St.Tikhons' University Review. Series V. Christian Art最新文献

Paired compositions "Birth of Christ" and "Death of Theotokos" on monumental painting of the Cathedral of Nativity of Theotokos in Savvino-Storozhevsky monastery (1649–1650): the role in the programme and features of iconography 在Savvino-Storozhevsky修道院(1649-1650)的Theotokos诞生大教堂的纪念性绘画上成对的作品“基督的诞生”和“Theotokos的死亡”:在程序中的作用和肖像学的特点

St.Tikhons' University Review. Series V. Christian Art Pub Date : 2022-03-31 DOI: 10.15382/sturv202245.45-63

A. Gribkova

{"title":"Paired compositions \"Birth of Christ\" and \"Death of Theotokos\" on monumental painting of the Cathedral of Nativity of Theotokos in Savvino-Storozhevsky monastery (1649–1650): the role in the programme and features of iconography","authors":"A. Gribkova","doi":"10.15382/sturv202245.45-63","DOIUrl":"https://doi.org/10.15382/sturv202245.45-63","url":null,"abstract":"The article is devoted to the origins of the appearance of paired compositions The Birth of Christ and The Death of the Virgin on monumental painting of the Nativity of the Virgin Church in Savvino-Storozhevsky Monastery 1649–1650. The tradition of reproducing ancient programs that developed in the second quarter – the middle of the 17th century makes it possible to attribute the monastery cathedral in Zvenigorod to this practice. The presence of large paired compositions in naos find similarities with Russian monuments of the 12–16th century, rather than with paintings of their time. Both compositions are in harmony with The Birth of the Virgin on the western wall and The Praise of the Virgin in the central conch. The combination of four scenes reveals the main meaning of the entire program, which consists in the idea of the glorification of the Virgin. The scenes of the Life of the Virgin, located on the eastern wall of the naos, testify to their presence here even before the construction of the iconostasis of the 17th century. Meanwhile, the iconographic analysis of paired compositions brings them closer to the monuments of their time. Firstly, it is noticeable in the composition The Birth of Christ which is structurally close to the multipart icons of the 16–17th centuries. In the scene The Death of the Virgin there is a similarity with the temple icon from the Assumption Cathedral of the Moscow Kremlin of 1472–1474, and a veil embroidered for her in the 1640s. The results of the study show that paired compositions could be part of the old painting, while in the middle of the 17th century they, along with the entire program, were updated and supplemented with new elements.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121671587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Images of Hell from Guiniforte Barzizza’s "Commento" (It. 2017, Bibliothèque nationale de France)

St.Tikhons' University Review. Series V. Christian Art Pub Date : 2022-03-31 DOI: 10.15382/sturv202245.9-27

Aleksandra Mamlina

{"title":"Images of Hell from Guiniforte Barzizza’s \"Commento\" (It. 2017, Bibliothèque nationale de France)","authors":"Aleksandra Mamlina","doi":"10.15382/sturv202245.9-27","DOIUrl":"https://doi.org/10.15382/sturv202245.9-27","url":null,"abstract":"The manuscript of Dante’s Hell with a commentary wrote by the Pavian humanist Guiniforte Barzizza, created in the 40s of the 15th century for the Duke of Milan, Filippo Maria Visconti, is decorated with miniatures attributed to the artist whom P. Toecsa names to as Maestro delle vitae imperatorum. Presumably, the manuscript initially contained about 115 miniatures, only 72 of which have been preserved till present days, but the codex, divided between two libraries (It. 2017, National Library of France, and MS 76, Communal Library of Imola) and several private collections, remains one of the most richly illustrated copies of The Divine Comedy of the late Middle Ages. Illustrations are characterized by archaism and oriented towards older models, such as miniatures of Strozziano 152 (Medici Laurenziana Library, Florence) or MS. Holkham misc. 48 (Bodleian Library, Oxford), while the tense realism of the miniature makes it an example of a new approach in the visual interpretation of The Divine Comedy.Maestro delle vitae imperatorum renders the details of narration accurately in terms of topography, anatomy and psychologism, intending to allow the reader become an accomplice of various emotions experienced by the protagonist of The Divine Comedy. Thus, the physical journey comes to the foreground, stretches in time and space, allowing readers to trace its course and the very topography of hell in the smallest detail. Researchers note that the incredible expressiveness of Dante's portraits on the pages of the Visconti manuscript - the poet's poses, gestures, facial expressions, as well as the \"clinical\" accuracy with which, for instance, the sufferings of sinners are transmitted, evoke terror rather than compassion.The article examines some miniatures of the Paris codex, analyzes the features of the image of hell as interpreted by Maestro delle vitae imperatorum and their connection with the tradition of illustrating the The Divine Comedy and with the visual culture of Visconti in general.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124501341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Bishop’s choir of Astrakhan in concerts of sacred music 阿斯特拉罕主教唱诗班在圣歌会上的表演

