St. Tikhon’s University Review . Series V: Problems of History and Theory of Christian Art

In this paper a vita (living) icon is considered in terms of composition structure which contributes to the content and idea of an image. We propose some sources of origin of this type of icon first appeared in Byzantium in late XIIth-beginning of the XIIIth century. Cases genetically and typologically related to vita icon’s structure such as a templon or a “decorated” icon reveal the principles of vita icon’s composition. Following the ideas of P.A.Florensky and of Paroma Chatterjee the author of this article analyzes the formal juxtaposition of the ways a saint is presented in “srednik” (central part) as an eternal image with no connection with physical being and in the narrative cycle in “klejma” (on the edge) in which a saint takes part in the life events. The semantics of this composition form is revealed as a result of this comparison. We study such compositional techniques as a repetition of a saint as a protagonist both in “srednik” and in “klejma”, vita cycle in “klejma” as a frame for the central figure. Despite the linear composition of the narrative cycle the “reading” of the vita icon correlates the simultaneous perception of the image as a whole. Therefore, the vita icon is a well-thought-out composition system which expresses a saint’s manifestation throughout the living cycle.

Composition, vita icon, living icon, srednik, klejma, narration, narrative cycle, hagiography

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8. Таrasov O. (2011) Framing Russian Art: From Early Icons to Malevich. London.
9. Chatterjee P. (2014) The Living Icon in Byzantium and Italy. The Vita Image, Eleventh to Thirteenth Centuries. Cambridge; New York.
10. Hahn C. (2001) Portrayed on the Heart. Narrative Eff ect in Pictorial Lives of Saints from the Tenth Through the Thirteenth Century. Berkeley; Los Angeles; London.
11. Patterson Ševčenko N. (1983) The Life of Saint Nicholas in Byzantine Art. Torino.
12. Patterson Ševčenko N. (1992) “Vita Icons and Decorated″ Icons of the Komnenian Period”, in B. Davezac (ed.) Four Icons in the Menil Collection. Houston, pp. 57–69.
13. Patterson Ševčenko N. (1999) “The Vita″ Icon and the Painter as Hagiographer”, in Dumbarton Oaks Papers, vol. 53. Washington, pp. 149–165.
14. Weitzmann K. (ed.) (1979) Age of Spirituality. Catalogue of the Exhibition at the Metropolitan Museum of Art. New York.
15. Weitzmann K. (1986) “Icon Programs of the 12th and 13th Centuries at Sinai”, in ΔXAE, 12. Athens, pp. 63–116.
16. Weitzmann K., Chatzidakis M., Miatev K., Radojčić S. (1972) Frühe Ikonen. Sinai, Griechenland, Bulgarien, Jugoslawien. Sofia; Belgrade.

Aitova Sofia

The article is dedicated to the analysis of the formation and typological features of the iconography “The Women clothed with the Sun” that became the main type of the image “ The Immaculate Conception” in the European Christian art of the end of XVI – XVII centuries. A lot of specialists are sure that this iconography is stable and undeveloped but it’s wrong. The image of the Immaculate Conception as the Woman of Apocalipse has a long way of evolution and exists in the art in various iconographical types. The basic material are the works of the Spanish painting of the XVII-th cent.in which the iconography is very rich and various. In this article there is the analysis of a lot of works by the best painters of the “Golden Age” of the Spanish school: El Greco, Diego Velasquez, Fransisco Zurbaran, Bartolomeo Esteban Murillo. Also we research the genesis of this iconography in the art of the Late Gothic and Renaissance of France and Italy XVI- XVI centuries in the works by Giorgio Vasari, Piero di Cosimo, Ludovico Chigoli (Cardi). The evolution of the iconography developed from the use of a lot atributs and symbols with theological content to the so called mystical image where this content is demonstrated only by means the mode of painting.

iconograghy, Mary, the Immaculate Conception, the Women of Apocalipse, painting, Pacheco, El Greco, Zurbaran.

