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

St. Tikhon’s University Review V :1 (13)

ARTICLES

Trubenok Elena

Christian hymn TE DEUM: the study of the text and melodic archetypes

Trubenok Elena (2014) "Christian hymn TE DEUM: the study of the text and melodic archetypes ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 9-18 (in Russian).

DOI of the paper: 10.15382/sturV201413.9-18
Te Deum is a Catholic Latin hymn, which emerged in the 4th century. Its creation is attributed to St. Ambrose, according to legend (so the Te Deum is often called «Ambrosian hymn»). From the fourth century to the present the hymn is sung in Christian worship. Eventually an additional (secular-ceremonial) function of the Te Deum was formed: the hymn was performed on the occasion of important political events, such as the conclusion of peace, a war victory, the coronation, meetings and weddings royalty, approaching festive cantata or oratorio. Non-liturgical function genre Te Deum is manifested in the form of concert treatments of a text of the hymn. Te Deum compositions have a number of common features uniting all such compositions regardless of the time of their creation. These commonalities — genre archetypes — signs, the presence of which in the product indicates the product belonging to this genre. Verbal text and canonical melody of Te Deum are accepted as archetypes Te Deum. But in relation to the text-source and canonical ringtones Te Deum is deeper archetypes, which became the basis of many of the Church hymns, Psalms and psalm tones. The Genesis of the text and the melody Te Deum is determined by the tradition of psalm singing and Christian texts, especially the Psalms. Christian source of the hymn clarifi es its unusual spread not only in the Catholic Church, but in the Orthodox, and Protestant (Lutheran, Anglican, and other). Thus, the Genesis of the genre Te Deum determines the peculiarities of its existence in the course of long evolution of the genre, and the credibility of the source (the Holy Scripture) explains the popularity of the Te Deum and continuing interest in the hymn for seventeen centuries.
Te Deum, Ambrosian hymn, genre archetypes, text archetype of the Te Deum, melodic archetype of the Te Deum, the canonical melody Te Deum, the Psalms, psalm tones, Holy Scripture, the book of Psalms

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8. Steiner R. 2001 “Te Deum. 1. Text. 2. Melody”, in The New Grove Dictionary of Music and Musicians, London, 2001, vol. 25, pp. 191b — 192b.

Trubenok Elena

Gudkov Aleksei

The pen and the scroll: the tools of medieval scribe and their symbolic and allegorical interpretations

Gudkov Aleksei (2014) "The pen and the scroll: the tools of medieval scribe and their symbolic and allegorical interpretations ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 19-46 (in Russian).

DOI of the paper: 10.15382/sturV201413.19-46
The article is devoted to the medieval bookmaking toolkit and its symbolic and allegorical interpretations in the context of sacred texts and interpreting artifacts. This paper lists the basic tools of medieval calligraphy and miniature painting and discusses their historical, technical and symbolic haracteristics, presenting original medieval recipes of sharpening a pen, ink preparation as well as paint recipes for bookmaking craft. The traditional Eastern Christian culture is considered as a holistic phenomenon: all its elements are related to each other by a plurality of inseparable links and generally determined by an appropriate sacred doctrine. Bookmaking craft is treated as ultimately based on the symbolism of the Eucharistic Sacrifice
art of manuscripts, traditional calligraphy and miniatures, scribes and miniatures, medieval materials and technology, Christian symbolism

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Gudkov Aleksei

Shchedrina Kseniia

Regalia of Tsar Alexey Mikhailovich and Patriarch Nikon. Representation of power in art of the XVII century

Shchedrina Kseniia (2014) "Regalia of Tsar Alexey Mikhailovich and Patriarch Nikon. Representation of power in art of the XVII century ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 47-55 (in Russian).

