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Соловьева И. В. Традиции опеки у русских крестьян в конце XIX в. // Вестник ПСТГУ. Серия II: История. История Русской Православной Церкви. 2011. Вып. 4 (41). С. 53-59.
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the peasants, guardianship, guardian, care, orphan, the descent, the community, the world, the ethnographic Bureau of Prince V. N. Tenisheva
Соловьева Л. В. Сиенская школа эмали в 1-й пол. XIV в // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2014. Вып. 3 (15). С. 9-20. DOI: 10.15382/sturV201415.9-20
The article is devoted to the goldsmiths´ art of Siena of the first half of the XIVth century. At that time, the French Gothic style had maintained a profound infl uence over the fine arts of Italy. This influence, exercised mainly through manuscripts, made itself especially felt in the goldsmiths´ art. The XIVth century saw the prosperity of Siena Commune, which gave an extraordinary development of fine arts, especially goldsmiths´ art. Siena became an important centre for working in precious metals. At that end of the XIIIth century the goldsmiths of Siena invented a new technique of enamel - translucent enamel upon silver relief, famous for its color values. Translucent enamel medallions were used as decoration and as illustrations of iconography programs of the ecclesiastical items. Translucent enamel reached its zenith in the middle of the XIVth century. At that time the goldsmiths managed to enrich the range of enamel colors and tried to use translucent enamel as painting. In the middle of the XIVth century the goldsmiths created interconnected pieces of art, which combined jewellery art with painting, sculpture and architecture. For example, The Reliquary of the Holy Corporal from Orvieto Cathedral, made by Ugolino di Vieri, is formed like a miniature facade of Gothic cathedral. It is decorated with sculptured figures and 32 scenes given in translucent enamel. The Reliquary of the Orvieto Cathedral is a unique piece of art, where enameling is connected with sculpture and small architecture. Of interest, that Siena painting by Duccio and Ambrogio Lorenzetti influenced at art of enameling. Коды
Sienese decorative art, translucent enamel, medieval chalice, reliquary, Gothic art, jeweler, ecclesiastical item, technique

1. Lazarev V. N. Proishozhdenie ital'janskogo Vozrozhdenija. Iskusstvo Trechento (Origin of Italian Renaissance. Art of Trecento), Moscow, 1959, vol. 2.
2. Rotenberg E. I. Iskusstvo goticheskoj jepohi. Sistema hudozhestvennyh vidov (Art of Gothic Epoch. System of Art Kinds), Moscow, 2001.
3. Bemporad D. 1980 “Oreficeria ed avori”, in Il Tesoro della Basilica di S. Francesco ad Assisi, Perugia, 1980, pp. 87–152.
4. Carli E. Il Reliquario del Corporale ad Orvieto, Milano, 1964.
5. Cioni E. Scultura e smalto nell`oreficeria senese dei secoli XIII e XIV, Firenze, 1998.
6. Collareta M., Levi D. Calici italiani. Museo Nazionale del Bargello, Firenze, 1983.
7. Freeman M. B. 1963 “A Shrine for a Queen”, in The Metropolitan Museum of Art Bulletin, 1963, vol. 21/10.
8. Gauthier M. Les Émaux du moyen age occidental, Friburg, 1972.
9. Molinier E. 1888 “Iventaire du tresor du Sain-Siege sous Boniface VIII (1295)“, in Bibliotheque de l`Ecole des Chartes, 1888, vol. 49.
