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

The article deals with the representation of early Gothic in three 12th century treatises. The first treatise by Abbot Sugeris on the construction of the temple, his second treatise is on its erection and consecration, and the other two by Honorius of Autun and Sicard of Cremona on the symbolism of the temple building. Medieval sources of this period repeat and develop ideas found in early Christian texts. At the same time, however, they bear witness to new approaches to things in heaven and on earth, thus contributing to its fuller understanding by 12th century society. Trends in European architecture of the XII century will be examined, in particular the onset of early Gothic. The shift from focus on an heavenly city to increasing emphasis on an embodied earthly temple is analyzed in the context of the theological ideas current at that time.

church, temple space, heaven and earth in sacred architecture, reality, corporality

1. Bachelard G. Izbrannoe. Poetika prostranstva (Poetics of Space), Moscow, 2004.
2. Bicilli P. Elementy srednevekovoj kultury (The elements of the medieval culture), Saint-Petersburg, 1995.
3. Vaneyan S. Arhitectura i ikonographia. "Telo simvola" v zerkale klassicheskoj metodologii (Arhitecture and Iconography. The "body of symbol" in the mirror of the classical methodology), Moscow, 2010.
4. Vaneyan S. Hram zemnoj i nebesnyj (Church in Earth and Heaven), 2004, vol. 1.
5. Voskobojnikov O. 2009, in NLO, vol. 99, pp. 23-58.
6. Muratova K. Mastera francuzskoj gotiki (The Masters of the French Gothic), Moscow, 1988.
7. Nekrasov A. Teoria arhitektury (Theory of Architecture), Moscow, 1994.
8. Prak N. Architecture. Language. Theory. History. Collection of the Translations, Moscow, 2011.
9. Furtaj F. Zapiski srednevekovogo masona. Albom Villard de Honnecourt (The Notes of the Medieval Mason. The Album of Villard de Honnecourt), Saint-Petersburg, 2008.
10. Shukurov Sh. Obraz Hrama. Imago Temple (The Image of the Temple), Moscow, 2002.
11. Juvalova E. Slozhenie gotiki vo Francii (The Formation of Gothic in France), Saint-Petersburg, 2000.
12. Aubert M. 1961, in Bulletin Monumental, vol. 119, pp. 7-42.
13. Buchsel M. 2008, in A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, pp. 403-420.
14. Camille M. Gothic Art. Glorious Visions, New York, 1996.
15. Clarke G., Crossley P. 2000, in Architecture and Language. Constructing Identity in European Architecture, pp. 1000-1650.
16. Crossley P. 2009, in The Four Modes of Seeing. Approaches to Medieval Imagery in Honor of Madeline Harrison Caviness, pp. 157-173.
17. Congar Y. J.-M. Mystere du Temple, Paris, 1958.
18. De Bruyne E. Etudes d'Esthetique medievale, Paris, 1946, vol. 2: L'epoque romane.
19. De Bruyne E. L'esthetique du Moyen Age, Louvain, 1947.
20. Duby G. Le temps des cathedrales. Art et societe 980—1420, Paris, 2005.
21. Iogna-Prat D. La Maison Dieu. Une histoire monumentale de l'Eglise au Moyen Age (v. 800 — v. 1200), Paris, 2006.
22. Javelet R. Image et ressemblance au douzieme siècle, Paris, 1967.
23. Panofsky E. Abbot Suger. On the Abbey Church of St.-Denis and Its Art Treasures, Princeton, 1979.
24. Murray St. A Gothic Sermon: making a contract with the Mother of God, Saint Mary of Amiens, Los Angeles, 2004.
25. Recht R. Le dessin d'architecture. Origine et fonctions, Paris, 1995.
26. Sauer J. Symbolik des Kirchengebaudes und seine Ausstattung in der Auffassung des Mittelalters, Freiburg im Breisgau, 1902.
27. Sedlmayr H. Die Entstehung der Kathedrale, Graz, 1976.
28. Zumthor P. La mesure du monde. Representation de l'espace au Moyen Age, Paris, 1993.

Novokhat'ko Ekaterina

Panofski, the acknowledged founder of iconology, which forms a new concept of the science of art rather than just a new method of semantic analysis, developed from his German and Neo-Kantian texts written in 1930s to clear and convincing texts of his American period; i.e. from hermeneutics of symbolic forms as existential auto-interpretation to cultural and historical contextualization of intended meanings. E. Gombrich, one of relatively recent (1972) critics of iconology, made an attempt to replace the philosophical basis of iconology with kind of philosophy of ordinary consciousness, as it was no more than ‘rules of good conduct’ that he saw in scientific discourse. Self-restriction in terms of epistemological ambitions of a historian was his main virtue.

