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

North African history shows that Byzacena region has always had a strong cultural infl uence of the indigenous population, the Berbers, alongside relative economic independence from the metropolitan power — Carthaginian, Roman, Vandal, Byzantine. In ecclesiastic terms, this situation in the region of the 4th–5th centuries contributed to the development of a specifi c view on the Christian mission (the Donatist movement) and supported traditions based on customs of the local population. Byzacena region included cities which today are of great interest to Christian history and archaeology, namely Sbeitla (six churches), Haidra (fi ve churches), Telepta (eight churches), Maktar (three churches), Junca (two churches). It is just here that archaeologists with a greater or lesser degree of certainty identify Latin Orthodox, Donatist, Arian, and Byzantine Orthodox trends in Church architecture. Unlike churches of Carthage, those of Byzacena do not impress the observer with their size and magnifi cence, but they are extremely important in terms of Church history, as they witnessed the development of early Christian architecture in the 4th–5th centuries. Many churches of this region have preserved their initial design, and nowadays can serve as a subject of in-depth studies for archaeologists and historians. The paper pays particular attention to basilicas in Sbeitla (Pretre Servus, Bellator, Vitalis), Maktar (Schola Juvenum), and Haidra (Melleus). They refl ect all the characteristic features of North African architecture. In cities of Byzacena region, like in Carthage, it is diffi cult to determine the chronological framework and the affi liation of churches to a specifi c Christian denomination, which is due to the fact that many of them could successively be canonical, i.e. Orthodox in the Latin tradition, Donatist, Vandal, and again canonical, i.e. Orthodox in the Byzantine tradition. There is very little evidence for distinguishing between Orthodox and Donatist churches. In architectural terms, the subsequent Arian enslavement as well as the victory of Byzantines is refl ected more clearly. All this has made its impact on the Christian architecture of the region.

North Africa, Byzacena, martyr, tomb, Basilica, apse, altar, Sbeitla, Pretre Servus, Bellator, Vitalis, Maktar, Haidra, Duval

Apostol’skie postanovlenija. Svjato-Troitskaja Sergieva Lavra, 2006.
Aprodov V. A., Po sledam antichnykh kul’tur drevnei Bizatseny. URL : http://www.mtunet.ru/ariad-in/History/Bizacene.htm (02.12.2016)
Burns J. Patout, Jensen Robin M., Christianity in Roman Africa. Cambridge, 2014.
Duval N., “Études d’architecture chrétienne nord-africaine” in: Mélanges de l’école française de Rome, 1972, 84, 2, 1071-1172.
Duval N., Baratte F., Les ruines de Sufetula Sbeitla. Tunis, 1973.
Duval N., “La Basilique de Zana”, in: Mélanges de l’Ecole française de Rome. Antiquité, 1977, 89, 2, 847-873.
Duval N., “L’église de l’évêque Melleus à Haïdra (Tunisie): la campagne francotunisienne de 1967”, in: Comptes-rendus des séances de l’Académie des inscriptions et belles-lettres, 1968, 112, 2, 221-244.
Ennabli L., Christian Cartage. Ministere de Ιа Culture Agency for the development of national heritage and cultural promotion, 2001.
Goff aux B. Cultores, basilica et horrea a Mactar, in: Horread' Hispanie et de la Mediterranee romaine, Collection de la Casa de Velazquez (125). Madrid, 2011, 97-116.
Kaptereva T. P., Iskusstvo stran Magriba. Moscow, 1980.
Picard G., Civitas Mactaritana. Paris, 1957. Urbanovich G., prot. “Khristianskaja arkhutektura Severnoi Afriki (IV-VI vv.). Karfagen’, in: Vestnik PSTGU, 2016, V:2/22, 7-25.
Urbanovich G., prot. Osobennosti stanovlenij a severoafrikanskoi rannekhristianskoi arkhitektury (IV-V vv.) v svjasi s traditziei pominanij a i pochitanij a muchenikov, in: Vestnik PSTGU, 2015, V:3/19, 7-27.
Urbanovich G., prot. Vneshnie formy severoafrikanskoi khramovoi arkhitektury (V-VI vv.) v svjasi s traditziei pominanij a i pochitanij a muchenikov, in: Vestnik PSTGU, 2015, V:4/20, 7-21.