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3. “Concezione a Napoli tra ‘500 e ‘600 (1991)”. Arte Cristiana, 1991, vol. 79, pp. 195–206.
4. De Fiores S. (1991) Maria nella teologia contemporanea. Roma.
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6. Francisco Suárez (1948) Misterios de la vida de Cristo, vol. 1, Madrid.
7. Hernández R. (2019) Immaculate Conception. The Power of the Religious Imagination in Early Modern Spain. Toronto; London.
8. Laneri A. M. (1991) “L’iconografi a dell’Immacolata Concezione a Napoli tra ‘500 e ‘600”. Arte Cristiana, 1991, vol. 79, pp. 195–206.
9. Levi d’Ancona M. (1957) The Iconography of the Immaculate Conception in the Middle Ages and Early Renaissance. New York.
10. Nancarrow M. (2010) “Francisco Suárez’s Bienaventurada Virgen and the Iconography of the Immaculate Conception”, in Roe J., Bustillo M. (eds), Imagery, Spirituality and Ideology in Baroque Spain. Cambridge.
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13. Pacheco F. (1990) Arte de la pintura. Madrid.
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17. Stratton S. (1994) The Immacutate Conception in Spanish Art. Cambridge.
18. Tongiorgi Tomasi L. (2009) “Cigoli e Galilei: cronaca di un’amicizia” in F. Tognoni (ed.) Il carteggio Cigoli–Galileo, 1609–1613, Pisa, pp. 5–19.
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21. Vloberg M. (2005) “The Iconography of the Immaculate Conception”, in O’Connor M. (ed.) The Dogma of the Immaculate Conception, New York, pp. 463–506.
22. Wethey H. (1962) El Greco and His School. Vol. 1. Princeton.

Borovskaya Natalia

*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.

The article discusses the stage of formation and development of classical architectural traditions in the United States of America in the 17th-18th centuries on the example of the church architecture of Swedish settlers. The main direction in which both foreign architects and later national American masters worked was classicism, often manifested in the forms of Palladianism. The article describes the degree of influence of A. Palladio's architectural treatise on colonial building practice. Church buildings were built in the settlements the very first and best preserved, for this reason, it is precisely by examining examples of such that we can conclude that the early stage in the development of the classical architectural tradition in the United States. On the basis of local specific building and cultural features, under the influence of the religious institutions of church architecture in Sweden and Northern Europe, this direction received a new reading. The article provides a brief overview of the three oldest churches of the Swedish Christian community, on the example of which the author seeks to trace the history of the origin and development of the national interpretation of the Palladian system. The question is raised about the purity of the application of order architectural solutions in the early cult architecture of North America and the degree of fundamentality of the interpretation of the ideas of classicism and Palladianism. The specific national features of architectural solutions, which manifested themselves in the early church architecture of the colony, are revealed.

architecture, USA, classicism, Palladianism, facade, Swedish settlers, Lutheran church.

1. Colonial Records of the Swedish Churches in Pennsylvania: in 2 vols. Philadelphia, 2006.
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8. William A. (1926) Kyrkor i Östra härad: Konsthistoriskt inventarium. Stockholm.
9. Williams K. 1999). The Eight Old Swedes’ Churches of New Sweden. Wilmington (in English).

Tsvetkova Polina

*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.

The article deals with an unknown manuscript of the late 18th century found in the archives of the Dmitrov Kremlin. Notes previously belonged to the Apraksin family and were kept in the library of the Olgovo estate. Stepan Stepanovich Apraksin was a well-known music lover, in Olgov there was a serf theater, an orchestra, and a choir. The singers sang at divine services in the Church of the Introduction of the Virgin in the village adjacent to the estate. The manuscript contains two hymns — "Dostojno est’" and "Angel vopijashe". The manuscript contains an indication of the authorship of Bortnyansky. The question is being considered whether this authorship can be attributed to both chants, or only to “Dostojno est’”. The music of the choir "Angel vopijashe" is analyzed.The chant "Angel vopijashe" most likely belongs to early classicism, it can be dated to the 1780s. It was not written by the most skillful author, who composed it on the model of Bortnyansky's chants.