Iconology, science of art, semantic analysis, hermeneutics of symbolic forms, existential auto-interpretation, intended meaning, philosophy of ordinary consciousness, scientic discourse

1. Wanhuser K. J. Iskusstvo ponimaniya texta. Literaturovedcheskaya etika i tolkovanie Pisaniya (The Art of the Texts' Understanding. Ethics of Literary Criticism in the Interpretations of Holy Scripture), Moscow, 2007.
2. Edmonds D., Eidinow J. Kocherga Witgenshtejna. Istoriya desyatiminutnogo spora mezhdu dvumya velikimi filosofami (Vitgenshtein' Spoker. The history of Ten Minuts Debate of Two Great Philosophers), Moscow, 2004.
3. Quine U.W.O. 2010, in S tochki zreniya smysla, pp. 81—102.
4. Kung H. 1998, in Analiticheskaya filosofiya. Stanovlenie i razvitie, pp. 302—321.
5. Petrenko V. F., Nikiforov A. L. 2009, in Enciklopediya epistemologii i filosofii nauki, pp. 251—253.
6. Bialostocky J. 1973, in Dictionary of the History of Ideas, pp. 524—541.
7. Forssman E. 1966, in Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, vol. 11, pp. 132—169.
8. Gothe J. W. Schriften zur Kunst, München, 1962.
9. Hirsch E.D. Validity and Interpretation, New Haven, 1967.
10. Holly, Michael Ann. Panofsky and the Foundations of Art History, New York, 1984.
11. Mitchell T. J. W. Bildtheorie, Frankfurt am Main, 2008.
12. Pacht O. Methodisches zur Kunsthistorischen Praxis. Ausgewahlte Schriften, München, 1977.
13. Riegl A. Gesammelte Aufsatze, Berlin, 1995.
14. Strzygowsky J. Die bildende Kunst der Gegenwart. Ein Büchlein für Jedermann, Leipzig, 1907.

Vaneian Stepan, archpriest

The material for the first time is presented in article about an image, called the Wonder-working Shroud of the Mother of God. This shrine remains in Sacred Voskresensk Troitsk a stavropigialny female monastery of Korec of the Volynsk edge. This image is mentioned in historical documents since 1622 and represents cut out in a form and a written figure on a cypress tree of the deceased Mother of God. The similar figures, called Shrouds of the Mother of God which participated in church services of a feast of the Assumption, and also were brought by pilgrims as blessings from the Holy Land, were widespread in the XIX century. The art and historical analysis of an image considered in article allows to assume earlier existence of similar Uspensky shrouds.

Sacred Voskresensky Troitsk Koretsky female monastery, ancient shrine of princes Koretsky, image of the Uspensky Shroud, figures-evlogii, the feast of the Assumption of the Mother of God

1. Gnutova S. V. 2007, in Pravoslavnyj palomnik, vol. 1/32, pp. 66—77.
2. Dmitrievskij A. A. 1908, in Ikonopisnyj sbornik, vol. 2, pp. 1—13.
3. Kondakov N. P. Ikonografiya Bogomateri. Svyazi grecheskoj i russkoj ikonopisi s italjanskoyu zhivopisjyu rannyago Vozrozhdeniya (Iconography of Our Lady. Connects of Greek and Russian Icon-Painting with Painting of Early Renaissance), Sankt-Peterburg, 1910.
4. Jaroslav Antonyuk, prot. Svyato-Voskresenskij Troizkj Korezkj zhenskj monastyr v istorii Volynskoj eparhii (Koretzsky Resurrection Holy Trinity Nunnery in Volynskaja Eparchy's history), Kiev, 1999.
5. Yurjeva M. V. 2008, in Pokrov. Sbornik nauchnyh statej. Tradicii drevnerusskogo shitjya I sovremennoe obrazovanie. Materialy mezhdunarodnoj nauchno-prakticheskoj konferencii VIII Pokrovskih chtenij 2007 goda, vol. 4, pp. 54—59.
6. Karageorgis N. Kykkos Royal Monastery. A place of Virtue and Tradition, Cyprus, 2006.
7. Shoemaker St. J. The Ancient Traditions of the Virgin Mary's Dormition and Assumption, New York, 2002.

