vol 8 ◽  
pp. 163-209
Author(s):  
Henryk Gmiterek

Rozwój badań nad zachowanymi księgami metrykalnymi (urodzeń, zawieranych małżeństw i zgonów) ma pierwszorzędne znaczenie nie tylko dla uszczegółowienia ustaleń genealogicznych poszczególnych rodów czy rodzin, ale przede wszystkim dla pogłębienia wiedzy o lokalnych społecznościach i zachodzących w ich obrębie procesów społecznych. Uprzystępnienie w różnych formach badaczom tej kategorii masowych źródeł historycznych może się w dłuższej perspektywie przyczynić do wyraźnego poszerzenia naszej wiedzy o różnorodnych zjawiskach demograficznych i stosunkach społecznych w obrębie żyjących przed wiekami pokoleń. Słowa kluczowe: Narol, parafia Narol, szlachta województwa bełskiego, genealogia The Extant Entries from the Narol Parish Records of the 17th – 18th Century The parish in Narol was established by Florian Łaszcz Nieledewski in 1595, in a village existing from the mid-16th century, near which he founded the town of Florianów (now Narol) in 1592. Visitations by bishops of Chełm, in whose dioceses Narol was located, confirm that the parish records (births, marriages) were kept from the very beginnings of the parish but in the autumn of 1648 they were destroyed during the Cossack-Tatar invasion (most probably burnt). The new records were kept from 1650. In the early 20th century they were seen in the Narol church by Karol Notz, famous in Galicia (Eastern Europe) for making inventories of historic relics. In 1914, the parish books were burnt during the fire of the town and the church. Their only known traces, discussed in the present publication, are excerpts/copies made in the mid-19th century by Ludwik Zieliński, which mostly refer to the noble families connected with Narol. The overwhelming majority of the 546 extracts are birth entries, only 29 being records of marriages.


2020 ◽  
Vol 34 (1) ◽  
pp. 132-151
Author(s):  
K. M. Kapustin

The archives and archaeological materials from excavations in Vyshgorod in 1936 are analysed in the paper. This year the large-scale excavations were conducted on the territory of the old city: near the church of st. Borys and Hlib, two sites in the northeast part of the hillfort and few trenches in different parts of the town. The obtained results correlate with the reports of the narrative sources and indicate the significant development of the city in the period from the 11th to the mid-13th century. The rapid development of the city occurs at that time: the mausoleum of Sts. Borys and Hlib (explored in 1935—1936) becomes the main architectural dominant of the city area. A city square with dwellings and outbuildings were located around the church. The analysis of the archival materials and artefacts from the excavations in 1936 made it possible to clarify and re-examine the allegations established in the works of the mid-20th century. The author proves that discovered objects have different chronology. For example, dwellings, outbuilding, pits and sacral building of the 11th—13th centuries are pit 1 (site 1), the foundations and remains of the walls of the church of Sts. Borys and Hlib (site 1; site W) and oven 1 (site 4). The ones dated by the middle of the 11th and the 12th centuries are building 1 (site 1) and pit 1 (site 4). Structures of the 12th and 13th centuries are pit 2 (site 1) and oven 1 (site 4); of the second half of the 13th—14th centuries are building 1 (site «W»), building 1, pit 2 (site 4). Finally, dated by the 17th—19th centuries are building 2, burials 1, 2 (site 1) and burials 1—19 (site 4). The cultural layers and objects exclusively of Kyiv Rus time were found on the territory of suburbs (pottery furnaces 1 and 2 in a trench at the south of the hillfort; burials 1—3 in trenches on the territory of the Doroshenko estate). In general, the obtained results confirm and at some moments substantially detail our knowledge on the historical development of the city during the Middle Ages and Modern times.