Vincenzo Manfredini, classicism, Cherubic Hymn, Russian sacred music, Court chapel choir, musical textology, choral score,

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Lebedeva-Emelina Antonina

*According to ISCED 2011, a post-doctoral degree called Doctor of Sciences (D.Sc.) is given to reflect second advanced research qualifications or higher doctorates.

This article examines the notolinear handwritten collections that existed in the church singing practice of Russia from the second half of the XVII century to the revolution. A brief historical digression is given that characterizes the external features of manuscripts in the XVII, XVIII, XIX centuries, describes the change in notation in singing books. The classification of handwritten singing collections is proposed. The characteristics of the most important singing centers of Moscow, St. Petersburg and the province are given. The question is raised about the importance of ownership records, allowing to trace the ownership of the manuscript to a particular temple, the owner, to determine the time of creation of the manuscript. We are talking about the repertoire preserved in the singing collections of different historical periods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Manuscript, assembly of church chants, sacred music, repertoire, sacred concerts, hymns of the Liturgy, All-Night Vigil.

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Belogubova Juliya

The last decade of the reign of Nicholas I (1845 - 1855) was the time when the projects of renewal of church paintings in Russia appeared. Public discussion of the problems of the tradition of the Russian art started with the publication in 1845 of a brochure "On Icon-paintings" by the Ostrog bishop Anatoly, who wasn't, however, a zealous adherent to the traditional icon-paintings, his "theory" of icon-paintings tending towards neoclassicism. In difference from the Right Reverend Anatoly's approach in his brochure, the Rev'd Grigoriy Debolsky argued for the inseparable connection between the national spirit (narodnost') of the church paintings and the tradition of icon-painting in an article published in the same year. Russian Academic school did not respond to the new attitudes in society: propelled by the Emperor, this school acknowledged the tradition in symbolic terms only - in the Byzantinine golden impressions in the paintings in St Isaac's Cathedral. On the whole, the ensemble of these paintings promised to become a brilliant legacy of Bologna academism. 1848, the year of a wave of revolutions in Europe that were perceived as a direct threat to the Empire, opened a period of Nicholas's reign marked, on the other hand, by the intensification of censorship, and, on the other hand, by the two projects of renewal of national church art: those by Duke G.G. Gagarin and by I.P. Sakharov, an archaeologist. The first project, which had at its base the idea, taken from French artists, of christianising ancient art, was an attempt to adapt the Byzantine tradition to the framework of the academic artistic paradigm. Sakharov's project, on the contrary, presupposed complete rejection of this academic paradigm and going back to the icon-paintings that were not yet "spoiled" by Western influences. On the eve of the Crimean war the government made an attempt to expand the national tradition by including in it the ancient paintings from the Mount Athos, in particular, the wall-paintings by Panselinos, which, as A.N. Mouravyov claimed, "are on a par with the works by Rafael and Michelangelo in colouration and modest comportment of the figures". In the new era, marked by the Great Reform of Alexander II, the attempts at a renewal of church paintings that flourished in Nicholas's times, become, for the most part, a thing of the past.

church paintings, icon-paintings, The Right Revd Anatoly Martinovsky, Grigory Gagarin, Ingres, Flandrin, Ivan Sakharov

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Maslov Konstantin

*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.