Iur'eva Marina

One of the most characteristic types of sacral medieval architecture — rotunda — manifested itself in Dalmatia and Slovenia in a very specific way. In Dalmatia spread the polykonkh type, more common for architecture of Constantinople and eastern provinces, but for Slovenia was more characteristic the type of pure rotunda, originated from Rome and western provinces. These constructions are compared in the aspect of origins of their architecture. Author concludes that different types of rotundas (chapels, baptisteries, ossuaries) originate from the source, common with western and Byzantine styles. Author also emphasizes specific genetic features of Dalmatian and Slovenian church architecture, that preserve the traditions of united Christian culture.

medieval architecture, Western Balkans, Dalmatia, Slovenia, rotundas, polykhonhy, ossuaries

1. Dyggve E. Povjest salonitanskog krscanstva (History of Christianity in Thessaloniki), Split, 1996.
2. Fister P. Umetnost stavbarstva na Slovenske (Architecture Art in Slovenia), Ljubljana, 1986.
3. Krauthajmer R., Curcid S. Ranohriscanska i vizantjska arhitektura (Early Christian and Byzantian Architecture), Beograd, 2008.
4. Marasovid J. Metodologja obrade graditeljskog nasljeda (Methodology of Architecture Heritage), Split, 2007.
5. Marasovid T. Dalmatia praeromanica. Ranosrednjovjekovno graditeljstvo u Dalmacji. Rasprava (Dalmatia praeromanica. Early Medieval Architecture in Dalmatia. Discussion), Split, Zagreb, 2008.
6. Marasovid T. Dalmatia praeromanica. Ranosrednjovjekovno graditeljstvo u Dalmacji. Korpus arhitekture. Kvarner i Sjeverna Dalmacja (Dalmatia praeromanica. Early Medieval Architecture in Dalmatia. Architecture Corps. Kvarner and Northern Dalmatia), Split, Zagreb, 2009.
7. Marasovid T. Dalmatia praeromanica. Ranosrednjovjekovno graditeljstvo u Dalmacji. Korpus arhitekture. Srednja Dalmacja (Dalmatia praeromanica. Early Medieval Architecture in Dalmatia. Architecture Corps. Middle Dalmatia), Split, Zagreb, 2011.
8. Petricioli I. Srednjovjekovim graditeljima u spomen (To Memory of Medieval Builders), Split, 1996.
9. Toman R. (ed.) Romanik. Architektur, Skulptur, Malerei, Koln, 2004.
10. Suid M. Anticki grad na istocnom Jadranu (Ancient City in Eastern Jadran), Zagreb, 2003.
11. Yasich M. Arhitektura i skulptura u Dalmacii od pochetka XVveka. Crkve (Arhitecture and Sculpture in Dalmatia from the beginning of XV century. The Churches), Beograd, 1922.
12. Vezid P. Zadar napragu krscanstva (Zadar on Frontier of Christianity), Zadar, 2005.
13. Vezid P. Sveti Donat. Rotonda Sv. Trojstva u Zadru (St. Donat. Rotonde of St. Trinity in Zadar), Split, 2002.
14. Vezid P. 2011, in Ars adriatica. Casopis Odjela za povjest umjetnosti Sveucilista u Zadru, vol. 1, pp. 27-63.
15. Vezid P. 1991, in Diadora. Glasilo Arheoloskoga muzeja u Zadru, vol. 13, pp. 323-367.
16. Vezid P. 2002, Zbornik Tomislava Marasovica, 2002, pp. 220-230.
17. Zadnikar М. Romanska umetnost (Roman Art), Ljubljana, 1970.
18. Zhivkovich T. Juzhni Sloveni pod vizantjskom vlashchu (600–1025) (South Slovenia under Byzantine Power (600–1025)), Beograd, 2002.