10. Robinson J. Masterpieces. Medieval Art, London, 2008.
Соловьева Л. В. Флорентийские эмали первой половины XIV в // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2015. Вып. 4 (20). С. 113-124. DOI: 10.15382/sturV201520.113-124
The article is devoted to the goldsmiths` art in Florence of the first half of the 14th century. It was a period of prosperity of Florence Commune, which gave an extraordinary development of fine arts, especially goldsmiths` art. At the end of the 13th century the goldsmiths of Siena invented a new technique of enamel — translucent enamel upon silver relief (basse taille enamel), famous for its color values. The making of translucent enamels began in Florence in the first half of the 14th century. But the goldsmiths of Florence managed to combine translucent and opaque enamels, and they never abandoned ancient champlevé enamel. Altar decoration made by Andrea Pucci Sardi performs wide using of opaque champlevé enamel on copper gilt. One can see some elements of Byzantine influence in its composition and Giottesque tradition in images. The goldsmith Andrea Arditi became the first Florence jeweler who used translucent enamel technique in his art. The unique silver chalice with translucent and opaque enamels in good condition made by Andrea Arditi is located in the Moscow Kremlin Museum. The second work of Arditi reliquary of San Zanoby from Florence Cathedral has lost its enamel decoration. In the Moscow Kremlin Museum there is a gilded copper cross with opaque enamels. It is attributed as work of Florentine goldsmith of the middle of the 14th century. In the enamel art of Florence one can see the tradition Giotto painting and some features of a new Gothic style.
Florence, medieval enamel art, Andrea Pucci Sardi, Andrea Arditi, translucent and opaque enamel, champlevé enamel, basse taille enamel, chalice, reliquary, Gothic art, jeweler, ecclesiastical item, technique

1. Antonetti P. Povsednevnaja zhizn' Florencii vo vremena Dante (Everyday Life of Florence in Times of Dante), Moscow, 2004.
2. Lazarev V. N. Proishozhdenie ital'janskogo Vozrozhdenija. Iskusstvo Trechento (Origin of Italian Renaissance. Art of Trecento), Moscow, 1959, vol. 2.
3. Rotenberg E. I. Iskusstvo goticheskoj jepohi. Sistema hudozhestvennyh vidov (Art of Gothic Epoch. System of Art Kinds), Moscow, 2001.
4. Chellini B. Zhizneopisanija. Traktaty. Pojezija (Vitas. Treatises, Poetry), Saint-Petersburg, 2003.
5. Arnolfo alle origini del Rinascimento italiano: Catalogo della mostra, Firenze, 2005.
6. Atti del I Convegno sugli smalti traslucidi italiani. Annali della Scuola Normale Superiore di Pisa, 1984, vol. 14/2.
7. Atti del II Convegno sugli smalti traslucidi italiani, Annali della Scuola Normale Superiore di Pisa, Pisa, 1988, vol. 18.
8. Atti del III Convegno sugli smalti traslucidi italiani. Annali della Scuola Normale Superiore di Pisa, Pisa, 1991, vol. 21.
9. Atti del IV Convegno sugli smalti traslucidi italiani. Annali della Scuola Normale Superiore di Pisa, Pisa, 1994, vol. 24.
10. Atti del V Convegno sugli smalti traslucidi italiani. Annali della Scuola Normale Superiore di Pisa, Pisa, 1997. vol. 4/2.
11. Cocchi A. Degli antichi reliquary di S. Maria del Fiore e di S. Giovanni a Firenze, Firenze, 1901, pp. 17.
12. Collareta M., Levi D. Calici italiani. Museo Nazionale del Bargello, Firenze, 1983.
13. Gauthier M. Les Émaux du moyen age occidental, Friburg, 1972.
14. L’Orefi ceria nella Firenze del Quatrocento: Catalogo della mostra, Firenze, 1977.
15. Orefi ceria sacra italiana. Museo Nazionale del Bargello, Firenze, 1988.
16. Strocchi C. 1988 “Lo smalto traslucido a Firenze: prime osservazioni sulla bottega di Andrea Arditi”, in Annali della Scuola Normale Superiore di Pisa, Pisa, 1988, vol. 18, pp. 137–150.
