The Truth of History in the Graffiti on the Fresco of St. Sophia of Kyiv: a New Reading of the Most Ancient Inscriptions

N. Nikitenko
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Abstract

The article, in the context of the author’s proposal of new dating of St. Sophia of Kyiv to the years of 1011–1018, focuses on the conceptual problem of the apogee of the development of ancient Rus-Ukraine. It is argued that this historical phenomenon is characteristic of the era of Volodymyr the Great, rather than Yaroslav the Wise, which was only a “weakened copy” of his father’s reign. To support this argument, the article analyzes the oldest Sophia graffiti from 1015 and 1019. A new reading of these graffiti using the method of a complex causal approach has made it possible to more clearly understand and objectively perceive the specific historical situation, which was falsified in the annals, and to bring it to life. In the altar part of the cathedral, the graffiti, previously considered to be the inscriptions of Volodymyr (Vasyliy) Monomakh and his contemporary Metropolitan Nikephoros and dated to the beginning of the 12th century, have been re-attributed. The author argues that these graffiti are 100 years older and are the autographs of Volodymyr (Vasyliy) the Great and his contemporary, the Byzantine general Archon Nikephoros Xiphias, created in 1014–1015 to commemorate the Belasytsia victory of Basil II with the help of Volodymyr’s troops in Bulgaria. This is the oldest authentic evidence of the existence of Sophia of Kyiv at that time as an already-built and frescoed temple that Volodymyr aimed to complete before his death. The existence of Sophia in the second decade of the 11th century is also confirmed by the author’s previously attributed graffiti of the “Olisava group” of 1019. These were preserved in the princely choirs of the cathedral, which belonged to Princess Olisava, the mother of Sviatopolk I, and his entourage, as well as the Metropolitan of Kyiv Ioann I. The graffiti left by the soldiers of the Novgorod official Kosniatyn Dobrynych on the walls of the cathedral’s open galleries also date back to the same year. The graffiti of 1019 record the end of the princely feud of 1015–1019 and the arrival of Yaroslav from Novgorod to power in Kyiv. Therefore, all the avalyzed graffiti are reliable epigraphic documents that testify to the emergence of Sophia of Kyiv in 1011–1015 and shed light on the course of historical events and the formation of national culture.
基辅圣索菲亚壁画涂鸦中的历史真相:对最古老铭文的新解读
本文在作者提出的将基辅圣索菲亚的新日期定在1011-1018年的背景下,重点讨论了古代俄罗斯-乌克兰发展巅峰的概念问题。有人认为,这一历史现象是弗拉基米尔大帝时代的特征,而不是智者雅罗斯拉夫时代的特征,后者只是他父亲统治的“弱化版”。为了支持这一观点,本文分析了1015年和1019年最古老的索菲亚涂鸦。用复杂因果关系的方法重新解读这些涂鸦,可以更清晰地理解和客观地感知在编年史中被伪造的具体历史情况,并将其带入生活。在大教堂的祭坛部分,以前被认为是Volodymyr (Vasyliy) Monomakh和他同时代的大都会nikkephoros的铭文的涂鸦,可以追溯到12世纪初,已经重新归属。作者认为,这些涂鸦是100年前的,是弗拉基米尔大帝(瓦西里)和他同时代的拜占庭将军尼克弗罗斯·希菲亚斯的签名,创作于1014-1015年,以纪念巴西尔二世在弗拉基米尔军队的帮助下在保加利亚取得的贝拉西西亚胜利。这是当时基辅索菲亚存在的最古老的真实证据,作为一座已经建成的壁画寺庙,弗拉基米尔的目标是在他死前完成。索菲亚在11世纪第二个十年的存在也被作者先前引用的1019年“奥利萨瓦集团”的涂鸦所证实。它们被保存在大教堂的王公合唱团中,属于Sviatopolk一世的母亲Olisava公主和他的随从,以及基辅大都会Ioann一世。诺夫哥罗德官员Kosniatyn Dobrynych的士兵在大教堂开放画廊的墙壁上留下的涂鸦也可以追溯到同年。1019年的涂鸦记录了1015-1019年王公争斗的结束,以及诺夫哥罗德的雅罗斯拉夫在基辅掌权。因此,所有被分析的涂鸦都是可靠的铭文文件,证明了1011-1015年基辅索菲亚的出现,并揭示了历史事件的进程和民族文化的形成。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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