Voronova Ariadna

In this article the major elements of the notation in harmonizations in many parts are examined leaning on an extensive hand-written material: ways of it's writing down (separate parts, choir-book and scores) and clefs. Besides it's original features are established in comparison with the West-European tradition. The rare and typical combinations of the C, G and F clefs in the four-part harmonizations are studied. It is also shown that the the new system of clefs is forming in eight-part and twelve-part compositions under the influence of the concert polyphony and also in communication with gradual departure from arrangements of the monophonic church chants. The conclusions about practical use of the theory of clefs in decodings of partesny polyphony are made.

notation, harmonization, part-singing (partesny) style, parts, scores, clefs, manuscripts

1. Barsova I. A. Ocherki po istorii partiturnoy notatsii (XVI—pervaya polovina XVIII veka) (Essays on the Partitur Notation's History (XVI — the first half of XVIII century), Moscow, 1997.
2. Gurjeva N. V. 2006, in Idu v nevedomyj mneput'. Pamyati Eleny Filippovoj, pp. 75-85.
3. Dal V. I. Tolkovyj slovar' zhivogo velikorusskogo yazyka (Explanatory Dictionary of the Living Great Russian Language), Moscow, 1989, vol. 2.
4. Diletskij N. Idea grammatiki musikijskoj (An Idea of Musical Grammar), Moscow, 1979, vol. 7.
5. Zakharjina N. B. Russkiye bogosluzhebnye pevcheskie knigi XVIII–XIX vekov. Sinodalnaya traditsiya (Russian Liturgical Chant Books of XVII–XIX centuries. The Sinodal Tradition), Sankt-Peterburg, 2003.
6. Keldysh Yu. V. Istoriya russkoj muzyki (The History of Russian Music), Moscow, 1983, vol. 1.
7. Kokliko A. P. Compendium musices (1552), Moscow, 2007.
8. Plotnikova N. Yu. Partesnye garmonizatsii znamennogo igrecheskogo rospevov (Нarmonizations in Many Parts (partesnyje) of Znamenny and Greek chants), Moscow, 2004.
9. Pozhidayeva G. A. Pevcheskie traditsii Drevnej Rusi (Chant-Singing Traditions of Old Russia), Moscow, 2006.
10. Protopopov V. V. 1978, in Muzykaljnaya encyclopedia, vol. 4, pp. 190-193.
11. Protchenko I. Partesnye garmonizatzii pesnopenj Liturgii v rukopisi GIM. Sinodal'noe pevcheskoe sobranie, № 375. Diplomnaya rabota. PSTGU (Нarmonizations in Many Parts (partesnyje) of liturgical singing in the manuscript GIM. Sin. Pevch. Sobr. № 375. Degree work. PSTGU), Moscow, 2009.
12. Smolensky S. V. 2002, in Russkaja duhovnaja muzyka v dokumentah i materialah, vol. 1, pp. 218-258.
13. Tabulatura, in http://ru.wikipedia.org/wiki/%D2%E0%E1%F3%EB%E0%F2%F3%F0%E0
14. Uspenskij N. D. Drevnerusskoe pevcheskoe iskusstvo (Ancient Russian Church Chant), Moscow, 1972.

Plotnikova Natal'ia

In the present publication offers an overview of icon painting in Kiev, in the XVIII century. Studying literature, call pictorial icon-painting workshops, working in Kiev, in the XVIII century. Based on field studies of museum collections of the National Kyiv-Pechersk Historical and Cultural Preserve (NKPIKZ), the National Art Museum of Ukraine (NAMU), National Reserve Sophia Cathedral (NZSK) Identify the product, coming out of the workshops. The survey surviving works iconography Kiev XVIII century iconostasis includes both systems and individual icons. The criteria for selection of works for the study were dated and removable inscriptions on monuments, archival documents (inventory, inventory books), confirming the origin of the Kiev monuments. As a result of research carried out for the first time a comprehensive study of the surviving works of iconography Kiev XVIII century. Substantial body of Kiev monuments iconography XVIII century, having a fixed Kiev and comprehensive study of the origins, becomes established as a base and is available for a wide range of researchers

Kiev of the XVIII century, icon-painting workshops in Kiev XVIII century, iconostasis in Kiev XVIII century, icons in Kiev XVIII century

