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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 :35

ARTICLES

Adamova Tatiana

History of liturgical vestments through the analysis of monuments of visual art

Adamova Tatiana (2019) "History of liturgical vestments through the analysis of monuments of visual art ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2019, Iss. 35, pp. 9-32 (in Russian).

DOI of the paper: 10.15382/sturV201935.9-32
This article studies in chronological order questions of historical development of church vestments and of the decoration of its details starting from the fi rst centuries of Christianity. As a result of comparison of diff erent historical periods, both distinctive features and similarities of Christian vestments in the East and West are shown. The article traces the evolution of the forms of objects, individual and shared features of western and eastern vestments, the main methods of decorative design of the details. The preserved items of vestments of the Byzantine period, decorated with holy images, have a narrow chronological framework and date from no earlier than the 12th century. Only single instances are preserved from the earlier period. In order to study the liturgical apparel of this time, images of the surviving ensembles of monumental art of the 5th — 12th centuries are used, by which it is possible to trace the change in the forms of clothing and in the nature of the decoration of their details; these monuments have been published many times and are known fairly well. In addition to the monumental painting, the article demonstrates the objects of decorative and applied art. It also analyses the formation of secular historical costume and the articles of attire on consular diptychs from ivory. The article also provides a list of specifi c parts of liturgical and casual clothes and the principle of their decor.
Byzantine costume, monumental painting, iconography, liturgical vestments, ornament, embroidery, decorative art, interior
  1. Ball J. (2005) Byzantine Dress. Representations of Secular Dress in Eighth to Twelfth Century Painting. New York: Palgrave Macmillan.
  2. Evans H. (ed.) (2004) Byzantium. Faith and Power (1261–1557). New York.
  3. Golubinskii E. (2002) Istoriia Russkoi Tserkvi [History of Russian Church]. Moscow (in Russian).
  4. Kireeva E. (1970) Istoriia kostiuma. Evropeiskie kostiumy ot antichnosti do XX v. [History of Costume. European Costume from Antiquity to the 20th Century]. Moscow (in Russian).
  5. Lortts I. (1999) Istoriia Tserkvi, rassmotrennaia v sviazi s istoriei idei [History of Church Considered in Connection with the History of Ideas], vol. 1. Moscow (in Russian).
  6. Maiasova N. (1991) Srednevekovoe litsevoe shit'e. Vizantiia. Balkany. Rus': Katalog vystavki k XVIII Mezhdunarodnomu kongressu vizantinistov [Medieval Embroidery. Byzantium. Balcans. Rus’. Catalogue of the Exhibition for the 18th International Congress of Byzantinists]. Moscow (in Russian).
  7. Mertsalova M. (1993) Kostium raznykh vremen i narodov [Apparel of Various Times and Peoples], vol. 1. Moscow (in Russian).
  8. Pravoslavnye sviatyni Moskovskogo Kremlia v istorii i kul'ture Rossii (2006) [Orthodox Holy Objects of Moscow Kremlin in the History and Culture of Russia]. Moscow.
  9. Pravoslavnaia entsiklopediia (2007‒2017) [Orthodox Encyclopaedia]. Moscow (in Russian).
  10. Ubrus. Tserkovnoe shit'e. Istoriia i sovremennost' [Ubrus. Church Sewing. History and Present Time], vol. 12. St. Petersburg (in Russian).
  11. Piltz E. (1976) Trois sakkoi byzantins. Analyse iconographique. Uppsala.
  12. Veis G. (2006) Istoriia kul'tury narodov mira. Rastsvet Vizantii. Arabskie zavoevaniia [History of Culture of Peoples of the World. The Prime of Byzantium. Arabs’ Conquests]. Moscow (in Russian).
  13. Woodfi n W. (2002) Late Byzantine Liturgical Vestments and the Iconography of Sacerdotal Power. University of Illinois at Urbana-Champaign.
  14. Woodfi n W. (2012) The Embodied Icon: Liturgical Vestments and Sacramental Power in Byzantium. Oxford University Press.

