Prince’s Trident on Frescoes and Graffiti of St. Sophia of Kyiv

N. Nikitenko
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Abstract

The article, for the first time in academic research, puts and comprehensively considers a unique phenomenon of picturing seven images stylized under the lily of the prince’s tridents of Volodymyr on the frescoes and graffiti of St. Sophia of Kyiv, which elucidates the time of the cathedral construction and its prince-builder. They are singled out as separate compositions, “inserted” in the center of large narrative scenes of the religious and secular nature. Four tridents of Volodymyr are present in four frescoes of the vestry, decorated with scenes from the cycle of the Virgin; two more are present in the fresco of the north stair tower, which is part of the secular cycle that tells about the conclusion of dynastic marriage between Prince Volodymyr and Byzantine Princess Anna. Two inverted tridents of Volodymyr, drawn by his warriors after the death of the prince, were found in the graffiti of St. Sophia. They appeared around 1017 after Yaroslav’s capture of the Kyiv throne. Volodymyr’s trident on the walls of St. Sophia is a sign of his ownership of the temple and the glorification of the prince in the eyes of contemporaries and descendants. On the wall of the St. Michael’s altar of the cathedral there is a trident of Iziaslav Yaroslavych, similar to the lilies on the frescoes of the cathedral, which in the conditions of feud marked the right of this prince to Kyiv and St. Sophia, its heart. Iziaslav’s trident appeared here during the difficult period between 1068 and 1078. The prince’s tridents did not appear in the graffiti of Sophia spontaneously, as their authors were inspired by the urgent needs of life at that time. Like the oldest dated graffiti on its walls, mosaics, and frescoes, Prince Volodymyr’s tridents confirm the inference that St. Sophia was founded by Volodymyr the Great in 1011, and during his reign the cathedral was built and decorated with mosaics and frescoes. Instead, Yaroslav’s tridents were not found on the walls of St. Sophia.
基辅圣索菲亚的壁画和涂鸦上的王子三叉戟
本文首次在学术研究中,综合考虑了在基辅圣索菲亚大教堂的壁画和涂鸦上描绘七个在弗拉基米尔王子三叉戟百合花下的形象的独特现象,从而阐明了大教堂的建造时间及其建造者。它们被挑出来作为单独的作品,“插入”在宗教和世俗性质的大型叙事场景的中心。沃洛迪米尔的四支三叉戟出现在圣衣室的四幅壁画中,装饰着圣母循环的场景;在北楼梯塔的壁画中还有两幅,这是世俗循环的一部分,讲述了沃洛迪米尔王子和拜占庭公主安娜之间的王朝婚姻的结局。在圣索菲亚的涂鸦中发现了两支倒置的弗拉基米尔三叉戟,这是他的战士在王子死后画的。它们出现在雅罗斯拉夫夺取基辅王位后的1017年左右。Volodymyr在圣索菲亚教堂墙上的三叉戟标志着他对神庙的所有权,以及在同时代人和后代眼中对王子的荣耀。在大教堂圣米迦勒祭坛的墙上,有一支伊扎亚斯拉夫·雅罗斯拉夫维奇的三叉戟,与大教堂壁画上的百合花相似,在世仇的情况下,这支三叉戟标志着这位王子对基辅和圣索菲亚的权利,这是它的中心。伊扎亚斯拉夫的三叉戟出现在1068年到1078年的困难时期。王子的三叉戟并不是自发地出现在索菲亚的涂鸦中,因为他们的作者受到当时迫切生活需要的启发。就像墙上最古老的涂鸦、马赛克和壁画一样,沃洛迪米尔亲王的三叉戟证实了圣索菲亚是沃洛迪米尔大帝于1011年建立的,在他统治期间,大教堂被建造和装饰成马赛克和壁画。相反,雅罗斯拉夫的三叉戟并没有出现在圣索菲亚教堂的墙上。
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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