DOI of the paper: 10.15382/sturV201413.47-55
This work represents evolution of Royal and Patriarchal insignia in the fi rst half of the XVII century. The Great Garment Corona (Venetz Bolshogo Naryada) made in Kremlin workrooms at 1627 was emblazed with fl eurs-de-lis motif, also known as European royal insignia. As a part of the project “Russian Tzar is New Constantine” at Christian Eastland were ordered a number of regalia including patriarchal mitra-crown and tsar’s rod of state both fl eurs-de-lis patterned. It is possible that usage of this so well-known in Europe heraldical element at Russian royal insignia was a part of creating the alternative Holy Roman Empire policy.

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Shchedrina Kseniia

Baranova Svetlana

Reconstructions of heaters and stoves of the Kolomenskoye palace. The degree of authenticity

Baranova Svetlana (2014) "Reconstructions of heaters and stoves of the Kolomenskoye palace. The degree of authenticity ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 56-77 (in Russian).

DOI of the paper: 10.15382/sturV201413.56-77
The paper deals with the unique project of the reconstruction of heaters and stoves of the Tsar’s Alexej Michailovich wooden palace (1667–1768). The study managed to reconstruct the appearance of ceramic tiles and associate certain types of heaters with various rooms of the palace. It was also important to achieve the reliability of heater's shapes. Various sources, examined by the author, enable to perform the most accurate reconstruction projects, as well as off er a variety of techniques exhibiting original tiles in the rooms of the palace. A special place in the reconstruction process is devoted to glazed tiles found during archaeological excavations at the territory of Kolomenskoye. The main theme of the paper — the reconstruction of heaters — is preceded by a brief excursion into the history of the emergence of a new kind of Moscow tiles.

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Baranova Svetlana

Vinogradova Elena

The icon “Our Lady of Vladimir” painted in 1707 by Boris Deomidov from the Vologda State Museum's collection

Vinogradova Elena (2014) "The icon “Our Lady of Vladimir” painted in 1707 by Boris Deomidov from the Vologda State Museum's collection ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 78-91 (in Russian).

DOI of the paper: 10.15382/sturV201413.78-91
The collection from the Vologda State Museum contains an icon “Our Lady of Vladimir” with saints, painted in 1707 by Boris Deomidov. The faces are executed in an extraordinary delicate technique derivative of the icon-painters of The Kremlin Armory. At the same time the fi gures themselves are painted fl at. Previous researches of this icon contain hypothesis that Boris Deomidov and painter Boris Dementyev were actually the same person. Boris Dementyev painted icons for Velikij Ustjug’s Archbishop’s yard between 1682–1683. Irina Shalina has cast doubt on Velikij Ustug's origin of the icon. Discovered documents, as well as formal and stylistic analysis of paintings reveal both the full name of the painter Boris Deomidov Grebenshhikov and his belonging to the Ustug school of icon-painting.
icon, icon-painter, Vologda diocese, peculiar properties of painting technique, history of Vologda icon painting

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2. Sorokatyj V. M. 2005 “Ikonopiscy i zhivopiscy Velikogo Ustjuga XVIII v. Materialy dlja slovarja” (Icon Painters and Artists of Velikij Ustjug of XVIII Cent. Materials for Dictionary), in Ikony Russkogo Severa. Dvinskaja zemlja. Onega. Kargopol'e. Pomor'e, Moscow, 2005, pp. 285–343.
3. Syrovatskaja L. N. 2007 “Podpisnye ikony v sobranii Velikoustjugskogo muzeja-zapovednika” (Signed Icons in Collection of Museum-Reserve of Velikij Ustjug), in Velikij Ustjug: Kraevedcheskij al'manah, 2007, vol. 4.
4. Shalina I. A. Prazdnichnyj chin iz cerkvi Dimitrija Solunskogo v Dymkovskoj slobode Velikogo Ustjuga. Vozvrashhenie na rodinu (Feast Row from Church of Dimitrios of Thessaloniki in Dymkovskaja manor of Velikij Ustjug. Return to Homeland), Moscow, 2012.

Vinogradova Elena

Kliukina Aleksandra

The architect Rodion Kazakov (1754–1803): the new facts about his life and buildings

Kliukina Aleksandra (2014) "The architect Rodion Kazakov (1754–1803): the new facts about his life and buildings ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 92-103 (in Russian).

