DISCIPLINA CLERICORUM IN SARDINIA OF THE 6TH CENTURY ACCORDING TO LETTERS OF GREGORY THE GREAT (in Russian) (original) (raw)
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TROPARIA IN OLD RUSSIAN PARIMEYNIKS FROM THE 12–14th c. (Based on “Manuscript” Online Collection)
Тропари в древнерусских паримейниках XII–XIV вв. (На материале онлайн-коллекции „Манускрипт“). Palaeobulgarica / Старобългаристика, XLV (4), 2021
The article focuses on the language of Lenten troparia from five Old East Slavonic parimeyniks (Old Testament lectionaries) that are included in the online “Manuscript” collection. The author identifies lexical and grammatical discrepancies in the Slavonic sources, searches for the reasons of variations in the troparia, evaluates their semantics on the basis of correspondences to the Greek texts. The most significant results of the research are: younger manucripts use a text-shortening strategy whereas the oldest one demonstrates individual cases of text expansion that have no analogues in other Slavonic sources; grammatical variations lead to transformations of syntactic relations. At the lexical level, there are phenomena not supported by Greek, and their occurrence can be explained either by the possible presence of variations directly in the Greek sources or by the influence of widespread hymnographic clichés or the Gospel texts, which may form a troparion’s story line. Two versions of the same troparion may differ from each other, and at the same time, each of them unites different sources by some parameters. It is difficult to unambiguously classify the Slavonic sources given the revealed discrepancies in hymnographic genres since individual variations provide different configurations.
«Рrincipum Specula» у Київській Русі: особливості функціонування
Drinovsʹkij zbìrnik, 2018
Киричок О. Б. «Рrincipum Specula» у Київській Русі: особливості функціонування. Рrincipum Specula («князівське зерцало»)-термін, який не часто вживають щодо текстів Київської Русі. Настанови князям, котрі були важливим елементом освіти правителів, нерідко функціонували у києворуській культурі не як цілісні тексти, а фрагментовано, у вигляді окремих цитат, афоризмів, ідей чи контекстів, стимулюючи тим самим власну творчість руських книжників. Завдяки цьому відбувалось активне засвоєння античних, візантійських та західноєвропейських політичних ідей. Ключові слова: князівське «зерцало», політика, філософія, Київська Русь, Візантія. Киричок А. Б. «Рrincipum Specula» в Киевской Руси: особенности функционирования. Рrincipum Specula («княжеское зерцало»)-термин, который не часто применим к текстам Киевской Руси. Поучения князьям, которые были важным элементом образования правителей, часто функционировали в киеворусской культуре не как целостные тексты, а фрагментировано, в виде отдельных цитат, афоризмов, идей или контекстов, стимулируя тем самым собственное творчество русских книжников. Благодаря этому происходило активное усвоение античных, византийских и западноевропейских политических идей. Ключевые слова: княжеское «зерцало», политика, философия, Киевская Русь, Византия. Kyrychok O. B. "Rrincipum Specula" in Kiev Rus: Features of Functioning. Rrincipum Specula ("mirrors for prince") is a term that is not often used to the texts of Kiev Rus. Instructions to the princes, which were an important element in the education of rulers, often functioned in the Kiev Russ culture not as whole texts, but fragmented, in the form of quotations, aphorisms, ideas or contexts. It stimulated the own creativity of the Rus scribes. Due to it, Kiev Rus culture assimilated the ancient, Byzantine and Western European political ideas.
Оляніна С. Під крилами Бога: символіка геральдичного орла в українських іконостасах XVII–XVIII ст. // Культурологічна думка: Щорічник наук. пр. – К.: Інститут культурології НАМ України, 2016. – № 9. – С. 92–104.
