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

This article deals with a collection of reliefs of the epoch of the Abkhazian Kingdom from the repository of the State Abkhazian Museum. It describes the vicessitudes of the historical fate of each artefact. The employment of studies of recent years helps to establish the dating of many artefacts more precisely. As a result of research carried out in the museum in 2008, new previously unknown artefacts have been discovered. Each artefact is treated separately, the material being presented as a catalogue with commentaries. During the work with the collection of medieval reliefs from the repository of the Abkhazian State Museum in Sukhum, the dating of certain artefacts (№ 3, 4) was made more precise; some artefacts that were previously unknown were discovered and attributed (№ 24). As a consequence, in the large number of medieval reliefs kept in the repository, it became possible to distinguish a compact group that belongs to the epoch of Abkhazian Kingdom. Work with other lapidary collections originating from the territory of Abkhazia (altar barrier from Dranda church, reliefs from the altar of St. Theodore church on the mount of Anacopia) allowed us to establish several stylistic groups, into which the museum artefacts of the epoch of Abkhazian Kingdom can be divided. One of the groups is of a classical fashion close to Greek and Byzantine (reliefs from the altar barrier from Dranda, № 15‒21; slab with the image of Joseph’s Dream, № 24; fragments of the altar barrier and small column in front of the altar from Anukhva, № 8‒13). The other group is of a more plain schematic graphical manner, probably representing the work of local masters (№ 3, 4).

relief, Abkhazian Kingdom, architectural decoration, zoomorphic images, geometric ornament, altar barrier

1. Akhaladze L. (2005). Epigrafika Abkhazii kak istoricheskii istochnik. I. Lapidarnye i freskovye nadpisi [Epigraphy of Abkhazia as a Historical Source. I. Lapidary and Fresco Inscriptions]. Tbilisi (in Russian).
2. Aladashvili N., Beridze V. (1973). “Iskusstvo Gruzii” [Art of Georgia]. In Istoriia iskusstva narodov SSSR [History of Art of Peoples of the USSR], Vol. 2. Moscow.
3. Amiranashvili Sh. (1963). Istoriia gruzinskogo iskusstva [History of Georgian Art]. Moscow (in Russian).
4. Avidzba A. (1967). “Liubopytnaia stranitsa istorii” [A Curious Page in History]. Sovetskaia Abkhaziia, 7.10.1967 (in Russian).
5. Bgazhba Kh. (1967). Iz istorii pis'mennosti v Abkhazii [From the History of Writing in Abkhazia]. Tbilisi (in Russian).
6. Chubinashvili G. (1936). Istoriia gruzinskogo iskusstva [History of Georgian Art]. Tbilisi (in Russian).
7. Endol'tseva E. (2010). “Ob izobrazheniiakh prorochestva Isaii (11: 6‒9). Rel'ef iz Abkhazskogo gosudarstvennogo muzeia v g. Sukhume” [On the Images of Esaiah’s Prophecy (11:6‒9). Relief from Abkhazian State Museum in Sukhum]. Problemy khronologii i periodizatsii arkheologicheskikh pamiatnikov i kul'tur Severnogo Kavkaza [Problems of Chronology and Periodisation of Archaeological Artefacts and Cultures of the Northern Caucasus. Conference Proceedings]. Magas. Pp. 129‒132 (in Russian).
8. Endol'tseva E. (ed.) (2011). Iskusstvo Abkhazskogo tsarstva VIII–XI vekov. Khristianskie pamiatniki Anakopiiskoi kreposti [Art of the Kingdom of Abkhazia. Christian Artefacts of the Fortress of Anacopia]. St Petersburg (in Russian).
9. Endol'tseva E. (2017). “Ob odnom neobychnom izobrazhenii «Sna Iosifa»” [On One Unusual Image of Josephus’ Dream], in Bibleiskie i liturgicheskie temy i obrazy v iskusstve Vostoka i Zapada: dialog kul'tur, traditsiia i sovremennost' [Biblical and Liturgical Themes and Images in Art of East and West. Dialogue of Cultures, Tradition and Modernity]. Moscow. Pp. 176‒181 (in Russian).
10. Endol'tseva E. (2017). “Ob odnom rel'efe iz khranilishcha byvshego Gosudarstvennogo Upravleniia okhrany istoriko-kul'turnogo naslediia respubliki Abkhaziia” [On One Relief from the Repository of the Former State Department of Preservation of Historical and Cultural Legacy of Republic of Abkhazia], in Mezhdunarodnaia nauchnaia konferentsiia «Arkheologiia srednevekovogo khrama» [International Scientifi c Conference “Archaeology of Mediaeval Church”. Proceedings]. Sevastopol' (in Russian).
11. Endol'tseva E., Vinogradov A. (2016). “Raznye interpretatsii odnogo siuzheta v srednevekovom khristianskom izobrazitel'nom iskusstve” [Diverse Interpretations of the Same Plot in Mediaeval Christian Visual Art]. Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost' [The East. Afro-Asian Societies : History and Present Day]. № 6. Pp. 90‒97 (in Russian).
12. Endol'tseva E., Dorofei Dbar, archimandrite (2018). “Altarnaia pregrada iz tserkvi v Drande: novye dannye” [Altar Barrier from the Church in Dranda: New Data]. Kavkaz v sisteme kul'turnykh sviazei Evrazii v drevnosti i Srednevekov'e [Caucasus in the System of Cultural Links of Eurasia in Antiquity and Middle Ages. Conference Proceedings]. Karachaevsk. Pp. 456‒459 (in Russian).
13. Khrushkova L. (2002). Rannekhristianskie pamiatniki Vostochnogo Prichernomor'ia (IV–VII veka) [Early Christian Artefacts of North Black Sea Region (4‒7 Centuries)]. Moscow (in Russian).
14. Khrushkova L. (1977). “Rel'efnaia plita s izobrazheniem ptits iz Tsebel'dy” [Slab with Relief with an Image of Birds from Tsebel’da]. Sovetskaia arkheologiia. № 1. Pp. 75‒82 (in Russian).
15. Khrushkova L. (1980). Skul'ptura rannesrednevekovoi Abkhazii V–X veka [Sculpture of Early Mediaeval Abkhazia of the 5th — 10th Centuries]. Tbilisi (in Russian).
16. Khroushkova L. (2006). Les monuments chrétiens de la côte orientale de la mer Noire. Abkhazie IV–XIV siеcles. Turnhout.
17. Gamakhariia D., Beradze T., Gvantseladze T. (eds.) (2009). Abkhaziia s drevneishikh vremen do nashikh dnei. Ocherki po istorii Gruzii [Abkhazia from Antiquity to Modern Times. Essays in the History of Georgia]. Tbilisi, 2009 (in Russian).
18. Iamanidzé N. (2010). Les installations liturgiques sculptées des églises de Géorgie (IV–XIII siе cles). Turnhout.
19. Medieval Georgian Ecclesiastical Art in the Georgian National Museum (2012). Tbilisi.
20. Ricard M.-C. (1992). Notre Dame du Port. Clermont-Ferrand.
21. Shervashidze L. (1968). “Tserkov' sviatogo Nikolaia v sele Khuap Gudautskogo raiona” [St. Nicholas Church in the Village of Khuap of Gudautsky District]. Doklady na vsesoiuznoi sessii arkheologov i etnografov [Presentations from the All-Union Session of Archaeologists and Ethnographers]. Moscow. Pp. 23‒24 (in Russian).
22. Shervashidze L. (1969). “Neizvestnyi khram na gore Ambara Gudautskogo raiona okolo sela Khuap” [Unknown Church on the Mount of Ambara, Gudautskii District, near the Village of Khuap], in XVII nauchnaia sessiia Abkhazskogo instituta. Tezisy dokladov [XVII Scientific Session of Abkhazian Institute. Collection of Abstracts]. Sukhumi. Pp. 19‒20 (in Russian).
23. Shervashidze L. (1974). “Stolb iz sela Anukhva” [Pillar from the Village of Anukhva]. Trudy Abkhazskogo gosudarstvennogo muzeia. Vol. 4. Sukhumi. Pp. 176‒185 (in Russian).
24. Shervashidze L. (1975). “Reznye kamni tserkvi na kholme Arasarakhu bliz Tsebel'dy” [Carved Stones from the Church on the Hill of Arasarakhu near Tsebel’dy]. Izvestiia. Vol. IV. Tbilisi (in Russian).
25. Shmerling R. (1962). Malye formy v arkhitekture srednevekovoi Gruzii [Small Forms in the Architecture of Mediaeval Georgia]. Tbilisi (in Russian).
26. Silogava V. (2004). Epigrafika Megrelii i Abkhazii [Epigraphy of Megrelia and Abkhazia]. Tbilisi (in Georgian).
27. Strazhev V. (1925). Ruinnaia Abkhaziia [Abkhazia of Ruins]. Sukhum (in Russian).
28. Vinogradov A., Beletskii D. (2015). Tserkovnaia arkhitektura Abkhazii v epokhu Abkhazskogo tsarstva. Konets VIII‒X v. [Church Architecture in Abkhazia in the Epoch of Abkhazian Kingdom. Late 8th — 10th Centuries]. Moscow (in Russian).
29. Voronov Iu. (2010). Trudy [Works]. Vol. 3. Sukhum (in Russian).
30. Voronov Iu., Bgazhba O. (1985). “Issledovaniia srednevekovykh pamiatnikov v Tsebel'de” [Study of Mediaeval Artefacts in Tsebel’da]. Arkheologicheskie otkrytiia 1981‒1982 gg. v Abkhazii [Archaeological Discoveries of 1981‒1982 in Abkhazia]. Tbilisi. Pp. 32‒34 (in Russian).