DOI of the paper: 10.15382/sturV201413.92-103
This article is dedicated to the problem of researching of the personality and the art of the Moscow architect Rodion Kazakov. His name was undeservedly forgotten for a long time. The author tells the new facts biography of Kazakov and reveals the problems of attribution and dating. The author analyses the attribution versions and archival documents and defi nes the buildings according to their probable connection with the name R. Kazakov

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Kliukina Aleksandra

Kutasevich Andrei

Music Thematic Analogies in the Works by Stepan Degtyarev and Artem Vedel. The Phenomenon of Borrowing and the Issues of the Authorship of the Works

Kutasevich Andrei (2014) "Music Thematic Analogies in the Works by Stepan Degtyarev and Artem Vedel. The Phenomenon of Borrowing and the Issues of the Authorship of the Works ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 104-119 (in Russian).

DOI of the paper: 10.15382/sturV201413.104-119
The history-based stylistic kinship of the sacred music works by the two outstanding authors of the Classicism era has been highlighted. The investigation of the music citations in the compositions written by the masters has been mentioned as an important link in the solution to the topical task of the study of their works in order to specify the authorship of some opuses of the doubted attribution
source, music text, borrowing music ideas, citation, attribution

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4. Gorjajnov Ju. S. Stepan Anikievich Degtjarev (1766–1813), Belgorod, 1993.
5. Gusarchuk T. V. 1999 “Artemіj Vedel'”, in Ukraїns'kij muzichnij arhіv. Dokumenti і materіali z іstorії ukraїns'koї muzichnoї kul'turi, Kiev, 1999, vol. 2, pp. 69–101.
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7. S. Degtjar'ov. 2010 “Koncert «Slishi, dshhi, і vizhd'» (Kutasevich A. V. re mazhor). Pitannja avtorstva” (Concert “Hear, Daughter, and See” (Kutasevich A. V. Re Major). Question of Author), in Chasopis Nacіonal'noї muzichnoї akademії Ukraїni іmenі P. І. Chajkovs'kogo: nauk. zhurn., 2010, vol 3/8, pp. 134–149.
8. Kutasevich A. V. 2010 “Stepan Degtjar'ov. Koncert «Ti moja krіpost', Gospodi». Pitannja avtorstva” (Stepan Degtjar'ov. Concert “You Are My Stronghold, Lord”. Question of Author), in Naukovij vіsnik Nacіonal'noї muzichnoї akademії Ukraїni іmenі P. І. Chajkovs'kogo, Kiev, 2010, vol. 85: Duhovna kul'tura Ukraїni: tradicії ta suchasnіst': zb. nauk. st., pp. 163–189.
9. Lebedeva-Emelina A. V. Horovaja kul'tura Rossii ekaterininskoj jepohi (Choir Culture of Epoch of Ekaterina), Moscow, 2010.
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12. [Lisicyn M. A.] 1903 “Predislovie” (Introduction), in Lisicyn M. A. (ed.) Istoricheskaja hrestomatija cerkovnogo penija, Saint-Petersburg, 1903, pp. [I–IV].
13. Petrushevskij V. G. 1901 “O lichnosti i cerkovno-muzykal'nom tvorchestve A. L. Vedelja (K istorii Kievo-Akademicheskogo hora i k harakteristike cerkovnogo penija v Kieve v konce XVIII v.)” (About Person and Church-Musical Works of A. L. Vedel’), in Trudy Kievskoj duhovnoj akademii, Kiev, 1901, vol. 7, pp. 382–396.
15. Posternak K. V. 2012 “Novaja zhizn' partesnyh pesnopenij v jepohu klassicizma” (New Life of Partes Songs in Epoch of Classicism), in Muzykovedenie, 2012, vol. 2, pp. 18–25.
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Kutasevich Andrei

Zherdev Vitalii

Artistic ensemble of the St. Elizabeth orthodox church in Wiesbaden: personalities and tendencies of the German Art

Zherdev Vitalii (2014) "Artistic ensemble of the St. Elizabeth orthodox church in Wiesbaden: personalities and tendencies of the German Art ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 120-135 (in Russian).