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3. Belikova G. 2007, in Pamyatki Ukraini, vol. 1, pp. 69-79.
4. Davidov D. Ikone srpskih cikava u maarskoj (Serbian and Hungarian Icons), Novi sad, 1973.
5. Zholtovs'kij P. Malyunki Kievo-Lavrs'koj ikonopisnoj majsterni: al'bom-katalog (Drawings of Kievo-Pecherskaja Lavra's Studio), Kiev, 1982.
6. Zholtovs'kij P. Hudozhm zhittya na Ukraini v XVI—XVIII st. (Ukrainian Artistic Lift in XVI–XVIII Centuries), Kiev, 1983.
7. Istomin M. 1895, in Chteniya v istoricheskom obschestve Nestora Letopistza, vol. 9, pp. 64-75.
8. Istomin M. 1895, in Chteniya v istoricheskom obschestve Nestora Letopistza, vol. 12, pp. 34-90.
9. Istomin M. 1901, in Iskusstvo i hudozhestvennaya promyshlennost', vol. 10/34, pp. 311-314.
10. Istomin M. 1901, in Iskusstvo i hudozhestvennaya promyshlennost', vol. 11/35, pp. 311-314.
11. Kagamlik S. Kievo-Pechers'ka Lavra svit pravoslavnoj duhovnosti i kul'turi (XVII–XVIII st.) (Kievo-Pecherskaja Lavra as a World of Orthodox Spirituality), Kiev, 2005.
12. Kievo-Pechers'ka Lavra — pam'yatka istorii ta kul'turi Ukraini (Kievo-Pecherskaja Lavra as a Monument of Ukrainian History and Culture), Kiev, 2006.
13. Kondratyuk A. Monumental'nij zhivopis Troic'koj nadbramnoj cerkvi Kievo-Pechers'koj lavri: katalog (Monumental Painting of Trinity Overgate's Church of Kievo-Pecherskaja Lavra), Kiev, 2005.
14. Kondratyuk A. 2008. Siverschina v istorii Ukraini (Sivertchina in the Ukrainian History), Sumi, 2008.
15. Litvinenko Ya. 2007, in Lavrs'kj al'manah, vol. 17, pp. 59-72.
16. Litvinenko Ya. 2010, in Lavrs'kj al'manah, vol. 25, pp. 67-86.
17. Litvinenko Ya. 2012, in Zerkva—Nauka—Suspil'stvo: pitannya vzaemodii: materiali desyatoj mizhnar. nauk. konf., 30 travnya — 1 chervnya 2012 roku, pp. 181-183.
18. Lopuhina O. 2007, in Lavrs'kj al'manah, vol. 17, pp. 73-79.
19. Milyaeva L. 1994, in Vostochnohristianskj hram. Liturgiya i iskusstvo, pp. 308-316.
20. Narisi z istorii ukrains'kogo mistectva (Essays from History of Ukrainian Art), Kiev, 1966.
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22. Pavlenko A. 1984, in Gosudarstvennye muzei Moskovskogo Kremlya. Proizvedeniya russkogo I zarubezhnogo iskusstva XVI — nachala XVIII veka: materialy i issledovaniya, vol. 4, pp. 133–147.
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24. Ryzhova O., Raspopina V., Izotov A., Soroka E. 2012, Cerkva—Nauka—Suspil'stvo: pitannya vzaemodii: materiali desyatoj mizhnar. nauk. konf., 30 travnya — 1 chervnya 2012 roku, pp. 197-200.
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27. Sitkarova O. Uspens'kij soborKievo-Pechers 'koj lavri. Do istorii arhitekturno-arheologichnih doslidzhen' ta proektu vidbudovi (Uspenskij Cathedral. The History of Architectural and Archaeological Researches and Project of Reconstruction), Kiev, 2000.
28. Skarbi Kievo-Pechers'koj lavri: al'bom (Treasures of Kievo-Pecherskaja Lavra: Album), Kiev, 1998.
29. Todich B. 2009, in Pravoslavnaya enciklopediya, vol. 4, pp. 289-290.
30. Ukrains'ka ikona tr'oh stolit': katalog vistavki (Ukrainian Icons of Three Centuries: Exhibition's Catalogue). Kiev, 2001.
31. Ukrains'kij ikonopis XII—XIXst. z kolekcii NHMU: al'bom (Ukrainian Icon-Painting of XII–XIX Centuries: Album), Kiev, 2005.
32. Umancev F. Troic'ka nadbramna cerkva Kievo-Pechers'koj lavri (The Trinity Overgate's Church of Kievo-Pecherskaja Lavra), Kiev, 1970.
33. Furman R. 1991, in Obrazotvorche mistectvo, vol. 3, pp. 15-17.
34. Hizhnyak Z. Kievo-Mogilyanskaya Akademiya (Kievo-Mogilyanskaya Academy), Kiev, 1988.
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39. L'epoca d'oro delle icone Ucraine XVI—XVIII secolo: catalogo, Torino, 2010.
40. The Glory of Ukraine: Sacred Images from the 11th to the 19th Centuries: Catalog, New York [etc.], 2010-2011.