Endoltseva Ekaterina

*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.

This article analyses the complex of fresco fragments belonging to the decoration of one of the civil buildings in Vladychiy Dvor in Novgorod, namely the so-called chambers of Vasiliy Kalika. The fact that during the archaeological study in the territory of this construction more than 300 fresco fragments were found has a special signifi cance for establishing the former architectural shape of this building, as well as its purpose, and allows one to see a certain planned decoration of its inner space, which unambiguously testifi es that the functions of this fl our were not at all householdrelated. Most of the fragments represent remnants of polychrome background paintwork which in some places were accompanied by ornaments. The number of the fragments found is rather small, which does not allow us to claim that the rooms were painted entirely. The painting could cover the vaults and some specifi c architectural partitions of the walls, as well as the slopes of window openings and, possibly, the niches. The properties of the plaster, the mixed technique of fresco with tempera, as well as the coloristic range of the murals make it possible to attribute the fragments to the time of Archbishop Evfi miy Vyazhishchsky (1429‒1458). Some of these fi nds might be related to the decoration of Vladychnaya Chamber, painted in 1441, and could fi nd their way into the archaeological layers of the eastern excavation sites from the main porch. On the whole, a comparatively small number of the fragments of ruined murals that have been identifi ed during the excavations (their overall size does not exceed 2 square metres) does not allow us to make far-reaching conclusions as to the decoration of the rooms in which they were discovered. However, with the same degree of certainty one cannot exclude that we deal with the remains of the painting made in spring of 1434, the mention of which (as the painting of the “former” chamber) is contained in Novgorod First Chronicle of the later version.

