scholarly journals The Vilnius icon of the Mother of God and its cult in the Greek Catholic Church of the Holy Trinity

Menotyra ◽  
2017 ◽  
Vol 24 (1) ◽  
Author(s):  
Rūta Janonienė
Keyword(s):  
Catholic Church ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Pure Gold ◽  
Holy Trinity ◽  
The One ◽  
Oil Paints ◽  
The 19Th Century ◽  
The Church

The article discusses the icon of the  Hodegetria Mother of God, formerly placed in Vilnius.The currently missing piece of art was considered very important in the Vilnius spiritual life inthe 16th – early 20th centuries and was respected by Orthodox, Greek Catholic (Uniate) andRoman Catholic churches. A significant influence on the cult of icons was inspired by the au-thorship attributed to St. Lukas (later – only its prototype) and historical links with the familyof the Grand Duke of Lithuania Alexander Jagiellon (the icon was brought as a dowry in 1495by his wife Elena, the daughter of the Grand Duke of Moscow).In the 16th century, the icon was stored in the Orthodox Cathedral of the Blessed Mother ofGod. At that time it was possibly renewed (two side boards were replaced and the icon was re-painted with the egg-tempera technique). It is supposed that at that time the partial amendmentwas made in the oldest silver casings consisting of separate ornamented plates that were coveringthe background of the icon. Most of the knowledge about the existence of the icon exists fromthe beginning of the 17th century, when it was transferred into the church of the Vilnius Basilianmonastery of St. Trinity. There it became a major factor of Vilnius Latin and Greek Catholicreligious integration. The altar of The Mother of God in the church of St. Trinity was patronizedby the fraternity of the Immaculate Conception of Holy Mary.The image of the icons is known from the descriptions, lithographs, photographs and copiesof the 19th century. It should be noted that there are two different iconographic variations ofthe copies of the Vilnius Hodegetria (characterized by the different position of the feet of Jesus).The article raises an assumption that the icon could be repainted in the 17th century. The slightchange of the image or its iconography may have been adjusted with the silver casings made in1677. Once again the Vilnius icon was possibly renewed after the fire in 1706. In the middle ofthe 18th century, the head of Holy Mary was decorated with a new pure gold filigree crown. In1839, after the repeal of the union and the takeover of the St. Trinity‘s church by the Orthodox,the altar of Holy Mary was demolished and the icon was added to the new iconostasis. In 1866,the old artistic silver casings were melted and from the resulting material the new casing wasmade in St Petersburg, corresponding to the requirements of the Orthodox. In the same year,the icon was restored. Its oil paints were cleaned. The image unveiled at that time perhaps wasnot the first original image, but the one created after the icon base corrections, most likely inVilnius in the 16th century.

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.

scholarly journals UKRAINIAN CHURCH SPACE IN THE SECOND HALF 16th CENTURY

2017 ◽  
pp. 45-49
Author(s):  
T. Pshenychnyi
Keyword(s):  
Catholic Church ◽  
16Th Century ◽  
Political Crisis ◽  
Russian Orthodox ◽  
Russian Orthodox Church ◽  
Religious Conflicts ◽  
Political Forces ◽  
Ukrainian Crisis ◽  
The One ◽  
The Church

The paper is subjected to thorough analysis of the phenomenon of Ukrainian church space in the second half of the 16th century. We show how the church crisis has started in the Ukrainian lands and reveals socio-political and socio-cultural factors which triggered this crisis. In addition, we try to show how the international factor deepened it. We begin with analysis of how the political forces of the Rzeczpospolita tried to take a full control over the spiritual sphere of life of the Ukrainian people. Then we continue by showcase how Russian politicians together with the administration of the Russian Orthodox Church tried to do the very same thing. Caught in political and military machinery of these two different states priests and bishops of the Ukrainian church tried to build a model on their own of preserving their identity. In 1596 it resulted in the Union of Brest, which, on the one hand split Ukrainian society into two poles – the Orthodox and Uniates, and the other gave rise to serious reform Ukrainian church space. In general, we can conclude that the Union of Brest, despite the expectations and hopes of its organizers laid the beginning of a deep ideological confrontation among Ukrainian people. Union also resulted in serious cultural and political crisis. Supporters of the union have not received from Pope and Polish king protection of their rights and liberties. Religious conflicts became very difficult for the population. The polish politicians, the Catholic Church of Poland and Russians wanted to use Ukrainian crisis to implement his plans.