2019 ◽  
Vol 17 ◽  
pp. 57-80
Author(s):  
Georgy Smirnov

The article deals with two unknown projects made by the Swiss-Italian architect Pietro Antonio Trezzini, who was active in Russiabetween 1726 and 1751. According to the Commission of the Senate,in 1747 Trezzini designed a five-domed cathedral in Stavropol, forwhich he provided two design options. One of these projects, whichwas approved by Empress Elizaveta Petrovna, was realized between1750 and 1757. In both projects, Trezzini presented the cathedralas a monumental five-domed centrally planned church, which isan integral part of Trezzini’s designs. All but one of the Orthodoxchurches designed by the architect had five domes (we know of13 such designs, including all the alternative versions). AlthoughTrezzini was not a initiator of this new type of five-domed centrallyplanned church, his work displays the most mature and diversedevelopment of this approach in Russian Baroque architecture. The article describes the general features of Trezziniʼs churches andcertain individual ones as well.Trezzini’s projects for five-domed churches were directly relatedto the revival of a traditional type of Orthodox church proclaimedby the Empress Elizaveta Petrovna. This idea was widely reflected inRussian church architecture of the time, but its concrete realisationwas rather varied. An attempt is made in article to characterise thissituation by briefly focusing on a comparison of Trezzini’s designsand the five-domed centrally planned churches designed by otherarchitects.The five-domed churches, which were revived in mid-18th centuryRussia and persistently promoted as a national and Orthodox solution,actually had nothing in common with local medieval tradition.Typologically, the five-domed Russian churches of the mid-18thcentury were rooted in European architecture, namely in ItalianRenaissance and Central European Baroque architecture. The mostimportant European sources of inspiration were probably St Peter’sCathedral in Rome (a project by Michelangelo), the Church of StCatherine in Stockholm and the Frauenkirche in Dresden, which theleading mid-18th century architects in Russia were undoubtedlyfamiliar with European, primarily Italian, churches with twosymmetrically placed towers on the western facade and a domeover the intersection, for example, Sant’Agnese in Agone in Rome,should also be taken into consideration.


Author(s):  
Михаил Андреевич Вишняк

Вниманию русскоязычного читателя предлагается первая часть перевода с новогреческого на русский язык книги Ὁ Θεολογικός Διάλογος Ὀρθοδόξων καί Ἀντιχαλκηδονίων (παρελθόν - παρόν - μέλλον): Μία ἁγιορειτική συμβολή. Ἅγιον Ὄρος: Ἱερά Μονή Ὁσίου Γρηγορίου, 2018 (841 σ.). Это издание посвящено богословскому диалогу между Православной Церковью и антихалкидонитами и включает в себя все тексты соответствующей тематики, составленные на Святой Горе Афон в период 1991-2015 гг. Настоящая публикация включает перевод предисловия архим. Христофора, игумена монастыря Григориат, и части введения (гл. 1, пп. 1-3). Перевод снабжён также предисловием переводчика, в котором кратко изложена история богословского диалога, цель издания и его перевода на русский язык, которая заключается в содействии плодотворному и согласному со Священным Преданием воссоединению антихалкидонитов с Церковью. The Russian-speaking reader is presented with the first part of the translation into Russian from the modern Greek of the book Ὁ Θεολογικός Διάλογος Ὀρθοδόξων καί Ἀντιχαλκηδονίων (παρελθόν - παρόν - μέλλον): Μία ἁγιορειτική συμβολή. Ἅγιον Ὄρος: Ἱερά Μονή Ὁσίου Γρηγορίου, 2018 (841 p.). This edition is devoted to the Theological Dialogue between the Orthodox Church and the non-Chalcedonians and includes all texts of the relevant topics, published on the Holy Mount Athos in the period 1991-2015. This publication includes a translation of the Prologue of archim. Christophoros, the abbot of the monastery of St. Gregory, and of a part of the Introduction (Chapter 1, paragraphs 1-3). The translation is also provided with a preface of the translator, which summarizes the history of the Theological Dialogue, the purpose of the publication and its translation into Russian, which is to contribute to the fruitful and consistent with the Holy Tradition reunification of the non-Chalcedonians with the Church.


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