Old Russian architecture, Old Russian painting, Rus’ in 14th — 15th centuries, monumental painting, frescoes, fragments of ruined wall-painting, technology of painting, Novgorod the Great, Novgorod archbishop

1. Antipov I. (2015). “Novgorodskii Vladychnyi dvor v XIV–XV vv. Novye dannye i perspektivy izucheniia” [Vladychyi Dvor in Novgorod in the 14th — 15th Centuries. New Data and Prospects of Study]. Novgorodskii istoricheskii sbornik. № 15 (25). Velikii Novgorod. Pp. 45–57.
2. Antipov I., Bulkin V., Zherve A. (2009). “Novye materialy k istorii novgorodskogo Vladychnogo dvora” [New Materials for the History of Vladychyi Dvor in Novgorod], in Lazarevskie chteniia. Iskusstvo Vizantii, Drevnei Rusi, Zapadnoi Evropy. Materialy nauchnoi konferentsii [Art of Byzantium, Ancient Rus and Western Europe. Conference Proceedings]. Moscow. Pp. 141‒157.
3. Antipov I., Bulkin V., Zherve A. (2017). “Grazhdanskaia postroika v novgorodskom Detintse” [Civil Construction in Detinets of Novgorod]. Seminarium Bulkinianum IV. St Petersburg. Pp. 59‒71.
4. Kalugina I., Iakovlev D., Ruzaeva E. (2009). “Arkhitektura Vladychnoi palaty Novgorodskogo kremlia po materialam issledovanii 2006–2008 godov” [Architecture of Vladychnaya Chamber in Novgorod Kremlin Based on the Materials of Studies of 2006‒2008]. Novgorod i Novgorodskaia zemlia. Iskusstvo i restavratsiia. № 3. Velikii Novgorod. Pp. 140‒178.
5. Sarab'ianov V. (2009). “Rospisi Vladychnoi Palaty Novgorodskogo Kremlia: Kel'ia Ioanna. Predvaritel'nye zametki po rezul'tatam restavratsionnykh rabot 2006–2007 gg.” [Murals of Vladychnaya Chamber in Novgorod Kremlin: Chamber of Ioann. Preliminary Remarks as to the Results of Restoration Work of 2006‒2007]. Novgorod i Novgorodskaia zemlia: Iskusstvo i restavratsiia. № 3. Velikii Novgorod. Pp. 127‒128.
6. Smirnova E., Tsarevskaia T. (2018). “O monumental'noi zhivopisi Novgoroda 1330 — nachala 1350 gg.” [On Monumental Painting in Novgorod of the 1330s — Early 1350s], in Istoriia russkogo iskusstva [History of Russian Art]. Vol. 4. Moscow. Pp. 453–463.
7. Tsarevskaia T. (2009). “O novgorodskoi stenopisi vremeni arkhiepiskopa Evfi miia II” [On Novgorod Mural Painting of the Time of Archbishop Evfi miy II]. Novgorod i Novgorodskaia zemlia: Iskusstvo i restavratsiia [Novgorod and its Land: Art and Restoration]. № 3. Velikii Novgorod. Pp. 61–75.

Tsarevskaya Tatiana

*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.

The study was carried out with the financial support of the Russian Science Foundation within the framework of the scientific project No. 18-18-00045 “Stone Civil Architecture of Novgorod XIV-XV Centuries: Complex Study”.

The article attempts to analyze the painting of the northern apse of the Cathedral of the Nativity of the Virgin of the Snetogorsky Monastery and its theological and theological content. The description of the iconographic program in accordance with the register division of the architectural volume. Thematic selection of plots gives a detailed theological commentary on the proskomedia. The sources of the origin of the scenes lie in the fi eld of the Holy Scripture and represent a doctrinal, historical and exegetical series regarding the formation and patristic understanding of the order of the proskomide.The article identifi es the semantic relationship of the content of the plots and their compositional structure. In the upper register, the sacrifi ce of Abraham is compared with the image of the Most Holy Trinity. The middle register contains a selection of biblical scenes from the Old and New Testaments. Lower case is represented by fi gures of saints, some of which are attributed. The iconographic program is analyzed in relation to the basics of Christian doctrine and traditions of liturgical practice, and a theological interpretation of the content of the painting is given. Some of the plots are intended to clarify the dogmatic signifi cance of the sacred rite performed in the north apse. Some of the plots show the historical development and tradition of off ering sacrifices and gifts to God. Some images of saints are textologically related to the order. Their names are mentioned during the commission of the proskomide, so they appear in the mural of the altar. The article specifies written sources, art history counterparts, and liturgical peculiarities that form the basis for plot formation. The dedication of the painting of the northern apse to the themes of the Atonement, sacrifi ce, preparation of the Gifts is an exceptional fact for the beginning of the 14th century. The preparation of the Lamb is commented in biblical, historical, symbolic, representative, textual perspectives. The study of the painting according to the principle of theological analysis made it possible to designate the infl uence of Christian dogma and liturgical practice on the monumental art of Ancient Russia. The study showed that the art history features of the monument were formed, primarily, under the infl uence of Christian dogma and liturgical practice. At the same time, the features of the selection of certain plots indicate their reliance on the liturgical tradition prevalent in Novgorod, in whose jurisdiction Pskov belonged. By the 14th century, the liturgical formation of the rank of proskomedia was completed, and in Snetogorsky Cathedral we encounter the earliest theological and artistic interpretation of this rite in ancient Russian art.

offertory, altar, northern apse, the Lamb, Eucharist, prototype, iconographic programme, rite, mural, liturgical context, theological signifi cance