DOI of the paper: 10.15382/sturV201413.120-135
St. Elizabeth orthodox church’s architectural and pictorial stylistic and artistic features have been reviewed in the article. German academic schools’ infl uence on the church’s pictorial style, that has made unique work of art diff erent from the parent state’s sacral art, has been analyzed
St. Elizabeth orthodox church in Wiesbaden, romanticism, German academic schools, architecture, interior, wall-painting, sculpture

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5. Artemoff N. The Russian Church in Wiesbaden, Munich, 2003.
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7. Laufs M. Philipp Hoffmann (1806–1889): ein nassauischer Baumeister des Historismus, Stuttgart, 2007.
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11. Werschewskaja M. Graeber erzaelen Geschichte. Die russisch-orthodoxe Kirche der hl. Elisabeth und ihr Friedhof in Wiesbaden, Wiesbaden, 2007.

Zherdev Vitalii

Artemova Evgeniia

Fr. M. A. Lisitsyn — the ideologist of the New direction of Sacred Music

Artemova Evgeniia (2014) "Fr. M. A. Lisitsyn — the ideologist of the New direction of Sacred Music ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 136-148 (in Russian).

DOI of the paper: 10.15382/sturV201413.136-148
This article examines the literary-critical creation by Fr. M. A. Lisitsyn. He entered the history of church-singing art as the biggest critic, essayist, whose works refl ected many problems in the theory and practice of sacred music on the turn of the XIX–XX centuries: the forming of a new style, the development of a new school of composition, the reorganization of the church-singing life, an analysis of the new sacred music and its historical evaluation. One of the leading theoretician and ideologist of the New directions sacred music, Lisitsyn has done much to systematize modern sacred musical creativity and defi ned it’s movement through his journalistic performances. The author analyzes the main trends of journalistic creation by Lisitsy
Lisitsyn, journalism, sacred music, style, composition, new direction, musical language.

1. Zvereva S. G. A. Kastal'skij. Idei. Tvorchestvo. Sud'ba (A. Kastal'skij. Ideas. Works. Destiny), Moscow, 1999.
2. Kompanejskij N. I. 1901 “O stile cerkovnyh pesnopenij“ (About Style of Church Songs), in Russkaja muzykal'naja gazeta, Saint-Petersburg, 1901, vol. 37, pp. 852–856; vol. 38. S. 886–891; vol. 39, pp. 925–930; vol. 40, pp. 1283–1288
3. Naumov A. A., Rahmanova M. P., Zvereva S. G. Russkaja duhovnaja muzyka v dokumentah i materialah (Russian Spiritual Music in Documents and Materials), Moscow, 2002, vol. 3.

Artemova Evgeniia

Vaneian Stepan, archpriest

Gombrich, Hoff man and Ackerman: study of art as representation of responsibility, doubtfulness and convention

Vaneian Stepan (2014) "Gombrich, Hoff man and Ackerman: study of art as representation of responsibility, doubtfulness and convention ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 149-181 (in Russian).