17. Strozzi B. P. Museo Nazionale del Bargello, Firenze, 2014.
18. Venturi A. Storia dell`arte italiana, Milano, 1904, vol. 4.
Попова С. И., Соловьева Е. Е. Особенности формирования гражданской идентичности в процессе развития личности школьника // Вестник ПСТГУ. Серия IV: Педагогика. Психология. 2020. Вып. 58. С. 20-34. DOI: 10.15382/sturIV202058.20-34
The article deals with an issue of identifying specifi c features of forming civil identity of school students in the process of personal development. Civil identity is regarded as one of the most complicated varieties of social identity that implies development in the person of a high level of self-consiousness. In each stage of growing, the child faces the tasks of relating oneself to new, broader and more complicated social structures. For example, in order to assimilate the notion of state, the citizen has to identify oneself as a member of a family, a representative of his or her extended family, of a social group, of a people, a nation. The article analyses the formation of civil identity among school students, i.e. cognitive (forming the image of home country, seeing oneself as a citizen with one’s own social roles); value-related and emotional (belonging to a nation, being proud of one’s country); behavioural (willingness to be useful to one’s home country); their interaction based on empirical data (in fi lling the questionnaire 502 school students of Cherepovets took part, their age was 10‒17). By the time of graduation, the students have formed their cognitive component of civil identity. Empathy, compassion, readiness to provide help are considered positive in our society, and teenagers share this belief, whereas in real-life situations they often take a passive stand and withdraw from solving problems. Emotional, value related and behavioural components are developed insuffi ciently. It is in the personal involvement that the disruption of cognitive, emotional, assessment-related and behavioural components takes places. Inspiring active empathy in school children is a very important task that challenges teachers nowadays. Building civil identity in school students is shown through an example of running volunteer summer-camp activities. Under guidance of a summer-camp supervisor, school students become involved in performing a certain useful task and are responsible for its outcome.
formation of civil identity, development of student’s personality, components of civil identity: cognitive, emotional and value-related, behavioural
  1. Asmolov A. (ed.) (2010) Kak proektirovat' universal'nye uchebnye deistviia v nachal'noi shkole. Ot deistviia k mysli: posobie dlia uchitelia [How to design universal educational activities at primary school. From action to thought: a teacher’s guide]. Moscow (in Russian)
  2. Egorov I. (2019) “Kross-kul'turnoe issledovanie professional'noi i grazhdanskoi identichnosti studencheskoi molodezhi Rossii i Belorussii v kontekste attitiudov ot’’ezda iz strany” [Crosscultural study of professional and civil identity of students of Russia and Belarus in the context of attitudes of departure from the country]. Vestnik PSTGU. Ser. IV: Pedagogika. Psihologija, 52, p. 113–127 (in Russian).
  3. Erikson E. (2006) Identichnost': Iunost' i krizis [Identity: youth and crisis]. Moscow (Russian translation).
  4. Fromm E. (2011) Zdorovoe obshchestvo [The sane society]. Moscow (Russian translation).
  5. Ivanova N., Mazilova G. (2013) “Grazhdanskaia identichnost' v sovremennykh issledovaniiakh” [Civil identity in contemporary studies]. Problemy sotsial'noi psikhologii lichnosti. Saratov, 11, p. 140–142 (in Russian).
  6. Kirilenko N. (2016) “Formirovanie grazhdanskoi identichnosti u podrastaiushchego pokoleniia: znachenie, struktura, vozrastnye osobennosti” [Formation of civil identity in the younger generation: its value, structure, age characteristics]. Izvestiia Saratovskogo universiteta: Filosofiia. Psikhologiia. Pedagogika, 16/4, p. 471–476 (in Russian).
  7. Naumova D. (2017) “Diagnostika vidov grazhdanskogo mirovospriiatiia molodiozhi” [Investigating types of civil worldview of young people]. Vestnik PSTGU. Ser. IV: Pedagogika. Psihologiia, 46, p. 108–118 (in Russian).
  8. Popova S., Kliukvina I. (2018) “Rol' vozhatskogo otriada v formirovanii uklada litseiskoi zhizni” [The role of summer-camp supervisors in forming the lyceists’ life]. Vospitanie shkol5nikov, 4, p. 13–21 (in Russian).