1. Davydenkov O., archpriest (2014). Dogmaticheskoe bogoslovie [Dogmatic Theology]. Moscow.
2. Lifshits L. (2004). Ocherki istorii zhivopisi drevnego Pskova [Essays in the History of Panting of Ancient Pskov]. Moscow.
3. Sarab'ianov V. (2009). “Patronal'nye i ktitorskie izobrazheniia vo freskakh sobora Snetogorskogo monastyria. Opyt rekonstruktsii” [Images of Patrons and Donators in Frescos of the Cathedral of Snetogorsky Monastery. Attempt at Reconstruction], in Arkheologiia i istoriia Pskova i Pskovskoi zemli [Archaeology and History of Land of Pskov]. Pskov.
4. Shmeman A., archpriest (2001). Evkharistiia. Tainstvo Tsarstva [Eucharist. The Sacrament of Kingdom]. Moscow.
5. Tsarevskaia T. (1997). “Nekotorye osobennosti ikonografi cheskoi programmy rospisei tserkvi Blagoveshcheniia na Miachine («v Arkazhakh»), bliz Novgoroda” [Some Special Features of Iconographic Programme of Murals of the Annunciation Church near Novgorod], in DRI: Issledovaniia i atributsii. St Petersburg.
6. Uspenskii L. (1997). Bogoslovie ikony pravoslavnoi tserkvi [Theology of Icon in the Orthodox Church].
7. Vetelev A. (1989). “Bogoslovskoe soderzhanie ikony Sviataia Troitsa prepodobnogo Andreia Rubleva” [Theological Content of Andrei Rublev’s Trinity], in Troitsa Andreia Rubleva. Antologiia [Andrei Rublev’s Trinity. Anthology]. Moscow.

Nun Sophia (Vashevko O.)

In Old Russian sacred art, the composition of the Great Entrance has been known since the 16th century. It illustrates the transfer of the holy gifts from the table of oblation to the altar, which is an important moment in Orthodox liturgy. Sometimes it is argued that the Great Entrance is similar to the composition of the Celestial Liturgy. But if compared in detail, it becomes clear that there are signifi cant diff erences between the two scenes. Some researchers have written about the depiction of the Great Entrance in the context of the iconographic innovations introduced by metropolitan Macarius of Moscow in the second half of the 16th century. In the same way, this composition was regarded in the context of paintings of the second half of the 17th century. However, the origin of the iconography of the Great Entrance has not been scientifi cally treated yet. Among all known monuments, it is only in the frescos of the Dormition Cathedral in Moscow Kremlin that this theme fi nds its logical “context”, because it is depicted as a continuation of the Passion Cycle. From the liturgical interpretation proposed by the Byzantine theologian Nicholas Cabasilas, it is seen that in the Great Entrance we imitate the righteous Nicodemus and Joseph of Arimathea who are burying Christ. The same is refl ected in the scenes located in the altar zone of the Dormition Cathedral, i.e. the Great Entrance, Crucifi xion, and Lamentation. These confi rm this interpretation as they testify the image of the church, earthly and celestial, that is burying the Saviour during the Divine Liturgy. It is not yet known, how strictly the painters that restored the Dormition Cathedral in 1642‒1643 followed the programme of the early 16th century, which is mentioned by the chronicler. In particlular, the article shows that it is in the Dormition Cathedral of Moscow Kremlin that this fresco composition could appear for the first time; but the reasons for its creation in Russia in the early 16th century still remain unclear.

Great Entrance, Dormition Cathedral, Moscow Kremlin, St Nicholas Church in Yaroslavl, Old Russian art, monumental painting, church paintings, Passion Cycle, tomb of Christ, liturgy of Great Saturday, Let all Flesh Remain Silent, interpretation of Divine Liturgy

1. Belova L., Bykova M., Vakhtanov S. (eds.) (2014). Sobor Rozhdestva Bogoroditsy v Suzdale [Cathedral of Nativity of Virgin Mary in Suzdal]. Vladimir (in Russian).
2. Bozhestvennaia liturgiia izhe vo sviatykh ottsa nashego Ioanna Zatoustago [Divine Liturgy of St. John Chrysostom]. Moscow (in Russian).
3. Danilova O. (1999). “Kontseptsiia «Moskva — osushchestvlennyi Ierusalim» v programme monumental'noi zhivopisi Uspenskogo sobora Moskovskogo Kremlia” [The Concept of Moscow as Materialised Jerusalem in the Programme of Monumental Painting of the Dormition Cathedral of Moscow Kremlin]. Iskusstvo khristianskogo mira. № 3. Moscow. Pp. 58‒68 (in Russian).
4. Karger M. (1930). “Les portraits des fondateurs dans les peintures murales du monastere de Svij azk”. L'art byzantin chez les Slaves. Recueil Uspenskij . Paris. Vol. 2.
5. Kochetkov I. (2009). Slovar' russkikh ikonopistsev XI–XVII vekov [Dictionary of Russian Icon Painters of the 11th — 17th Centuries]. Moscow (in Russian).
6. Nikitina T. (2010). “Ikonografi ia Velikogo vkhoda v russkoi monumental'noi zhivopisi XVII veka” [Iconography of the Great Entrance in Russian Monumental Painting of the 17th Century], in XIV nauchnye chteniia pamiati Iriny Petrovny Bolottsevoi: sbornik statei [16th Scientifi c Workhop in the Memory of Irina Petrovna Bolotseva: A Collection of Papers]. Iaroslavl. Pp. 43‒53 (in Russian).
7. Nikitina T. (2015). Russkie tserkovnye rospisi 1670‒1680 godov [Russian Church Murals of the 1670‒1680s]. Moscow (in Russian).
8. Preobrazhenskii A. (2009). “K voprosu o datirovke rospisei sobora Uspenskogo monastyria v Sviiazhske” [On Dating of the Murals of the Dormition Cathedral in Sviyazhsk]. Sviiazhskie chteniia. Vol. 1. Sviiazhsk. Pp. 30–42 (in Russian).
9. Preobrazhenskii A. (2009). “O stile i vremeni sozdaniia rospisi sobora Uspenskogo monastyria v Sviiazhske” [On the Style and Dating of the Mural of the Dormition Monastery in Sviyazhsk], in Lazarevskie chteniia. Iskusstvo Vizantii, Drevnei Rusi, Zapadnoi Evropy. Materialy nauchnoi konferentsii 2009 [Art of Byzantioum, Ancient Rus’, Western Europe. Conference Proceedings]. Moscow. Pp. 268–308 (in Russian).
10. Saenkova E. (2004). “O nekotorykh osobennostiakh ikonografi i velikogo vkhoda v drevnerusskom monumental'nom iskusstve” [On Some Features of Iconography of the Great Entrance in Old Russian Monumental Art]. Iskusstvo khristianskogo mira. № 8. Moscow. Pp. 144‒145 (in Russian).
11. Sarab'ianov V. (1999). “Simvoliko-allegoricheskie ikony Blagoveshchenskogo sobora i ikh vliianie na iskusstvo XVI veka” [Symbolic and Allegorical Icons of the Annunciation Cathedral and their Influence on Art of the 16th Century], in Blagoveshchenskii sobor Moskovskogo Kremlia: Materialy i issledovaniia [Annunciation Cathedral of Moscow Kremlin: Materials and Studies]. Moscow. Pp. 164‒217 (in Russian).
12. Tikhomirov M. (1945). “Iz «Vladimirskogo letopistsa»” [From “Vladimir Chronicler”]. Istoricheskie zapiski. Vol. 15. Moscow. Pp. 278—300 (in Russian).
13. Tolstaia T. (2011). Istoriia ikonostasov Uspenskogo sobora Moskovskogo Kremlia. Uspenskii sobor Moskovskogo Kremlia. Ikonostasy. Katalog [History of Iconostases of the Dormition Cathedral of Moscow Kremlin. Dormition Cathedral of Moscow Kremlin. Iconostases. Catalogue]. Moscow (in Russian).
14. Zonova O. (1964). “Stenopis' Uspenskogo sobora Moskovskogo Kremlia” [Mural Painting of the Dormition Cathedral of Moscow Kremlin], in Drevnerusskoe iskusstvo. XVII vek [Old Russian Art. 17th Century]. Moscow. Pp. 128‒137 (in Russian).
15. Zverev A. (1999). “Tema Strastei Khristovykh i Liturgiia v rospisi tserkvi Perivlepty v Mistre” [The Theme of Christ’s Passions and Liturgy in the Murals of the Church of Perivlepta in Mistra]. Iskusstvo khristianskogo mira. № 3. Moscow. Pp. 52‒57 (in Russian).