DOI of the paper: 10.15382/sturV201413.149-181
In this article, an attempt is made to compare 3 postwar texts written in the space of about 10 years. All 3 belong to the same genre: theoretical introduction to the problem of the science about art as both a science and a model of knowledge. The fi rst text is comparised of 2 articles by E. Gombrich published in “Atlantisbuch der Kunst” (1951) in which there was briefl y outlined his concept of history of art as a specific way of representing the rational cognitive side of aesthetic and artistic experience. The main point here is conventional and symbolic communication of members of a scientific community, the scientifi c truth is seen as the part of an artistic meaning that is available to anyone being equally intended for free reception and ‘verifying falsifi cation’. The science about art appears to be the practice of answering questions that art asks to itself. The second text, by Werner Hoff man, published 10 years later (1960), suggests a diff erent model of knowledge. Here cognitive discourse is aimed at art itself as the object of questioning and, at the same time, as the source of knowledge; the restricted abilities of science are not in focus here. Finally, the text by James Ackerman from “Humanistic Scholarship in America” (1963) transfers the problem from the epistemological sphere into the sphere of poetology. The conventionality of visual reception, rather than scientifi c knowledge, urges us to pay attention to the practice of the verbal and symbolic representation of cognitive equivalents to aesthetic experience whose essential features are subjectivity and criticism. Art history is corrected by art criticism, which means the genre of an encyclopedic essay is the only reliable form of knowledge in which gathered together pieces of conceptual material appear to be stimuli to feelings and wanting’s.
the concept of history of art as a specifi c way of representing the rational cognitive side of aesthetic and artistic experience; conventional and symbolic communication of members of a scientifi c community (Gombrich); the art itself as the object of q

1. Ackermann J., Carpenter R. Art and Archaeology. Englewood Cliffs, New York, 1963.
2. Das Atlantisbuch der Kunst. Eine Enzyklopedie der bildenden Künste, Zürich, 1952.
3. Hofmann W. (ed.) Bildende Kunst, Frankfurt am Main, 1960, vol. 2.
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5. Hofmann W. “Produktive Konflikte“, in Kunsthistoriker in eigener Sache… pp. 113–132.
6. Gombrich E. H., Kris E. “The Principles of Caricature”, in British Journal of Medical Psychology, 1938, vol. 17.
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8. Gombrich E. 1990 “Wenn’s euch Ernst ist, was zu sagen…“, in Sitt M. (ed.) Kunsthistoriker in eigener Sache, Berlin, 1990.
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Vaneian Stepan, archpriest

Gulianitskaia Nataliia

The contemporary music-sucred space: musical events, facts, personalities

Gulianitskaia Nataliia (2014) "The contemporary music-sucred space: musical events, facts, personalities ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 182-194 (in Russian).

DOI of the paper: 10.15382/sturV201413.182-194
Subject of the article — contemporary spiritual music presented in the works of contemporary composers. In the fi eld of view — 1) the phenomena associated with the II International Composers Competition of Sacred Music «Roman Sladkopevez» (2013–2014 ) and other events, — 2) «idiostyle» favorite composers — Paul Karmanov and Victoria Polevaya. Our task — to focus on the current state of the sacred genre to take «panoramic surview» rather some observations on musical facts, events, personalities. In this regard, using an interdisciplinary approach, the author examines the musical events in the context of contemporary art practices known composers working in general in diff erent genres and formats. Choral music is analyzed from the standpoint of style and stylistic approaches. Using the comparative method, the author uses attracting works of diff erent periods and diff erent authors. However, in the center of attention —a new analysis of a musical composition, the former has not yet been the subject of musicological consideration. Such, in particular, are the product of «Arise and go winner» (in the category 5) Competition (II) Romanos the Sladkopevez — Victoria Polevaya and oratorio «Five Angels» by Paul Karmanov timed to the 400th anniversary of the Romanov dynasty.
сontemporary sacral music, genre panorama, competition Roman Sladkopevez, Great Lenten concerts, personalities of composers, style and stylistics.

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2. Kljuchevskij V. O. Istoricheskie portrety. Dejateli istoricheskoj mysli (Historical Portraits. Figures of Historical Thought), Moscow, 1991.
3. Martynov V. Kazus Vita Nova (Case of Vita Nova), Moscow, 2010.
4. Naumenko T. I. Tekstologija muzykal'noj nauki (Textual Studies on Musical Science), Moscow, 2013.
5. Trubeckoj E. Tri ocherka o russkoj ikone (Three Essays on Russian Icon), 1991.

Gulianitskaia Nataliia

CHRONICLE

XXIV Annual Theology Conference: Sections «Church Singing» and «Christian Art»

(2014) "XXIV Annual Theology Conference: Sections «Church Singing» and «Christian Art» ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2014, Iss. 13, pp. 197-204 (in Russian).

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