Summary. Among the carved decor of Ukrainian iconostases the XVIIth–XVIIIth centuries the image of heraldic eagle (two-headed and single-headed) is often met. In the literature, since the XIX century, double-headed eagles in the iconostasis were interpreted as symbols that associated with the state emblems of the Muscovite Tsardom, after the Russian Empire, and Habsburg Monarchy. However, an iconographic analysis of the double-headed eagles revealed, that compositions formed from them were neither accurate replicas of the State Emblem of the Russian empire, nor of the Habsburg monarchy. Consequently, there is no reason to interpret them in the iconostases as Coats of Arms. The images of the singleheaded heraldic eagle in the iconostases were not also a Coat of Arms. In the XVII century, when there was an active adaptation of the two-headed eagle in the cultural space of Ukraine, this eagle was interpreted as a polysemantic motif. Along with its signification of “pro-governmental” symbol and with obvious meanings of imperial character, it had a meaning linked with the heavenly patronage and divine protectorate. The eagle was seen as a symbol of Christ. About this interpretation of the double-headed eagle say the texts of introductions to allegorical engravings in books of sermons, published in the second half of the XVIIth – beginning of the XVIIth century, which were written by Ukrainian ecclesiastical writers. Herewith regular use of double-headed eagle in the system of symbols of the Orthodox Church, which was already known in Byzantine Empire of the period of Palaiologos dynasty, suggests that church hierarchy of Ukraine of the XVIIth – XVIIth centuries were familiar with this image outside the context of the state or personal heraldry. At the same time the image of a single-headed eagle, which goes back to the Old Testament Eagle, as a symbol of God, in Ukrainian religious consciousness of the XVIIth – XVIIIth centuries it was strongly associated with the image of Christ.This shows that there was insufficient evidence to link the symbolic meaning of the double-headed eagle in Ukrainian iconostases of the XVIIth – XVIIIth centuries exclusively with the idea of glorification of the Russian state, the Austrian monarchy or reigning persons, as it has been previously thought, in addition, such an interpretation contradicts the schemes of the location of this motif in the iconostasis. The most common version of it is the following: the introduction of an eagle along the central vertical is an important semantic axis of the iconostasis, which focused primarily iconic image of the Christ (the Holy Mandylion icon, Deesis, the Crucifixion). The appearance of a double-headed eagle on this axis, for example, under the Crucifixion, and, consequently, above the Deesis – is not consistent with the hierarchical structure of the iconographic programme of iconostasis as a whole, because placing the emblem of an earthly king above the image of the King of Heaven is obviously an unacceptable step. Therefore, a more plausible interpretation in this context is to understand the image of the eagle as a symbol, which relates to Christ. In this case, logical contradiction that had arisen from their introduction along the main vertical of iconostasis disappears. With this meaning the eagles do not come into the hierarchical conflict with the iconic image of Christ. At the same time, the topography of it placement in the iconostasis evidenced the importance of the spiritual content of the eagle. From the point of view of semantics, the places chosen for the eagle are extremely important: in the middle of the prophetic tier, on the arch of the royal doors – above the entrance to the Holy of Holies and on the royal doors, which open the passage to the symbolic Kingdom of Heaven. The semantic context of each of these locations of placement of the eagle, allows its association with the ideas about the divine intercession of Jesus Christ, his patronage over the world, the deification of which is done with the incarnation of Christ. This allows to conclude that the heraldic eagle, when introduced into the structure of the iconostasis could change its own meaning, which inherent to the eagles in the space of secular culture, and acquire defensive and soteriological meanings, important to the Ukrainian society of the XVIIth – XVIIIth centuries. Heraldic Eagles placed in the iconostases along the central vertical had Christological symbols, their meaning discloses various aspects of the theme of Godʼs protection over the world in the New Testament histories. Other semantic aspects of this polysemantic motif were associated with the idea of Godʼs Revelation and the theme of salvation, on the way to which the special role of the Church of the Eastern Christian rite were emphasized. Key words: iconostasis, heraldic eagle, coat of arms, symbolism, composition, protection.
POVOLZHSKAYA ARKHEOLOGIYA / ПОВОЛЖСКАЯ АРХЕОЛОГИЯ, 2020
The paper features the fragments of red clay pottery with turquoise glaze deposited at the Archaeological Museum of Kazan University, which originated from the excavations by the Volga Archaeological Expedition of the 1960s at Tsarevskoye settlement (Volgograd Oblast). One type of vessels is represented by red clay bowls covered with opaque turquoise glaze, possibly on white engobe painting. The second type – by red clay bowls with engobe painting under transparent turquoise glaze. This category of pottery is contained in small quantities in the material complex of the Golden Horde towns of Bolgar, Ukek, Madzar and Azak. The most likely crafting location of the vessels coated with opaque turquoise glaze is Selitrennoye settlement. The manufacturing center where the red clay bowls with engobe painting under transparent turquoise glaze were produced has not been identified. According to archaeological information, the period of existence of these two varieties of red clay pottery with turquoise glaze is the middle – second half of the 14th century. В статье публикуются фрагменты красноглиняной керамики с бирюзовой глазурью, хранящиеся в Археологическом музее Казанского университета, происходящие из раскопок Поволжской археологической экспедиции 60-х гг. XX в. на Царевском городище (Волгоградская область). Одна разновидность сосудов представлена красноглиняными чашами, покрытыми бирюзовой глухой глазурью, возможно по белому ангобу. Вторая – красноглиняными чашами с росписью ангобом под прозрачной бирюзовой глазурью. Эта категория керамики в малом количестве представлена в материальном комплексе золотоордынских городов Болгара, Укека, Маджара, Азака. Наиболее вероятным местом производства сосудов, покрытых бирюзовой глухой глазурью, является Селитренное городище. Производственный центр, где изготовлялись красноглиняные чаши с росписью ангобом под прозрачной бирюзовой глазурью, в настоящий момент не установлен. По археологическим данным время существования этих двух разновидностей красноглиняной керамики с бирюзовой глазурью приходится на середину – вторую половину XIV в.