Denisov Denis

This article is devoted to two four-part concertos of the prominent Baroque composer Nikolai Diletsky in honour of Archangel Michael, namely Чиноначальник вышним силам (“Chief of the Higher Powers”) and О сладкий свете (“Oh, Sweet Light”). This article makes these compositions public. It provides information about handwritten note sources kept in the archives of Russia, examines the verbal sources (including a comparison with the texts that are wide-spread now), identifi es similarities and distinctions between these two works. The article also analyses the specifi city of the refrain forms in the concertos to Archangel Michael, the interaction between the text and metric structures. Particular attention is paid to the intonational analysis, which allows us to identify the author’s intentions associated with the beginning-to-end development of the main thematic elements that hold together the expanded constructions as a single entity. The musical and compositional approaches and techniques applied by Diletsky are compared with the theses of his theoretical work Мусикийская грамматика, which makes up grounds for the conclusion about which refraction the specifi c theses of this treatise receive in the composer’s own creative work.

Nikolay Diletsky, Part-Song style, concertos, Michael the Archangel, refrain forms

1. Akafist Arkhangelu Mikhailu [Akathist to Michael the Archangel], available at www.fatheralexander.org/booklets/russian/akathist.htm#_Toc63593184 (14.01.2019).
2. Gatovskaia E. (2018). “Nekotorye osobennosti refrennykh form v chetyrekhgolosnykh kontsertakh Vasiliia Titova” [Some Specifi c Features of Refrain Forms in Concertos for Four Voices by Vasily Titov]. Vestnik Pravoslavnogo Sviato-Tikhonovskogo universiteta. Seriia V. № 31. Pp. 83–101.
3. Gerasimova-Persidskaia N. (2012). “Printsip porozhdeniia v partesnom tvorchestve” [Generative Principle in Part-Song Creative Work]. Muzyka. Vremia. Prostranstvo [Music. Time. Space]. Kiev. Pp. 160–176.
4. Liudogovskii F., priest, Pliakin M., deacon (2010). “Obzor akafi stov v chest' sviatykh besplotnykh sil” [Outline of Akathists in Honour of Immaterial Powers]. Trudy Saratovskoi pravoslavnoi dukhovnoi seminarii. Vol. 4. Pp. 160–176.
5. Liudogovskii F., Pliakin M. (2013). “Akafi sty angelam: probnyi fragment kataloga tserkovnoslavianskikh akafi stov” [Akathists to Angels: Provisional Fragment of Catalogue of Church Slavonic Akathists], in Lingvisticheskoe istochnikovedenie i istoriia russkogo iazyka [Linguistic Source Study and History of the Russian Language]. Moscow. Pp. 260–280.
6. Plotnikova N. (2013). “Tvorchestvo Nikolaia Diletskogo: novye otkrytiia” [Nikolay Diletskiy’s Creative Work: New Findings]. Muzykal'naia akademiia, № 2. Pp. 77–82.
7. Plotnikova N. (2018). “Teksty chetyrekhgolosnykh kontsertov Nikolaia Diletskogo: voprosy proiskhozhdeniia i klassifi katsii verbal'nykh istochnikov” [Texts of Four-Part Concertos by Nikolai Diletsky: Problems of Origin and Classifi cation of Verbal Sources]. Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V. № 29. Pp. 38–55.
8. V.V.V. (2001). “Arsenii Kriptoferratskii”, in Pravoslavnaia entsiklopediia [Orthodox Encyclopaedia], vol. 3. Moscow 2001. P. 436.