The article presents the experience of scientific reconstruction of fragments of the liturgical and singing life of the Holy Trinity Seraphim-Diveevsky Monastery from the late 1880s until the closure of the monastery (1927). The context is, on the one hand, historical data, on the other hand, materials related to the prehistory of the formation of Diveev's own singing culture. The main source base was the memories of pilgrims and residents of the monastery. Memoir literature is practically the only thing that allows us to judge the singing culture of Diveyev of the pre-revolutionary period and the first post-revolutionary years, since during the Soviet period the monastery was ruined, its archive was not preserved, liturgical books and sheet music were lost.The picture is complemented by data on the liturgical and singing component of the life of the Diveevo sisters after the closure of the monastery, about the preservation of the clergy traditions of the monastery by the nuns in exile.Having collected and systematized the preserved information, the authors tried to "contour" (as far as the available materials allow) to recreate the image of Diveevo singing at the turn of the century and in the first quarter of the twentieth century — with its characteristic high solemnity of services, "harmony of the chartered monastery", an excellent level of choral performance. The single information that has come down to us about the repertoire, which included both traditional chants and the author's spiritual music during this period, is presented and commented on.The work outlines the periodization of the history of liturgical singing of the Diveevo monastery. A hypothesis is put forward about the gradual change of stylistic guidelines in local church singing. If, judging by the available data, at the beginning of the XIX century, monody tunes based on the style of Old Russian chants sounded in Diveyevo, then at the beginning of the XX century, a multi-layered, stylistically polyphonic singing culture was formed here, including the author's spiritual music and a corpus of local chants of traditional stylistics ("Diveyevsky chants").

church singing, Seraphim-Diveyevsky monastery, monastic singing traditions, "diveyevsky chants", reconstruction of singing culture, history of liturgical singing,

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2. Khondzinskii P. (archpriest) (2017) Nezrimaia obitel: Kratkaia povest o zhizni diveevskikh monakhin v muromskom izgnanii. Moscow (in Russian).
3. Pavlovich G. (priest) (2021) “Serafimov Diveevskii vo imia Sviatoi Troitsy zhenskii monastyr”, in Pravoslavnaia entsiklopediia, vol. LXII, Moscow, pp. 597–614 (in Russian).
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7. Zander V. (1983) “V obiteli prepodobnogo Serafima”. Russkoe vozrozhdenie, 1983, vol. 23, New York, pp. 7–43 (in Russian)

Reznichenko Evgenia

*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.

Stepanova Polina

The article deals with the "All-Night Vigil" by Gr. Ponomarenko in the context of spiritual revival and restoration of liturgical practice in the Kuban and, more broadly, in the domestic musical culture of the post-Soviet period. The problem of the implementation of the church singing canon in the work of a secular author, the vast majority of whose compositions are songs, is touched upon. The reasons that prompted the Soviet composer, the author of popular songs, most of them attributed to mass songs, to turn to chants to canonical liturgical texts are revealed. Among them - churching, acquaintance with the church singing culture in early childhood, love for Russian choral music, the dominant theme of the Motherland in all his compositions. The analysis is based on the historical method with the partial involvement of special tools of liturgical musicology. The authors come to the conclusion that the all-night vigil of Grigory Ponomarenko is in line with the general trends in the development of domestic and European musical cultures, using the widespread method of working on style models, carefully updating the poetics of the spiritual chants of the Russian Orthodox Church. The significance of the appearance of Grigory Ponomarenko's "All-Night Vigil" at the end of the Soviet era is regarded as a powerful impetus for the mass appeal to the canonical liturgical texts of composers - our contemporaries.

spiritual revival, post-Soviet period canon and author, All-night vigil, Grigory Ponomarenko, liturgical chants, sacred music, traditions

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Rozhkov Genndy

Khvatova Svetlana

*According to ISCED 2011, a post-doctoral degree called Doctor of Sciences (D.Sc.) is given to reflect second advanced research qualifications or higher doctorates.

To the widow of Grigory Ponomarenko - Vera Ivanovna Ponomarenko - Soviet and Russian artist-vocalist, professor, general director and artistic director of the Krasnodar Philharmonic Society, People's Artist of Russia, Hero of Labor of the Kuban for the materials provided.