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

In this article we are going to look at prototypes of Christian altar ciborium and its influence onto the appearance of it in early Byzantium sanctuaries. There are two types of prototypes: 1) the ones known from the antique sources — as a ciborium above the coffin, ciborium above emperor’s throne, above a well or pagan altar, 2) from the tradition of Old Testament the ciborium is seen as a symbol of the Holy of Holies or Ark’s place. The conclusion drawn from the analyses of the sources is that in the early Byzantium altar the ciborium played an important role because of the late antique tradition of accentuation of the space around the sacral objects. The presented prototypes are reflected in semantics of early Byzantium altar, but the ciborium has been mostly used for delivering of the most important messages of the god-man nature of Christ, his death and his resurrection. Altar ciborium as the symbol of iconography has determined the topography and semantic meaning of the plot’s action connecting it to the throne. Based on above, we demonstrate that structures not resembling ciborium but depicted on its “programmed” place should be viewed as the symbol of iconography, specially, if in the image the characteristics of the real ciborium are recognized. As an example we are looking at the architectural background on the discus of Riha where parts of the real ciborium from Saint Sophia of Constantinople are evident as well as the details traditionally attributed to ciborium forms.

ciborium, altar, throne, curtain, Holy of Holies, Ark, iconography, symbol, antique prototypes

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Matveeva Iuliia

The article presents the results of discovering the history of forming the collections of greek music manuscripts in Moscow: in the Russian State Library (RSL), the State Historical Museum (SHM), the Russian State Archive of Ancient Acts (RGADA). The study showed that the largest incoming of such writing tradition artefacts of church singing observed in the XVIIth and XIXth century. The special milestone is the appearance in XIXth century specialized collections of song manuscripts (of Porfi ry (Uspensky), Dimitry Razumovsky), including greek, which is directly linked with the development of Russian music-historical science, liturgical musicology. Special attention is paid to scientific work of D. V. Razumovsky in the study of Byzantine and post-Byzantine church music and his collection of greek music manuscripts. Not only published work of the scientist were involved for this, but also extensive materials from various archives.

D. V. Razumovsky, V. F. Odoyevsky, greek musical manuscripts, Byzantine and post-Byzantine singing, ekfonetic notation, the Russian musical Byzantinistic, liturgical musicology

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Shekhovtsova Irina

The reason for the creation of this article is the publication made by Elena Morshakova. She published the small bronze cross with bones of various saints, originating from the Annunciation Cathedral of the Moscow Kremlin. On the front side of the cross depicts the Savior, St. John the Merciful and St. Evstratii (underneath storage boxes relics). St. Nicholas on the reverse, represented St. Andrew of Crete, and St. Sergius of Radonezh and St. Catherine. Sophia Paleologos was the daughter of Catherine Dzakkaria (1412–1462). When Sophia was born at the end of 1440-s, then, along with her mother, first in the Peloponnese, and then on the island of Corfu, she lived for 12–14 years. After that, for 10 years it was only together with his brothers — Andrew and Manuel, living first in Corfu, and then — in Rome. Apparently, the relationship with Sophia and her brother Andrew were very close. In 1480 and 1490 Andrew came to Moscow. We assume that the images tenths St. Andrew of Crete and St. Catherine on the cross associated with the memory of the brother and mother of Sophia Paleologos. Cross hypothetically can be dated to 1480.

bronze cross with bones of various saints, Sophia Paleologos, Catherine Dzakkaria, Andrew Paleologos

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Petrov Dmitrii

The decoration of the royal doors of the ancient russian ikonostasis has reached fullest flourishing in the XVI and XVII centuries. The scene of «Annunciation» has always occupied in this decoration a special place. It was depicted on the upper part of the wings. As a rule on the lower part of the wings were presented the four evangelists. The combination of «Annunciation» and images of evangelists has a deep sense. Both iconographical structures express an idea of the Incarnation. The upper part of the wings of royal doors has a specific form, which resemble an arch. According to this form the icon painters depicted all the elements of the composition. For this reason the «Annunciation» iconography of royal doors differs from «Annunciation» on the icons or frescoes. The aim of the article is not only to show the particular features of this scene on the royal doors, but also to describe the different iconographical variants, which were popular in the russian art of the holy gates decoration in the XVI and XVII centuries. Author analyses six patterns, which were used by russian medieval artists. Each of them has a special architectural elements, poses of Virgin Mary and archangel Gabriel and another details. The classification by P. V. Zapadalova can be useful in the furthers researches on this theme.

Annunciation, barrier, classification, evangelists, iconography, ladder, maidservant, pattern, royal doors, yarn

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Zapadalova Polina

The article discusses the history and artistic decorations of one of the fi rst signifi cant Russian Orthodox churches in Germany — Peter and Paul’s church in the Grand Princess Yelena Pavlovna’s mausoleum. The church was abolished, but on the remained artifacts from the Museum of Schwerin and to other sources becomes clear how the lost church looked. Connections between the lost images for the church’s iconostasis and a court artist Suhrlandt’s saved works are considered.

church of St. Apostels Peter and Paul in Ludwigslust, mausoleum, Classicism, Romanticism, iconostasis, paintings, Suhrlandt, Museum of Schwerin.