Plotnikova Natalia

*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 deals with the leading role of architectors in constructing and installing heating appliances in Russian interiors of the 18th — 19th centuries. The installation of stoves and chimneys and their ornamentation was primarily dependent on the author’s design and the plan-related, architectural, artistic and engineering tasks that the architect encountered. Famous Russian architects designed heating units in high-status buildings and use elements of big architecture in them. This shows not only the multifaceted activity of Russian architects of the past, but also their understanding that the stove is not only an element in organising and decorating the interior, but also an important engineering unit in the building. We can see this in the preserved projects of ceramic tile stoves by D. Ukhtomsky, K. Blank, M. Kazakov, D. Quarenghi, F. Richter, etc. The role of the architect N. L’vov must be particularly mentioned. Alongside designing stoves in his own houses, he developed innovative techiques of heating and ventilating buildings. This view allows us to claim that architects were involved in designing ceramic tile stoves, e.g. in the Trinity Church of the Strannopriimny (“Wanderers’ Shelter”) House in Moscow.

architect, ceramic tile stove, chimney, stove construction, engineering, Romanovs’ chambers

1. Baranova S. (2007). “K voprosu o rekonstruktsii izraztsovykh pechei Kolomenskogo dvortsa” [Reconstructing Ceramic Tile Stoves in Kolomenskoe Palace]. Kolomenskoe. Materialy i issledovaniia. Moscow. Vol. 10. S. 118–134 (in Russian).
2. Baranova S. (2010). “Restavratsionnaia deiatel'nost' F. F. Rikhtera i vozrozhdenie simvoliki epokhi Moskovskogo tsarstva” [F.F. Rikhter’s Restoration Work and Revitalising the Symbolism of the Epoch of Moscow Tzardom], in Istoriografiia istochnikovedeniia i vspomogatel'nykh istoricheskikh distsiplin [Historiography of Source Criticism and Auxiliary Historical Disciplines. Conference Proceedings]. Moscow. Pp. 145–148 (in Russian).
3. Baranova S. (2011). “Izraztsy iz Kolomenskogo dvortsa: transformatsii khudozhestvennykh impul'sov” [Ceramic Tiles from Kolomenskoe Palace: Transformations of the Artistic Impetus]. Kolomenskoe. Materialy i issledovaniia. Vol. 13. Pp. 197–216 (in Russian).
4. Baranova S. (2013). “Opyt rekonstruktsii drevnerusskikh pechei v Moskovskom gosudarstvennom ob»edinennom muzee-zapovednike” [Reconstruction of Old Russian Stoves in Moscow State Museum-Preserve], in K dvadtsatiletiiu vysshei shkoly restavratsii RGGU: akademicheskoe iskusstvovedenie, arkheologiia, nauchnaia restavratsiia segodnia. Materialy nauchnoi konferentsii [20th Anniversary of the Higher School of Restoration of Russian State University for the Humanities: Academic Art Criticism, Archaeology, Scientifi c Restoration Today]. Moscow. Pp. 81–82 (in Russian).
5. Baranova S. (2013). Russkii izrazets. Zapiski muzeinogo khranitelia [Russian Ceramic Tile. Notes of the Museum Keeper]. Moscow (in Russian).
6. Beletskaia E., Pokrovskaia Z. (1980). Zhiliardi. Moscow (in Russian).
7. Budylina M., Braitseva O., Kharlamova A. (1961). Arkhitektor N. A. L'vov [Architect N. A. L’vov]. Moscow (in Russian).
8. Frolov M. (1991). Mastera-izrazechniki Moskvy XVII — nachala XVIII veka [Masters of Ceramic Tiles of Moscow in the 17th — Early 18th Centuries]. Moscow (in Russian).
9. Glumov A. (1980). N. A. L'vov. Moscow.
10. Il'enko I. (1993). “Nekotorye svedeniia ob izraztsovykh pechakh XVII–XVIII vekov” [Some Data on Ceramic Tile Stoves of the 17th — 18th Centuries]. Kolomenskoe. Materialy i issledovaniia. Vol. 5. Pp. 71–103 (in Russian).
11. Nemtsova N. (1989). K voprosu o klassifi katsii russkikh izraztsovykh pechei XVIII v. [Classifi cation of Russian Ceramic Tile Stoves of the 18th Century]. Moscow (in Russian).
12. Nemtsova N. (1993). “O stiliakh arkhitekturnykh russkikh izraztsovykh pechei XVII–XVIII vv.” [Styles of Architectural Russian Ceramic Tile Stoves of the 17th — 18th Centuries]. Kolomenskoe. Materialy i issledovaniia. Vol. 5/1. Pp. 30–41 (in Russian).
13. Savel'ev Iu. (2009). Nikolai Vladimirovich Sultanov. Moscow (in Russian).
14. Sergienko I. (1986). “Zavody goncharnye i izraztsovye XVIII–XIX vv.” [Plants of Pottery and Ceramic Tiles of the 18th — 19th Centuries]. Iz istorii russkoi keramiki i stekla XVII–XVIII vekov. Trudy Gosudarstvennogo Istoricheskogo muzeia. Vol. 62 (in Russian).
15. Stepanova E. (1993). “Rekonstruktsiia skul'pturnykh pechei v inter'erakh klassitsizma” [Reconstruction of Ceramic Tile Stoves in Interiors of Classicism]. Kolomenskoe. Materialy i issledovaniia. Vol. 5/2. Moscow (in Russian).
16. Tydman L. (2001). Izba, dom, dvorets. Zhiloi inter'er Rossii s 1700 po 1840-e gody [Hut, House, Palace. Interior of Living Rooms in Russia from 1700 to the 1840s]. Moscow (in Russian).

Baranova 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.