Urbanovich Georgii, archpriest

The new art, which came to be the future Renaissance art, began to dawn against a background of strong Byzantine and Gothic traditions in Italy at the end of the 13th and the beginning of the 14th centuries. The new traditions manifested themselves in works of the most prominent artists such as Giotto di Bondone in Florentine painting of the fi rst half of the 14th century. The birth of the new art is closely linked with the general process of replacing impersonal craft-guilds with individual creativity. This paper, which is in line with studies of early art trecento, gives an analysis of two artwork pieces created in Florence of the fi rst half of the 14th century. The aim of the paper is to demonstrate that one of these pieces belongs to medieval craftsmanship, whereas the other to the future Renaissance art. Based on this analysis, we can draw a theoretical conclusion about the cöexistence of medieval crafts and novel traditions of the Proto- Renaissance art. The paper also describes some techniques employed by medieval artists, as well as the common practice of executing orders from churches of Florence of the period in question.

Florence, 14th century, Bernardo Daddi, Giotto, polyptych, Santa Maria Novella, Baroncelli, techne, Neoplatonism, craft, Renaissance

Ben'iamin V., Proizvedenie iskusstva v epokhu ego tekhnicheskoi vosproizvodimosti, Izbrannye esse. Moscow, 1996.
Crowe Joseph A., Cavalcaselle Giovanni B., A History of Painting in Italy, Umbria,Florence and Siena, from the Second to the Sixteenth Century: Giotto and the Giottesques. London, 1923.
Iampol'skii M. B., Prostranstvennaia istoriia. Tri teksta ob istorii. Sankt-Petersburg, 2013.
Naidorf M. I., “Istorizatsiia, ili Proizvodstvo proshlogo. K kul'turologii vremeni”, in: Voprosy kul'turologii, 2012, 3, 10-15.
Salvestrini Francesco. Accademia delle Arti del Disegno Studi, Fonti e Interpretazioni di 450 Anni di Storia. Tomo I / A cura di Bert W. Meij er e Luigi Zangheri, Leo S. Olschki Editore. 2015.
Sirén Osvald. A descriptive catalogue of the pictures in the Jarves Collection belonging to Yale University. 1916.
Official website of the City Art Gallery, Southampton (United Kingdom), URL: http://artuk.org
Official website of the Foundation Federico Zeri, URL: http://fe.fondazionezeri.unibo.it/
The official website of the London National Gallery, URL: http://www.nationalgallery.org.uk/
The official website of the Museum of Fine Arts, Houston (TX), URFL: https://www.mfah.org/

Parfenova Elena

The celebration of the 250th anniversary of S.A. Degtiarev took place in Kiev and Belgorod in 2016. The composer was a serf musician of Count N. P. Sheremetev. Degtiarev achieved fame with the oratorio Minin and Pozharskii. He composed more than 135 choral concertos and only a little more than half of them have been published. His concertos are a fi ne example of musical classicism. The paper examines two choir concertos in the light of musical rhetoric employed by the composer.

Degtiarev, spiritual concerts, musical rhetoric

Degtjarev Stepan., Khorovye kontzerty. K 225-letij u so dnja rozhdenija. Мoscow, 2006.
Gorjainov Yu. S., Rossii slavu pel Voronezh. Voronezh, 1987. Izd. 2-е.
Gorjainov Yu. S., Stepan Anikievich Degtjarev. Belgorod, 1993.
Lebedeva-Emelina A. V. Russkaja dukhovnaja musyka epokhi klassitsizma (1765—1825). Moscow, 2004.
Shestnadtzat’ dukhovnykh kontzertov anonimnykh avtorov iz rukopisnogo sbornika kontza XVIII — nachala XIX vekov. Moscow, 2015, 1.
Shestnadtzat’ dukhovnykh kontzertov iz rukopisnykh sbornikov kontza XVIII — nachala XIX vekov. Moscow, 2016, 2.
Zakharova O. I., «Oratoria S. A. Degtjareva “Minin i Pozharsky ili Osvobozhdenie Moskvy”», in: Degtjarev S. Minin i Pozharsky ili Osvobozhdenie Moskvy. Oratoria v 3-kh deistvijakh: Partitura. Moscow, 2006.
Zakharova O. I., Ritorika i zapadnoevropeiskaja musyka XVII — pervoi poloviny XVIII veka: printzipy, priemy. Moscow, 1983.

Lebedeva-Emelina Antonina

The problem of non-classical architectural heritage in relation to principles of Classicism is essential for understanding the search of national identity within the confi nes of classical ideas. Gothic style, to which theorists of Classicism attributed almost all medieval architectural heritage created after the destruction of Rome by Goths, attracted attention of both practicing architects and theorists of art already at the dawn of Classicism. The paper deals with terminological problems of defi ning “nonclassical” trends in classical architecture. Based of copious quotations from relevant literary sources, the paper also examines the two periods of Gothic architecture and how these were seen by theorists of Classicism.