St.Tikhons' University Review. Series V. Christian Art Pub Date : 2022-03-31 DOI: 10.15382/sturv202245.153-163

Irina Chervyakova

{"title":"Bishop’s choir of Astrakhan in concerts of sacred music","authors":"Irina Chervyakova","doi":"10.15382/sturv202245.153-163","DOIUrl":"https://doi.org/10.15382/sturv202245.153-163","url":null,"abstract":"In the post-Soviet period, there was a noticeable increase in interest in the church singing art. Professional musicians were given the opportunity to perform and study music that had not been so widely distributed until that time. For many, another direction for self-realization has opened up. Spiritual music has increasingly begun to go beyond the scope of worship and is performed everywhere by both secular and church choirs on the stage. Thus, this kind of the richest Russian cultural heritage became more accessible not only for the parishioners of churches, but also for the listeners of concert halls.Traditions of concerts of Orthodox music, with the joint performance of church and secular choirs have been laid in Astrakhan since the early 1990s. The organization of such events is one of the directions of concert and educational activities of the Astrakhan Metropolis. The Astrakhan Bishops' Choir has always been an indispensable participant in these concerts. He is in many ways a model for other singing groups of the city, such a format of activity has a great influence on the professional state of choir choirs, repertoire preferences, manner of performance and much more.In this article we will consider the concert style of singing of large cathedrals on the example of the bishops' choir of the Intercession and Assumption cathedrals, their concert and festival activities.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"123 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116231226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

New composition types of the Russian vita icons in Yaroslavl and Kostroma painting of the second part of the 17th century 17世纪下半叶雅罗斯拉夫尔和科斯特罗马绘画中俄罗斯维塔图标的新构图类型

St.Tikhons' University Review. Series V. Christian Art Pub Date : 2022-03-31 DOI: 10.15382/sturv202245.79-98

S. Aitova

{"title":"New composition types of the Russian vita icons in Yaroslavl and Kostroma painting of the second part of the 17th century","authors":"S. Aitova","doi":"10.15382/sturv202245.79-98","DOIUrl":"https://doi.org/10.15382/sturv202245.79-98","url":null,"abstract":"In this article we take up the problem of the new composition types of the Russian vita icons appeared in the second part of the XVIIth century. Since this problem has been little studied, we also search for the relevant methodological tools to analyze such icons. Such vita icons differ from the traditional type due to their composition structure: there is no division into central part (russ. Средник) with a saint’s portrait and little segments (russ. Клейма) with saint’s life events placed on the edge of the panel. The scenes of the saint’s life are placed in these new types in the center of the icon in a specific compositional order, it is not a linear placement like a schema in a traditional type. Thus this new composition can be interpreted in a different way than a traditional vita icon; it leads to a new way of reading and perception. The earliest examples of such vita icons are found in the painting of the Volga region: they are the icons from iconostasis veneration tier (russ. Местный ряд) in the church of Elijah the Prophet in Yaroslavl (early 1660s). In this article we propose the classification of such vita icons and analyze their composition to reveal their specificity.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134448441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Space of the Word: epigraphy in the interiors of Dutch churches of the 17th century 文字的空间:17世纪荷兰教堂内部的铭文

St.Tikhons' University Review. Series V. Christian Art Pub Date : 2022-03-31 DOI: 10.15382/sturv202245.64-78