The Višňová Castle Library

2017 ◽  
Vol 62 (3-4) ◽  
pp. 42-45
Author(s):  
Petr Mašek
Keyword(s):  
18Th Century ◽  
17Th Century ◽  
The Other ◽  
16Th Century ◽  
Significant Group ◽  
History Of Christianity ◽  
The Core ◽  
Printed Books ◽  
History Of ◽  
The 19Th Century

The core of the Višňová castle library was formed already in the 17th century, probably in Paderborn. Afew volumes come from the property of the archbishop of Cologne, Ferdinand August von Spiegel (1774–1835), but most of the items were collected by his brother Franz Wilhelm (1752–1815), a minister of the Electorate of Cologne, chief construction officer and the president of the Academic Council in Cologne. A significant group is formed by philosophical works: Franz Wilhelm’s collection comprised works by J. G. Herder, I. Kant, M. Mendelsohn as well as H. de Saint-Simon and J. von Sonnenfels. Another group consisted of historical works, e.g. by E. Gibbon; likewise his interest in the history of Christianity is noticeable. The library contains a total of more than 6,200 volumes, including 40 manuscripts, 3 incunabula and 15 printed books from 16th century; more than a half of the collection is formed by early printed books until the end of the 18th century. The other volumes come from the 19th century and the beginning of the 20th century. Volumes from the 17th century include especially Latin printed books on law, and one can perceive interest in collecting books on philosophy. There are many publications devoted to Westphalia; in addition, the library contains a number of binder’s volumes of legal dissertations from the end of the 17th century and the entire 18th century published in diverse German university towns. Further disciplines widely represented in the library are economics and especially agriculture, with the publications coming from the 18th and 19th centuries.

The Origin of the Javanese Mosque

1963 ◽  
Vol 4 (1) ◽  
pp. 1-5 ◽  
Author(s):  
H.J. de Graaf
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
The 19Th Century ◽  
Made In

The difficulties when making an investigation into the origin of Jaranese mosques are numerous. Owing to the limited durability of the material from which they are made – in the majority of cases of wood – the remains of old mosques are rare. There are no pictures from the 16th century; from the 17th century we have only a couple; from the 18th century hardly any. In the 19th century we find more of them.

scholarly journals The Formularies of Unity and the Dutch Reformed Church: A preliminary survey

1993 ◽  
Vol 27 (4) ◽  
Author(s):  
R. M. Britz
Keyword(s):  
18Th Century ◽  
Dutch Reformed ◽  
Reformed Church ◽  
History Of ◽  
The One ◽  
The 19Th Century ◽  
Sixth Decade ◽  
The Church ◽  
Dutch Reformed Church

This article undertakes a survey of the application of the Formularies of Unity by the Dutch Reformed Church, covering its history from the 18th century to approximately 1935. Although these Formularies were the accepted confessional basis of the church, it did not prevent additional theological accommodation during the 18th century. During the first part of the 19th century an institutional concept of the church put forward a subscribing formula. The confession became important. In principle the way was opened for an institutional and contractual enforcement of the Formu­laries. This happened when the church was involved in the wide-ranging li­beral struggle during the sixth decade. Even before the 20th century a new approach in which the role of the Formularies was seen more dogmatically and confessionalistically came to the fore. And, when the church was once again entangled in a struggle (viz. the well-known 'Du Plessis case' of the 1930's) the dogmatic point of departure played into the hands of a con­fessional fundamentalism. In the history of the Dutch Reformed Church, the Formularies thus gained in ecclesiological emphasis and value and its application was conditioned by the context and theological influence. Most importantly, the underlying problem of its historicity on the one hand, and its scriptural context and intent on the other hand, remained an unpaid account.

scholarly journals The Indians and Major Studies in New Spain: Monarchical Politics, Debates, and Results

2021 ◽  
Vol 10 (4) ◽  
pp. 115
Author(s):  
Rodolfo Aguirre
Keyword(s):  
New Spain ◽  
18Th Century ◽  
17Th Century ◽  
Mental Capacity ◽  
16Th Century ◽  
University Colleges ◽  
The University ◽  
Colonial Government ◽  
The Church

This article studies some stages and debates about the access of New Spain’s Indians to major studies: The discussion about their mental capacity in the 16th century, the impulse of Carlos II to the indigenous nobility in the 17th century, or the reticence in the Royal University of Mexico and the Church to their acceptance in the 18th century. It also analyzes the responses given by the Crown to the interest of the Indians elites in superior studies, degrees and public positions, protected by their rights as free vassals of the kingdom and as nobles, comparable to the Spanish nobility. Despite the insistent resistance of sectors of the colonial government and society to the rise of Indians, they firmly defended, in the 18th century, the rights and privileges granted to them by the monarchy since the beginning of New Spain, thereby achieving their entry into the university, colleges, and clergy.