  9. Potanina L. (2011) “Razvitie tsennostno-smyslovoi sfery lichnosti shkol'nika: usloviia i mekhanizmy” [Development of value-related and semantic sphere of student’s personality: conditions and mechanisms]. Vestnik Moskovskogo gosudarstvennogo oblastnogo universiteta. Psikhologicheskie nauki, 2, p. 85–90 (in Russian).
  10. Shakurova M. (2016) “Formirovanie identichnosti sovremennogo rebenka v kontekste sotsiokul'turnoi situatsii ego razvitiia” [Formation of identity of the contemporary child in the context of socio-cultural situation of his or her development]. Vestnik PSTGU. Ser. IV: Pedagogika. Psikhologiia, 2 (41), p. 15–26 (in Russian).
  11. Shchurkova N., Popova S., Potanina L. (2011) Obuchenie v protsesse vospitaniia shkol5nika. Rukovodstvo dlia zamestitelia direktora shkoly po uchebnomu protsessu [Training in the process of education of the student. Guidance for the deputy director for the educational process]. Moscow, part 3 (in Russian).
  12. Skliarova T. (2007) “Vozrastnye osobennosti razvitiia detei i vospriiatiia materiala dukhovnonravstvennogo soderzhaniia” [Age peculiarities of children's development and perception of material of spiritual and moral content]. Vestnik PSTGU. Ser. IV: Pedagogika. Psikhologiia, 4 (7), p. 20–40 (in Russian).
  13. Tolstykh A. (ed.) (1996) “Neizvestnyi klassik” [Unknown classic], in Erikson E. Identichnost': Iunost' i krizis [Identity: Youth and the crisis]. Moscow, p. 5–19 (in Russian).
  14. Vodolazhskaia T. (2010) “Identichnost' grazhdanskaia” [The civil identity]. Obrazovatel'naia politika, 5–6, p. 140–142 (in Russian).
Popova Svetlana
Academic Degree: Doctor of Sciences* in Education;
Academic Degree: Candidate of Sciences* in Education;
Academic Rank: Associate Professor;
Place of work: Cherepovets State University; 5 Pr. Lunacharskogo, Cherepovets 162600, Russian Federation;
Post: Leading Researcher;
ORCID: 0000-0002-2677-1917;
Email: psvetlana2015@mail.ru. *According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.
Soloveva Elena
Academic Degree: Candidate of Sciences* in Philology;
Academic Rank: Associate Professor;
Place of work: Cherepovets State University, 5 Pr. Lunacharskogo, Cherepovets 162600, Russian Federation;
Post: Associate Professor;
ORCID: 0000-0002-3730-0694;
Email: esk63@mail.ru. *According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.
Белогубова Ю. В., Соловьева В. С. Свято–Сергиевский храм подворья московского Иоанно–Предтеченского монастыря: особенности богослужебно-певческой практики и репертуара (на материале рукописей конца XIX - первой трети XX века) // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2020. Вып. 39. С. 115-151. DOI: 10.15382/sturV202039.115-151
This article is devoted to the study of liturgical and singing practice of the late 19th — first third of the 20th centuries of St. Sergius of Radonezh church (Dolgoprudny, Moscow Region), which used to be property (Rus. подворье) of Ioanno-Predtechensky Monastery, Moscow. The article studies the manuscript collection discovered in the church of the village of Vinogradovo, whose note material was a foundation of the repertoire of St. Sergius church from its opening to the closure in 1935. The article studies the origin of this collection, its dating and the time of use of the MSs. Particular attention is paid to its repertoire inventory. The attribution of the musical material revealed two stylistic strata and helped to systematise the chants according to several parameters.
church of St. Sergius in Dolgoprudny, property of Ioanno-Predtechensky Monastery, manuscript collection, pre-Revolution church singing, attribution of hymns, church singing practice during years of repression
  1. Batalov L., Golovkova L., nun Feonilla (Kharchenko) (eds) (2018) Moskovskii Ioanno-Predtechenskii zhenskii monastyr'. Stranitsy istorii [Ioanno-Predtechensky Monastery of Moscow. Pages of history]. Moscow (in Russian).