Oksana Tyupanova

{"title":"The Space of the Word: epigraphy in the interiors of Dutch churches of the 17th century","authors":"Oksana Tyupanova","doi":"10.15382/sturv202245.64-78","DOIUrl":"https://doi.org/10.15382/sturv202245.64-78","url":null,"abstract":"The article deals with the problem of the relationships between the word and the image in the monuments of pictorial and graphic art, depicting the text, so-called text painting, «tekstschilderijen» in Dutch. Mostly anonymous, these monumental images of the Word were painted on boards, columns, and church walls throughout the Northern Netherlands during the first century after the Reformation. Formally, these images belong to the history of painting, since the same materials are used: paints on a board or on a stone in a decorative frame, but the way of depicting reminiscent of an enlarged page of Holy Scripture puts them on a par with the monuments of graphic art. The emergence of “verbal pictures”, texts that became ornaments and calligraphy, the scale and structure of which shifted their verbal content from the individual world of personal initiation into the fixed didactics of public space, corresponded to new doctrinal guidelines and radically changed the semantic structure of the Gothic cathedral. The Bible provided a new graphic language: text that was authoritative enough to become canonical and flexible at the same time to take many varieties of forms. “Verbal pictures” were the texts that became ornaments and calligraphy. The dialectical content unity, their design, interaction with the church space and viewing traditions of the text pictures help to reconstruct not only the author's intention as artistic ones, but also the cultural and historical context.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126151431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Education of female church choir masters in educational institutions at the turn of the 19th — 20th centuries (with St. Vladimir’s church teacher’s school as an example) 19 - 20世纪之交教育机构中教会女唱诗班大师的培养(以圣弗拉基米尔教会教师学校为例)

St.Tikhons' University Review. Series V. Christian Art Pub Date : 2022-03-31 DOI: 10.15382/sturv202245.99-111

A. Nikulina

{"title":"Education of female church choir masters in educational institutions at the turn of the 19th — 20th centuries (with St. Vladimir’s church teacher’s school as an example)","authors":"A. Nikulina","doi":"10.15382/sturv202245.99-111","DOIUrl":"https://doi.org/10.15382/sturv202245.99-111","url":null,"abstract":"Since the middle of the XIX century, the development of education has become one of the important state priorities in the Russian Empire. The spread of education in society has influenced the development and democratization of the arts. At the end of the XIX century, as a result of social changes, the status of women in art was gradually revised. The history of musical education in Russia, as well as in foreign civilization, is inextricably linked with church culture. Our article will focus on St. Vladimir’s church teachers’ school in Saint-Petersburg which belongs to the religious department. This educational institution prepared teachers for parish schools. Musical education and in particular its choir part used to be of such a high quality there, that it could have been an example for many female institutes of that period. The historical experience of this education institution can still be useful today. This article concerns the choir education of the pupils of the school. There is also the aspect of church chants and the matter of school choir repertoire considered in the article. There are a number of prominent writings devoted to the development of musical education in Russia. However in the majority of cases female musical education is addressed briefly in all these writings. Nevertheless there were secondary educational female church institutions that had begun training women choirmasters, which provoked the raise of choir singing level in the country.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130035428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The genre of spiritual verse in the choral work of Yu. M. Butsko with the example of the cantata “Four Old Russian chants from the collection "Flower garden"” 余氏合唱作品中的灵诗体裁。布茨科先生举了康塔塔的例子，《四首古老的俄罗斯圣歌》选集《花园》

St.Tikhons' University Review. Series V. Christian Art Pub Date : 2022-03-31 DOI: 10.15382/sturv202245.126-144

O. Goryunova

{"title":"The genre of spiritual verse in the choral work of Yu. M. Butsko with the example of the cantata “Four Old Russian chants from the collection \"Flower garden\"”","authors":"O. Goryunova","doi":"10.15382/sturv202245.126-144","DOIUrl":"https://doi.org/10.15382/sturv202245.126-144","url":null,"abstract":"The main scientific interest of the author is the identification and study of little-known and unpublished choral works by one of the brightest representatives of Russian musical culture of the XX-XXI century Yuri M. Butsko. This article attempts to study the handwritten score of the cantata \"Four Old Russian Chants from the Collection\" Flower Garden \"(Spiritual Poems)\", written in 1969, in the early period of the composer's work. The cantata is based on four spiritual verses - examples of the musical and poetic genre, to which the composer has repeatedly addressed both in vocal and instrumental compositions (symphonies, concerts, piano pieces). Special attention is paid to the analysis of the musical language of each part of the cantata: melody, harmony, rhythmic features, principles of orchestration. The interrelation of some fragments of the cantata with the music of the Baroque epoch in the context of the use of musical rhetorical figures is revealed. In the course of the research, it was possible to determine that the work was written according to the author's modal methodology of Yu. M. Butsko – «twelve-note at a distance» – first presented in the same 1969 in the «Polyphonic Concert». In conclusion, the author of the article expresses the hope that the cantata «Four old Russian chants from the collection \"Flower garden\"» will be published, performed and made available to the public.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114560714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Iconography of the Resurrection in the Russian art of the 16th — 18th centuries: sources of formation of the new canon 16 - 18世纪俄罗斯艺术中复活的肖像:新经典形成的来源