Classicism, Gothic style, Neo-Gothic style, Pseudo-Gothic style, Gothic Revival, architectural theory, aesthetic treatises of Enlightenment era

Clark K., The Gothic Revival. New York, 1929.
Evsina N. A., Arhitekturnaja teorij a v Rossii vtoroj poloviny XVIII – nachala XIX veka. Moscow, 1985.
Evsina N. A., Russkaja arkhitektura v jepokhu Ekateriny II. Moscow, 1994.
Frankl P., The Gothic. Literary Sources and Interpretations through Eight Centuries. Princeton, 1960.
Golovina V. N., “Memuary”, in: Istorij a zhizni blagorodnoj zhencshiny, 1996, 89-332.
Iskusstvo i kul'tura Italii epokhi Vozrozhdenij a i Prosvecshenija. Moscow, 1997.
Khachaturov S. V., “Goticheskij vkus” v russkoj khudozhestvennoj kul'ture XVIII veka. Moscow, 1999.
Khachaturov S.V., «Ponjatie “goticheskij ” v russkoi kul’ture XVIII veka», in: Voprosy iskusstvoznanija, 1996, IX, 5-26.
Kozhin N. A., Pamjatnik russkoj psevdogotiki XVIII veka sela Znamenki Tambovskoj gubernii. Leningrad, 1924.
Putjatin I. E., Obraz russkogo khrama i epokha Prosvecshenija. Moscow, 2009.
Snegirev V., Arkhitektor V. I. Bazhenov. Moscow, 1937.

Putiatin Il’ia

The paper examines the archival memorandum by Revd. Mikhail Bogoliubskii, the prominent Church and public fi gure, written in 1871. It was prepared for Moscow diocesan school of icon painting, established in 1873. In his work, Revd. M. Bogoliubskii examines and compares the content, objectives, tasks and methods of classical and ancient art with those of Christian iconography. Revd. M. Bogoliubskii repeatedly points out that the meaning of the image is totally diff erent in ancient art compared with religious iconography. Ancient art embodies the domination of a certain sensual, earthly passion. Iconography emphasises complete dispassion, Holiness. Based on this idea, M. Bogoliubskii concludes: “With this distinction and even antithesis between the purposes and nature of ancient art and iconography, it seems impossible to relate the beauty of Antiquity to Orthodox iconography”. Developing this view, he takes the next step and considers how academic painting mixes features of ancient art and traditional painting. He writes that for those Christians that are immature in spiritual life, sensual beauty of ancient works is too charming. This is especially true for Western Christians, who are generally surrounded by ancient heritage. He comes to the following conclusions: 1. It is a sheer sacrilege for the Church to establish the school of academic painting, as the latter leads to disorder rather than to the creation of pious feelings. 2. Academic icon painting is in confl ict with the taste of the Orthodox, and its development is in sharp contrast with their religious feelings. 3. The school of icon painting should strictly follow the style of Byzantine icon painting, forgotten since the days of Peter the Great, and should introduce the best examples of ancient icon painting to society. He also considers it necessary to collect historical information on the best examples of Byzantine and Russian icon painting. These opinions did not come to be popular with Revd. M. Bogoliubskii’s contemporaries. Nor are they favoured in present-day education, despite the fact that they may be regarded as fairly reasonable.

Christian iconography, classical art, academic painting, diocesan school of icon painting

Armeeva Liudmila

Martyrology of Russian church architecture includes not only the loss of unique monuments of sacred art in Russia, but also abroad. This loss can also be a result of vandalism of the state. The unique monument of Russian architecture, which could have become a true symbol of centuries-old Russian-German relations and the adornment of the German capital, became a victim of economic and political circumstances. The paper deals with the history of Russian churches in Berlin and architectural features of the Russian community house, which was built by architect Nikolai Vasil’ev. In search of architectural and artistic image of the community house, the architect employed the image of “Church-Castle”, on which he had worked at the beginning of the 20th century. The paper also examines the relationship between the church of the community house and examples of Novgorod church architecture of the 12th–15th centuries.

architect Nikolai Vasil’ev, Resurrection cathedral in Berlin, Russian community house, “Church-Castle”, Neo-Russian style, Novgorod architecture

Antonov V. V. i drugie, Russkie hramu i obiteli v Evrope. Sankt-Petersburg, 2005.
Bizadze N. V., Khramu neorusskogo stilia. Idei, problemu, zakazchik. Moscow, 2005.
Bubnov P. V., Balyuk N., Istoria pravoslavnogo Sviato-Kniaz-Vladidmirskogo bratstva v Germanii s 1890 po 2007 gg. Zhirovichi, 2007.
Fedorchenko V. I., Rossijskij imperatorskij dom i evropejskie monarkhii. Moscow, 2006.
Lisovskiy V. G., Gasho R. M., Nikolay Vasiliev. Sankt-Petersburg, 2011.
Shkarovskiy M. V., Krest i svastika. Nazistskaya Germania i Pravoslavnaya tserkov. Moscow, 2007.
Talberg N. D., “Archiepiskop Tichon (Liaschenko)“, in: Luch sveta. Uchenie v zaschitu Pravoslavnoy very, v oblichenie ateizmai i oproverzhenie doktrinu neveria, 1971, II.