  2. Davidenko D. (2018) Istoriia Moskovskogo Ivanovskogo devich'ego monastyria v dokumentakh XIX — nachala XX veka. [History of Moscow Ivanovsky Monastery in documents of the 19th — early 20th centuries]. Moscow (in Russian).
  3. Gardner I. (1982) Bogosluzhebnoe penie Russkoi Pravoslavnoi Tserkvi [Liturgical singing of the Russian Orthodox church], vol. 2. New York (in Russian).
  4. Mishin V., priest (2011) Ne liubliu vlastvovat' nad liud'mi. Zhizneopisanie startsa skhiarkhimandrita Ilariona (Udodova), khranitelia glavy prepodobnogo Sergiia [“I don't like to govern people. Biography of the Elder Ilarion (Udodov), the keeper of St. Sergius’ head]. Moscow (in Russian).
  5. Potemkina N. (1999) Problemy izucheniia polnogo kruga pesnopenii sovremennogo tserkovnogo obikhoda: a primere moskovskoi traditsii [Problems of study the full circle of рymns of modern church obikhod: With Moscow tradition as an example]. Moscow (in Russian).
  6. Plotnikova N. (2015) Russkoe partesnoe mnogogolosie kontsa XVII — serediny XVIII veka: istochnikovedenie, istoriia, teoriia [Russian partsong polyphony of the end 17th — mid — 18th centuries: Study of sources, history, theory]. Moscow (in Russian).
  7. The Church sang, and therefore resisted // Orthodoxy and modernity. Saratov, 2010. No. 15 (31). P. 9.
  8. Rozhdestvenskaia N., Tarasova K., Kondrat'ev V., nun Tavifa (Isaeva), nun Sofroniia (Advakhova) (eds) (2017) Sviashchennomuchenik Vladimir Alekseevich Smirnov. Zhizneopisanie. Istoriia khramov i shkol, sviazannykh s zhizn'iu i deiatel'nost'iu sviashchennomuchenika Vladimira [Hieromartyr Vladimir Alekseevich Smirnov. Biography. History of churches and schools related to the life and work of Holy Martyr Vladimir]. Moscow (in Russian).
  9. Sadikova E. (2018) Bogosluzhebno-pevcheskoe iskusstvo russkogo zarubezh'ia: Germaniia 1940- 60kh godov [Liturgical art of singing of Russian emigration: Germany of the 1940s and 60s]. Moscow (in Russian).
  10. Zvereva S., Naumov A., Rakhmanova M. (eds) (2004) Russkaia dukhovnaia muzyka v dokumentakh i materialakh. Sinodal'nyi khor i uchilishche tserkovnogo peniia: Kontserty. Periodika. Programma [Russian spiritual music in documents and materials. Synodal choir and school of church singing: Concerts. Periodical. Programme], vol. 2, book 2. Moscow (in Russian).
Belogubova Juliya
Place of work: St. Tikhon’s Orthodox University for the Humanities; 6/1 Likhov pereulok, Moscow, 127051, Russian Federation;
Post: Department of Music History and Th eory, Faculty of Church Singing;
ORCID: 0000-0001-5247-8282;
Email: juliya_97-97@mail.ru.
Solovyeva Valeria
Place of work: St. Tikhon’s Orthodox University for the Humanities; 6/1 Likhov pereulok, Moscow, 127051, Russian Federation;
Post: Senior Lecturer, Department of Church Singing;
ORCID: 0000-0002-2982-3524;
Email: solovs011@gmail.com.
We are grateful to the choir director of the John the Baptist nunnery, nun Tavifa (Isaeva) for the provided musical materials, for valuable comments on them, and for the important information received in the conversation with her. We also thank the teachers of the faculty of Church singing of PSTGU, candidates of musical art E. B. Reznichenko, E. N. Sadikova, senior teacher of the department of regents U. S. Stenyukova for their help and advice in the process of working on the topic. We are also grateful to Anna Sidneva, a graduate of the faculty of Church singing at PSTGU, for her help in attributing some of the hymns.