1. Antonov V. V. i dr. Russkie hramy i obiteli v Evrope (Russian Churches and Monasteries in Europe), Saint-Petersburg, 2005.
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3. Tal'berg N. 1958 “Pravoslavnoe hramozdanie imperatorskoj Rossii v Evrope (istoricheskij ocherk)” (Orthodox Church Building of Imperial Russia in Europe (Historical Survey)), in Pravoslavnyj put': cerkovno-bogoslovsko-filosofskij ezhegodnik: prilozh. k zhurn. «Pravoslavnaja Rus'», 1958, pp. 135–163.
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Zherdev Vitalii

Ornamental program of floral decor of the iconostasis is a collection of encoded characters in it. Most often, floral motives have several levels of symbolic meaning, sometimes just the opposite, that appear depending on the combination of options vegetative elements and content of the image, which is framed. Overview of the main motifs of symbolic meanings that were in the ornamentation of iconostasis, to fi nd similar semantic field of floral scenery during this period, and to consider a substantial program of individual compositions. It is found that it is based on only two main themes: the Christological and Mariological. For the recognition of these two streams of meaning, the iconostasis should be viewed as a single complex frame, all ornamentation which is assigned to a leading topic. Dominant semantic stream consists of individual motifs, united by the syntagmatic relations. In turn of the coupling values syntagmatic sequences constructed content of the message. The software part of the decor iconostasis XVII–XVIII centuries. formed with the symbolic meaning of floral ornamentation, which is an instrument of didactics. Compiled according to the rules of rhetoric ornamental compositions formed syntactic combinations reported some symbolic meaning. This explains the limited number of options such compositions, which passed from the iconostasis to iconostasis. Accordingly, a set of carved decoration of the iconostasis is the text of which is formed by combining the ornamental composition interconnected by syntagmatic relations. Reconstruction metatext of floral ornament of the iconostasis allowed to decrypt the semantics of the decor and found that it displays the ideological dominant religious worldview Ukrainian society XVII–XVIII centuries.

iconostasis, ornament, floral motives, composition, rhetoric, text, symbols, semantics.

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Olianina Svetlana

Church singing manuscripts remain one of the main sources of studying Old Russian singing art. At the same time, this article underlines the importance of carrying out the research on church singing manuscripts from the point of view of the scientifi c discipline called codicology. In this case the manuscript becomes the subject of the research rather than its material or source. The present article focuses upon the codicological peculiarities of the manuscripts of the XVI–XIX centuries. Books of this period reveal the flowering of church singing art (XVI–XVII centuries), as well as the maintenance of traditions by old-believers (XVIII–XIX centuries). Codicology allows to analyse a manuscript as a semiotic object. Among the manuscripts of the XVI–XVII centuries the prevailing ones are small-format church singing collections with a large number of pages. These collections are organized in two ways: the fi rst one is represented by various cycles of chants, theoretical guides etc., whereas the second one consists in several basic types of liturgical books under the same cover. Both types of collections are handy only for private use, being uncomfortable for common singing in choir. This is the reason why such collections can be regarded as singing guides — the fact that also reflects one specific feature of neume notation, and namely, its mnemonic character. Codicological characteristics of old-believers’ manuscripts, on the contrary, indicate the fact that they were meant for church service singing. These manuscripts are in large format, with large writing and coloured decorations. One codex tends to contain one or two types of church singing books in order to make it comfortable to use during the service. The book becomes an attribute of service rituals. Thus, the research has revealed that the codicological characteristics of church singing manuscripts can bear the function of semiotic signs that are referred to its designatum: the liturgical and church singing specificity and the historical processes of the art of church singing.

Old Russia church singing art, manuscript, codicology, semiotics of book

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Khachaiants Anzhela

The article focuses on the biography and church compositions of now-forgotten composer Vladimir Ivanov-Korsunsky, the private pupil of Balakirev in his later years. On the basis of the archive documents we show the perfomances of his church compositions in the Knyaz-Vladimir Cathedral in St. Petersburg (in those years — Leningrad) during 1930th. The article includes a list of church works and brief analysis of Ivanov-Korsunsky’ style.

Orthodox Church Chant, Soviet Period, Leningrad, 1930th, Vladimir Ivanov-Korsunsky.

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Rakhmanova Marina

In this article the spirituality problem in contemporary choral practice on the example of the leading singing collectives is investigated. In the center of attention — the Russian sacred music in interpretative equipment of Russian conductors. Main questions are esthetic installations, repertoire tendencies, performing nuances are considered. In this regard two aspects are allocated: a sound esthetics — the relation of the intoned word and a choral timbres — and an art orientation on perception of audience. Besides, in article the retrospective view of the traditions created both in the sphere of composer creativity and in the field of performing art is given.

Russian music, spirituality, conductor, contemporary choirs, interpretation, repertoire, author's text, performing art.

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Baikova Elena

This article is dedicated to the 125th anniversary of Sveshnikov’ birth. Based on the experience, received during his education in MSCC (Moscow State Chorus College), the author analyzes the vocal-choral work of А. V. Sveshnikov, which was formed under the direct influence of church-vocal traditions. Keeping loyalty with native traditions, teacher-conductor increased them in the association managed by him, raising the culture of choral sounding to the unattainable level. The uniqueness of the methods of teaching of Sveshnikovis that it is oriented to the cultural memory of the native school of choral singing, which is held on two pillars — folkand church singing. Sveshnikovbuilt the system of aesthetical views, which determined his artistic-performer, pedagogical and organizational activity. Its analysis allowed the author to consider vocal-choral sounding as the special text, which characterizes the aesthetical features of the musical-intonation, sensually assimilating material. It contains art-like information, fulfi lling important communicative function. In the vocal-choral text the author distinguishes constant and variable sound characteristic. Sveshnikov worked them through in the process of mastering the special methods of the activity: the constant characteristics were worked through on the vocal exercises, variable characteristics — directly during the learning and performance of musical compositions. As a result the culture of sounding, the vocal-choral instrumentation of the performing works found multi-layer artistic semantics.

A. V. Sveshnikov — vocal teacher, performer, church-vocal traditions, the culture of choral sounding, constants and the variables of vocal-choral text.

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3. Lotman Ju. M. Semiosfera (Semiosphere), Moscow, 1998.
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Kritskii Boris