Zherdev Vitalii

The paper deals with features of genre and style of the spiritual concerto as a choral cycle designed for non-liturgical purposes in creative works of composers the late 20th and early 21st centuries. This type of concerto contrasts with the spiritual concerto performed during the Liturgy instead of singing the sacramental extended verse. The paper examines three cyclic works, Spiritual Concerto by N. Sidel’nikov, We Sing to You by D. Smirnov, the concerto for a female and children’s choir, spiritual concerto Theotokos Chants by A. Mikita.

spiritual concerto, choral cycle, traditional genres, non-traditional genres, genres of mixed type, tradition, individual compositional style

Dabaeva I. P., Dukhovny kontsert v tvorchestve russkikh kompozitorov vtoroj poloviny XIX – nachala XX veka, in: Vestnik Adygejskogo gosudarstvennogo universiteta, 2008, 10, 191-195.
Gulyanickaya N. S., Poehtika muzykal'noj kompozitzii. Teoreticheskie aspekty russkoj dukhovnoj muzyki XX veka, Moscow, 2002.
Khvatova S. I., Pravoslavnaya pevcheskaya traditziya na rubezhe XX-XXI stoletij, Maikop, 2011.
Kovalev A. B., «Dukhovnyj koncert “Bogorodichnye pesnopeniya” Andreya Mikity: zhanrovye i kompozitzionnye osobennosti», in: Observatoriya kul'tury, 2014, 6, 42-47.
Paisov Yu. I., Tradicionnye zhanry russkoj duhovnoj muzyki i sovremennost', Moscow, 2004.

Kovalev Andrei

The traditional genre of the Orthodox liturgy underwent a revival in the 1980s and 1990s, when many Russian composers took an interest in it. The Divine Liturgy of St. John Chrysostom by Nikolai Korndorf (1978) is especially remarkable as it had been written a decade before the offi cial announcement of renaissance in church music and was never performed. The publishing of Liturgy in 2012 is not only a homage to its author but also a fact of recognition of this opus as essential in Korndorf’s creative work. The paper examines the history of the sheet as well as its structural and stylistic features.

sacred genres, Orthodox Church Liturgy, Liturgy of St. John Chrysostom, new chant, antiphon, sonorism, Nikolai Korndorf

Cholopov Yu., “Staroe slovo – novaya mysl’ ”, in: Idei Yu. Cholopova v XXI veke, 2008, 160-161.
Korndorf N., 2002. “Ya bezuslovno ocshucshayu sebya russkim kompozitorom. Avtobiografi ya c liricheskimi otstupleniyami”, in: Muzykal’naya academia, 2002, 2, 52-64.

Nikolaeva Elena

The publication presents the offi cial letter of Revd. D. V. Razumovskii, the historian of Church singing, to I. D. Delianov, director of St. Petersburg Public Library. This letter contains a detailed description of photographs of Greek manuscripts that were brought from the Athos expedition by P. I. Sevast'ianov.

D. V. Razumovski, P. I. Sevastianov, Musical Byzantine Studies in Russia, Greek musical manuscripts, ekphonetic notation, comparative paleography

Gertsman E. V. V poiskakh pesnopenij grecheskoj tserkvi. Preosvyashhennyj Porfi rij Uspenskij i ego kollektsiya drevnikh muzykal'nykh rukopisej. Sankt-Petersburg, 1996.
Ivanova E. A., “Vliyanie khudozhestvennykh i nauchnykh obshhestv na deyatel'nost' Moskovskogo Publichnogo i Rumyantsevskogo muzeya”, in: Rumyantsevskie chteniya. Pashkov dom, 2007, 142-150.
Smirnov V. B., “Stranstviya Petra Sevastyanova”, in: Strannik, 1997, 2-3, 4.
Shekhovtsova I. P., “Iz istorii moskovskikh sobranij grecheskikh pevcheskikh rukopisei. Kollektsiya D.V. Razumovskogo”, in: Vestnik PSTGU, 2015, V: 2/18, 31-47.

Skirskaia Tatiana