KOŚCIÓŁ KATOLICKI WOBEC ZAGADNIENIA MAŁŻEŃSTW MIESZANYCH RELIGIJNIE W KONTEKŚCIE MIGRACJI

2018 ◽  
Vol 17 (1) ◽  
pp. 37-45
Author(s):  
Piotr Wojnicz
Keyword(s):  
Jesus Christ ◽  
Subject Matter ◽  
Catholic Church ◽  
Canon Law ◽  
International Level ◽  
Holy Trinity ◽  
Mixed Marriages ◽  
The Church ◽  
The Catholic Church

The increase in migration at the international level also increases the number of religiouslymixed marriages. The Catholic Church advises against entering into such marriages because thisissue refers to the laws of God and the question of preserving faith. The Catholic Church approvesof mixed marriages in terms of nationality or race because belonging to the Church is primarilydetermined by faith in Jesus Christ and baptism in the name of the Holy Trinity. Independentlyof canon law, progressive social secularization is noticeable on that subject matter.

‘A Moment of Truth’? The Church and Political Change in Malawi, 1992

1995 ◽  
Vol 33 (2) ◽  
pp. 243-262 ◽  
Author(s):  
Jonathan Newell
Keyword(s):  
Catholic Church ◽  
Party System ◽  
Urban Riots ◽  
Congress Party ◽  
Industrial Action ◽  
Political Dominance ◽  
Entire Nation ◽  
The One ◽  
Democratic Elections ◽  
The Church

The immediate origins of the democratic elections held in Malawi in 1994, which brought to an end over 30 years of political dominance by President Kamuzu Banda and the Malawi Congress Party (MCP), lie in the unprecedented events which shook the entire nation in 1992. Although that turbulent year was characterised by industrial action, serious urban riots, student demonstrations, the emergence of new domestic political groupings, and the Government's agreement to hold a national referendum on the future of the one-party system in the country, in retrospect perhaps what was most remarkable about these developments was that they were sparked off by the Catholic Church, and that their momentum was sustained at crucial stages by other Christian denominations in Malawi.1

Brazilian Colonial Art and the Decolonization of Art History

2021 ◽  
Author(s):  
Maria Berbara
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
Early Modern Period ◽  
Minas Gerais ◽  
Early 19Th Century ◽  
Art Objects ◽  
Colonial Art ◽  
The One ◽  
The 19Th Century

There are at least two ways to think about the term “Brazilian colonial art.” It can refer, in general, to the art produced in the region presently known as Brazil between 1500, when navigator Pedro Álvares Cabral claimed the coastal territory for the Lusitanian crown, and the country’s independence in the early 19th century. It can also refer, more specifically, to the artistic manifestations produced in certain Brazilian regions—most notably Bahia, Minas Gerais, and Rio de Janeiro—over the 18th century and first decades of the 19th century. In other words, while denotatively it corresponds to the art produced in the period during which Brazil was a colony, it can also work as a metonym valid to indicate particular temporal and geographical arcs within this period. The reasons for its widespread metonymical use are related, on the one hand, to the survival of a relatively large number of art objects and buildings produced in these arcs, but also to a judicative value: at least since the 1920s, artists, historians, and cultivated Brazilians have tended to regard Brazilian colonial art—in its more specific meaning—as the greatest cultural product of those centuries. In this sense, Brazilian colonial art is often identified with the Baroque—to the extent that the terms “Brazilian Baroque,” “Brazilian colonial art,” and even “barroco mineiro” (i.e., Baroque produced in the province of Minas Gerais) may be used interchangeably by some scholars and, even more so, the general public. The study of Brazilian colonial art is currently intermingled with the question of what should be understood as Brazil in the early modern period. Just like some 20th- and 21st-century scholars have been questioning, for example, the term “Italian Renaissance”—given the fact that Italy, as a political entity, did not exist until the 19th century—so have researchers problematized the concept of a unified term to designate the whole artistic production of the territory that would later become the Federative Republic of Brazil between the 16th and 19th centuries. This territory, moreover, encompassed a myriad of very different societies and languages originating from at least three different continents. Should the production, for example, of Tupi or Yoruba artworks be considered colonial? Or should they, instead, be understood as belonging to a distinctive path and independent art historical process? Is it viable to propose a transcultural academic approach without, at the same time, flattening the specificities and richness of the various societies that inhabited the territory? Recent scholarly work has been bringing together traditional historiographical references in Brazilian colonial art and perspectives from so-called “global art history.” These efforts have not only internationalized the field, but also made it multidisciplinary by combining researches in anthropology, ethnography, archaeology, history, and art history.

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.

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