Ryzhova Ol'ga

In the 1770-s Vologda diocese had an advanced control system concerning the quality of icon painting. A research subject is archive documents and icons, presented to the bishop Iosiph II (Iosiph the Golden) in order to get permition for icon painting in Vologda diocese. These documents, justifying painters' skills and containing important biographical information along with formal and stylistic analysis of paintings gives large opportunities for further research of the history of icon painting in Vologda.

Icon, icon-painter, Vologda diocese, control system concerning the quality of icon painting, peculiar properties of painting technique, history of Vologda icon painting

1. Buseva-Davydova I. L. 2000, in Pravoslavnaya entsiclopediya. Russkaya pravoslavnaya tserkov, pp. 37-558.
2. Ermakova M. E., Khromov O. R. Russkaya gravyura na medi vtoroj poloviny XVII — pervoj treti XVIII veka. Moskva, Sankt-Peterburg (Russian Copper Engravings from Second Half of XVII Century to First Third of XVIII Century. Moscow — Sankt-Peterburg), Moscow, 2004.
3. Komashko N. I. Russkaya ikona XVIII veka (Russian Icons of XVIII Century), Moscow, 2006.
4. Tarasov O. Ikona i blagochestie. Ocherki ikonnogo dela v Rossii (Icon and Piousness. Essays of Icon's Area in Russia), Moscow, 1995.

Fedyshin Ivan

Folk religious beliefs of the Eastern Slavs is a holistic system inside of which Christian and pagan (mythological) components are opposed. This article represents the experience of studying the local specific character of North Russian national religiosity in the light of traditional wedding of the White Sea. Originally archaic model of the coast-dwelle (Pomor) wedding ritual is enriched with Christian components which are reflected in different semiotic «languages-codes» (activity language, subject language, verbal-music language). The records of the last third of the 19th century have particular importance for clarifying the role of Christian component of the local wedding. These records include detailed cycles of canonical Orthodox lamentations, using traditional for North Russian lamentations vocabulary.

folk religiousness, regional investigations, Pomorye, wedding lamentations

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3. Bernshtam T. A. Prihodskaya zhizn russkoj derevni: Ocherki po cerkovnoj etnografii (The Parish Life of Russian Countries: Essays at the Church Ethnography), Sankt-Peterburg, 2005.
4. Bernshtam T. A. Russkaya narodnaya kultura Pomorya v XIX — nachale XXv. Etnograficheskie ocherki (Russian Folk Culture of Pomorje from XIX Century to the Beginning of the XX Century), Leningrad, 1983.
5. Gemp K. P. Skazo Belomor'e. Slovar pomorskih rechenij (Narration about Belomorje. Pomor's dialectic dictionary). Moscow, Arhangelsk, 2004.
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7. Gurevich A. Ya. Problemy srednevekovoj narodnoj kultury (The Problems of Medieval Folk Culture), Moscow, 1981.
8. Denisov N. G. Strelnikovskj hor Kostromskoj zemli: Traditzii staroobryadcheskogo tserkovnogo peniya (Strelnikov's Choir of Kostroma: Tradition of Old Believers' Church Singing), Moscow, 2005.
9. Durov I. M. Slovar zhivogo pomorskogo yazyka v ego bytovom i etnograficheskom primenenii (The Dictionary of pomors' Language in its Ethnographic Application), Petrozavodsk, 2011.
10. Efimenko P. S. Obychai i verovaniya krestyan Arhangelskoj gubernii (Peasant Customs and Relief in Arhangelsk' Province), Moscow, 2009.
11. Efimenkova B. B. Vostochnoslavyanskaya svadba i eyo muzykalnoe napolnenie (East-Slavic Wedding and its Musical Component), Moscow, 2008.
12. Podrezova S. V. Narodnye raspevy Paskhalnogo troparya "Khristos Voskrese" v traditziyah Verhnego Podneprovja (Paschal Troparion "Christ is resurrected" in the Folk Manner and Traditions of Upper Podneprovie), Sankt-Peterburg, 2009.
13. Russkaya svadba (Russian Wedding), Moscow, 2000, vol. 1.
14. Russkaya svadba Karelskogo Pomorya [v selah Kolezhme i Nyuhche] (Russian Wedding of Karelian Pomorje [in Countries as Koledgma and Niukhche]). Petrozavodsk, 1980.
15. Tolstaya S. M. 2012, in Slavyanskie drevnosti: Etnolingvisticheskij slovar, vol. 5, pp. 616-619.
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Reznichenko Evgeniia