This article deals with the origin of tragical dramaturgy of musical dramas by M. Mussorgsky, Boris Godunov and Khovanshchina. It raises the question about the refraction by the Russian composer of the infl uence of the ancient tragedy as a fundamental feature in the dramaturgy of these masterpieces. The article studies the historical context which conditioned Mussorgsky’s interest in the theatrical art of Classical Greece and various directions in the presence of the classical ancient and post-ancient theme in Russian culture of the 1860‒1870s. Attention is also paid to the formation in these years of the new look on the Classical Greek heritage, despite the dominating opinion about negative or indiff erent attitude of the epoch in question towards the ancients. The penetration of ancient impressions into Mussorgsky’s early works is discussed with his fi rst stage exercises as examples, i.e. the drama Oedipus in Athens and the opera Salambo. The next step is the free refl ection by the composer of the ancient tradition in mature years of his creative work. The article cites the letters which allow us to see the depth of the composer’s veneration for the eternal value of Classical Greek aesthetic experience. Drawing on the analysis of the dramaturgy of Boris Godunov and Khovanshchina, the article makes the conclusion that the Russian composer of the 19th century made topical the ancient fundamentals of the tragical genre in conditions of the national historical topics and refl ections of the Russian Orthodox religious experience.

Mussorgsky, musical drama, classical ancient tragedy, Boris Godunov, Khovanshchina, liturgical content

1. Averintsev S. (1972). K istolkovaniiu simvoliki mifa ob Edipe [Towards Interpreting the Symbolism of Myth of Oedipus], in Antichnost' i sovremennost' [Antiquity and Modernity]. Moscow. Pp. 90–102 (in Russian).
2. Bobkova M. (2005). “«My sami — vremia»: proshloe i nastoiashchee v istoricheskom soznanii epokhi Srednevekov'ia” [“We are Time Ourselves”: The Past and the Present in Historical Consciousness of Middle Ages], in «Tsep' vremen»: problemy istoricheskogo soznaniia [“Chain of Times”: Problems of Historical Consciousness]. Moscow (in Russian).
3. Kandinskii A. (2002). “O religiozno-nravstvennoi osnove «Khovanshchiny» M. P. Musorgskogo” [On the Religious and Moral Foundation of Khovanshchina by M. P. Mussorgsky]. Nauchnye trudy Moskovskoi godudarstvennoi konservatorii im. P. I. Chaikovskogo. Vol. 35. Moscow. Pp. 7–30 (in Russian).
4. Kireev D. (2010). “«Boris Godunov» Musorgskogo. O dukhovnoi sushchnosti opery” [Mussorgsky’s Boris Godunov. On the Spiritual Essence of the Opera]. Muzykovedenie. № 6. Pp. 11–20 (in Russian).
5. Kishkinova E. (2006). «Vizantiiskoe vozrozhdenie» v arkhitekture Rossii [Byzantine Renaissance in Russian Architecture]. St Petersburg (in Russian).
6. Leont'eva O. (2008). “Istoricheskaia pamiat' i obrazy proshlogo v kul'ture poreformennoi Rossii” [Historical Memory and Images of the Past in the Culture of Post-Reform Russia], in L. Repina (ed.) Dialogi so vremenem. Pamiat' o proshlom v kontekste istorii [Dialogues with the Past. Memory of the Past in the Context of History]. Moscow. Pp. 636–681.
7. Levashev E. (ed.) (1989). Nasledie M. P. Musorgskogo [Mussorgsky’s Legacy]. Moscow (in Russian).
8. Levashev E., Teterina N. (2011). Istorizm khudozhestvennogo myshleniia M. P. Musorgskogo [Historism of Mussorgsky’s Artistic Thinking]. Moscow (in Russian).
9. Medvedev I. (2000). “Nekotorye razmyshleniia o sud'bakh russkogo vizantinovedeniia” [Some Thoughts on the Fates of Russian Byzantine Studies]. Istoricheskie zapiski. № 3 (121). Moscow. Pp. 30–47 (in Russian).
10. Mikhailova E. (2011). “Khristianskaia ideia i molitva. Pervaia redaktsiia «Borisa Godunova»” [Christian Idea and the Prayer. First Version of Boris Godunov]. Muzykal'naia akademiia. № 2. Pp. 32–37.
11. Orlova A., Pekelis M. (eds.) (1971). Musorgskii M. P. Literaturnoe nasledie. Pis'ma. Biografi cheskie materialy i dokumenty [Mussorgsky. Literary Legacy. Letters. Biographical Materials]. Moscow (in Russian).
12. Radtsig S. (1946). “Gomer v russkoi literature” [Homer in Russian Literature], in S. I. Sobolevskii et al. Istoriia grecheskoi literatury. Vol. 1 (in Russian).
13. Seliverstova N. (2014). “Aktualizatsiia proshlogo v period podgotovki krest'ianskoi reformy v Rossii” [Topicalisation of the Past in the Period of Preparation of the Agricultural Reform in Russia], in Liudi i teksty. Istoricheskii al'manakh. № 6. Pp. 130–149 (in Russian).
14. Shekhovtsova I. (2017). “Vladimir Vasil'evich Stasov i nachalo russkoi muzykal'noi vizantinistiki” [V. V. Stasov and the Beginning of Russian Musical Byzantinology]. Uchenye zapiski RAM im. Gnesinykh. № 2 (21). Pp. 19–29 (in Russian).
15. Shirinian R. (1981). Opernaia dramaturgiia Musorgskogo [Mussorgsky’s Opera Dramaturgy]. Moscow (in Russian).
16. Skirskaia T. (2018). “Dva vzgliada na tserkovnoe penie v perepiske V. V. Stasova i D. V. Razumovskogo” [Two Looks on Church Singing in Letters of V. Stasov and D. Razumovsky]. Muzykal'naia akademiia. № 1. Pp. 179–187 (in Russian).
17. Skirskaia T. (2017). “U istokov russkoi muzykal'noi vizantologii” [The Beginnings of Russian Musical Byzantinology]. Vestnik PSTGU. Seriia V. Voprosy istorii i teorii khristianskogo iskusstva. № 25. Pp. 123–160 (in Russian).
18. Surikov I. (2008). “Istoriia v drame — drama v istorii. Nekotorye aspekty istoricheskogo soznaniia v klassicheskoi Gretsii” [History in Drama — Drama in History. Some Aspects of Historical Consciousness in Classical Greece], in L. Repina. Dialogi so vremenem. Pamiat' o proshlom v kontekste istorii [Dialogues with the Past. Memory of the Past in Context of History]. Moscow. Pp. 371–409 (in Russian).
19. Toporkov A. (1997). Teoriia mifa v russkoi fi lologicheskoi nauke XIX veka [Theory of Myth in Russian Philological Science of the 19th Century]. Moscow (in Russian).
20. Uspenskii B. (2000). Poetika kompozitsii [Poetics of Composition]. St Petersburg (in Russian).