St.Tikhons' University Review. Series V. Christian Art Pub Date : 2022-03-31 DOI: 10.15382/sturv202245.28-44

S. Ivanova

引用次数: 0

Sakhalin orthodox singing tradition 库页岛的正统歌唱传统

St.Tikhons' University Review. Series V. Christian Art Pub Date : 2022-03-31 DOI: 10.15382/sturv202245.145-152

N. Sadykova

{"title":"Sakhalin orthodox singing tradition","authors":"N. Sadykova","doi":"10.15382/sturv202245.145-152","DOIUrl":"https://doi.org/10.15382/sturv202245.145-152","url":null,"abstract":"This article is devoted to the formation of the Orthodox singing tradition in one of the youngest diocesan formations - the South Sakhalin and Kuril dioceses of the Russian Orthodox Church of the Moscow Patriarchate. The quantitative ratio of the existing religious views and beliefs of the ethnic groups of the island region is touched upon. The features of the historical processes of the development of Orthodoxy in the region, which have determined the range of problems that exist in the dynamics of the formation of the liturgical and singing tradition of the region and its transmission, are considered. Three typological types of worship (in relation to the singing component) in the Sakhalin region are considered: monastic, cathedral and parish. The repertoire preferences in liturgical chants of cathedrals and branches are analyzed. As a result of the research, the author reveals that for one daily liturgical circle of a separate temple or cathedral, in the singing relation, a kind of synchronous cut is characteristic, represented by chants of different eras, styles and directions in simultaneity, leading to stylistic eclecticism, however, difficult to differentiate by the ear of an unprepared parishioner. The existing organizational problems in the regency-singing business are analyzed. The concert and educational activities of choirs and vocal ensembles of the parishes of the Yuzhno-Sakhalin diocese are covered. The conclusion is made about the incompleteness of the described processes and the unstable current state of the Orthodox singing tradition of Sakhalin, which is in the initial period of its formation.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128987591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Concerts of spritial music in the russian province in the early 20th century (with towns of the Middle and Lower Volga region) 20世纪初俄罗斯省的宗教音乐音乐会(伏尔加河中下游地区的城镇)

St.Tikhons' University Review. Series V. Christian Art Pub Date : 2022-03-31 DOI: 10.15382/sturv202245.112-125

I. Polozova, Juliya Tyuryakova

{"title":"Concerts of spritial music in the russian province in the early 20th century (with towns of the Middle and Lower Volga region)","authors":"I. Polozova, Juliya Tyuryakova","doi":"10.15382/sturv202245.112-125","DOIUrl":"https://doi.org/10.15382/sturv202245.112-125","url":null,"abstract":"The article examines some aspects of the musical and educational activities carried out at the turn of the XIX-XX centuries. provincial church-singing communities of various Christian denominations. As an example, the cities of Saratov, Samara, Simbirsk and Syzran are covered - the largest economic and cultural centers of the Middle and Lower Volga regions. The authors analyze the concert activity of the represented provinces in several directions: concerts of pra-glorious liturgical chants, spiritual concerts with mixed programs, concerts of sacred music in Catholic and Protestant churches, and also separately highlight examples of the premiere performance of author's spiritual works in provincial temples. Thus, the work highlights the educational concert and educational work of the professor of the Saratov Conservatory I.V. Lipaev, the Saratov Bishops' Choir under the direction of N.M. Dmitriev, Simbirsk Bishop's Choir (choir director S.P. Yagodinsky). The authors provide examples of touring performances by leading choral groups of the Russian Empire in the Volga cities, in particular, the Moscow Synodal Choir (conducted by N.N. Tolstyakov) in Saratov and the choir of the St. Samara. In addition, the article touches on the problem of interaction between Orthodox and co-religion communities, the performance of joint services by them (possible within the framework of the same-faith Liturgical practice), as well as the preservation of the Volga region of a living tradition of using the znamenny chant. As a result of the research carried out, the article traces the idea of the continuity of the ideas of the New direction in Russian sacred music by the Volga choir directors, as well as the active inclusion of the latter in the general process of development of Russian church singing art.","PeriodicalId":134507,"journal":{"name":"St.Tikhons' University Review. Series V. Christian Art","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115884076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0