Pavlinova Varvara

*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.

This article deals with musical dramaturgy of the matins of the Great Friday by archimandrite Matthew (Mormyl’). It gives a preliminary outline of history and structure of this monumental and extremely signifi cant liturgical piece. The matins of the Great Friday combines components of the lenten liturgical circle and the Lenten Triodion. The uniqueness of this service is due to both numerous Gospel texts being read and richness of the musical material; between the 1st and 7th fragments of Gospels there are antiphons, i.e. chants that are absent from any other service of the yearly circle. The article claims that 15 antiphons of the matins can be conventionally divided into fi ve cycles (three antiphons in each) which are diff erent as to the level of dramatic tension. The second of them (antiphons 4‒6) narrates of Judas’ betrayal and due to this it is characterised by the most mournful colour. Archimandrite Matthew harmonises all the chants in the minor here. By contrast, in the last group of the antiphons, the sound colour is brightening, there appears the anticipation of the coming Resurrection. The article argues that even in the schematic sequence of the basic accords of musical lines, the Gospel story is recited as it is embodied in sounds by the outstanding church musician archimandrite Matthew.

matins, antiphon, archimandrite, harmonisation, cadence plan

1. Abramova A. (ed.) (2002‒2015). Tolkovoe osmoglasie upotrebitel'nykh rospevov Russkoi Pravoslavnoi Tserkvi [Explanatory Osmoglasie of Common Chants of the Russian Orthodox Church]. Moscow (in Russian).
2. Balueva N. (2012). Regent: sud'ba i sluzhenie. Protoierei Mikhail Fortunato [Choir Master: Fate and Ministry. Archpriest Michael Fortunato]. Moscow (in Russian).
3. Dunaev M. (1998). Vera v gornile somnenii [Faith in the Maelstrom of Doubt]. Moscow (in Russian).
4. Fortunato M., archpriest, Balueva N. (2017). “Utrenia Velikoi Piatnitsy — «Paskha Raspiatiia»” [Matins of Great Friday as “Easter of the Crucifi xion”], in Rytsar' regentskogo sluzheniia otets Matfei (Mormyl') [Knight of the Choir Master’s Service Revd. Matfei Mormyl’]. St Petersburg. Pp. 177–204 (in Russian).
5. Gulianitskaia N. (2002). Poetika muzykal'noi kompozitsii. Teoreticheskie aspekty russkoi dukhovnoi muzyki XX veka [Poetics of Musical Composition. Theoretical Aspects of Russian Spiritual Music of the 20th Century]. Moscow (in Russian).
6. Krasovitskaia M. (2016). Liturgika [Liturgical Studies]. Moscow (in Russian).
7. Kustovskii E., Potemkina N. (2014). Posobie po izucheniiu osmoglasiia sovremennoi moskovskoi traditsii [Handbook for the Study of Osmoglasie in the Modern Moscow Tradition]. Moscow (in Russian).
8. Matthew (Mormyl'), archimandrite (ed.) (2007). Liturgiia. Notnyi sbornik. Neizmeniaemye pesnopeniia dlia odnorodnykh khorov [Liturgy. Note Collection. Immutable Chants for Church Choirs]. Moscow (in Russian).
9. Matthew (Mormyl'), archimandrite (ed.) (2010). Vsenoshchnoe bdenie. Notnyi sbornik [All-Night Vigil. Note Collection]. Moscow (in Russian).
10. Matthew (Mormyl'), archimandrite (ed.) (2010). Pesnopeniia Postnoi Triodi. Notnyi sbornik [Chants of the Lenten Triodion. Note Collection]. Moscow (in Russian).
11. Matthew (Mormyl'), archimandrite (ed.) (2010). Pesnopeniia Strastnoi sedmitsy. Notnyi sbornik [Chants of the Passion Week. Note Collection]. Moscow (in Russian).
12. Rudneva A. (1994). Russkoe narodnoe muzykal'noe tvorchestvo. Ocherki po teorii fol'klora [Russian Folk Musical Creativity. Essays in the Theory of Folklore]. Moscow (in Russian).
13. Triod' Postnaia na tserkovno-slavianskom iazyke [Lenten Triodion in the Church Slavonic Language]. Moscow, 2015 (in Russian).
14. Volkovinskii S. (2008). “Zhiznennyi put' i tvorcheskoe nasledie ieromonakha Troitse-Sergievoi Lavry Nafanaila (Bachkalo)” [Life and Creative Heritage of Hieromonk of Troitse-Sergieva Lavra Nafanail (Bachkalo)]. Vestnik PSTGU. Seriia V. Muzykal'noe iskusstvo khristianskogo mira. № 2 (3). Pp. 139–146 (in Russian).
15. Zamanskaia L., Tartakovskaia O. (eds.) Azbuka osmoglasiia. Vypusk pervyi. Stikhiry [Basics of Osmoglasie. Part One. Sticheira]. Moscow (in Russian).
16. Zheltov M., priest, Tkachenko A. (2004). “Velikaia Piatnitsa” [Great Friday], in Pravoslavnaia entsiklopediia [Orthodox Encyclopaedia]. Vol. 7. Pp. 416‒430 (in Russian).
17. Zhuravlenko I. (ed.) (2002). Svod sochinenii i napevov Pravoslavnoi Tserkvi [Collection of Works and Chants of the Orthodox Church]. Moscow (in Russian).

Starostina Tatiana

*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.