Adamova Tatiana


Place of work: St. Tikhon’s Orthodox University for the Humanities; 6/1 Likhov pereulok, Moscow, 127051, Russian Federation;
Post: researcher;
ORCID: 0000-0003-1553-2651;
Email: atv_73@mail.ru.
Egorova Anastasia

Cherub from the image range of Speculum theologiae

Egorova Anastasia (2019) "Cherub from the image range of Speculum theologiae ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2019, Iss. 35, pp. 33-47 (in Russian).

DOI of the paper: 10.15382/sturV201935.33-47
The Mirror of Theology (Speculum theologiae) is a unique example of a book miniature of the Latin Middle Ages. It represents an embodiment of the Catholic didactics of the 13th — 15th centuries concentrated to its maximum. This article studies one of the miniatures of the illustrative range of the Speculum theologiae with a schematic drawing of a cherub. It is not only an image but also a chart into which the main theses of Alan’s of Lille treatise On the Six-Winged Cherub are incorporated. The article uses a number of artefacts as examples and scrutinises the formation and development of the iconography. A detailed analysis of each miniature allows one to understand the way how the coёxistence and mutual infl uence of the word and the image are expressed in the these specifi c cases. The article also demonstrates the correlation of the iconographic scheme with other didactic visual diagrams contained in the collection of the Speculum theologiae. A sheet with a schematic image of the cherub is studied in the article not as a lone-standing illustration accompanying the theological dissertation but as an element in the whole array of miniatures. In order to carry out the study, the author of the article has read and translated into Russian the charts-illustrations with the images of cherubs. A comprehensive translation allowed the author to understand the princliple of work of the illustration, i.e. how it combines images and texts, how they occupy their — sometimes interchangeable, sometimes irreducible — positions, how such exquisitely refi ned iconography is created in the golden age of the schematic theology of scholasticism.
Western Medieval art, Medieval illuminated manuscripts, Medieval illumination, Medieval iconography, cherub, visual diagrams, Medieval craft of memory, Medieval theology, Alan of Lille, Hugh of Saint-Victor
  1. Carruthers M. (2003) The Craft of Thought: Meditation, Rhetoric and the Making of Images 400– 1200. Cambridge: Cambridge University Press.
  2. Carruthers M., Ziolkowski J. (eds.) (2004) The Medieval Craft of Memory: An Anthology of Texts and Pictures. Philadelphia: University of Pennsylvania Press.
  3. Carruthers M. (2008) The Book of Memory. A Study of Memory in Medieval Culture. 2nd ed. New York: Cambridge University Press.
  4. Carruthers M. (2009) “Ars oblivionalis, ars inveniendi: The Cherub Figure and the Arts of Memory”. Gesta, 48, pp. 99‒117.
  5. Clopper L. (2006) “Inscribing Mentalities: Alan of Lille, the De Lisle Psalter Cherub, and Franciscan Meditation” in E. Kirk, B. Wheeler (eds.) Mindful Spirit in Late Medieval Literature: Essays in Honor of Elizabeth D. Kirk. New York: Palgrave Macmillan, pp. 57‒80.
  6. Evans M. (1980) “The Geometry of the Mind”. Architectural Association Quarterly, 12 (4), pp. 32‒55.
  7. Fergusson G. (1989) Signs and Symbols in Christian Art. London: Oxford University Press.
  8. Freeman S. (1999) The Psalter of Robert de Lisle in the British Library. London: Harvey Miller Publishers.
  9. Ladner G. (1983) Images and Ideas in the Middle Ages: Selected Studies in History and Art. Roma: Edizioni di storia e letteratura.
  10. Nesterova O. (2005) “Teoria mnozhestvennosti “smyslov” Sv. Pisaniya v srednevekovoi ekzegeticheskoi traditsii” [A Theory of Plurality of “Meanings” of Scripture in the Medieval Christian Exegetical Tradition], in Zhanry i formy v pismennoi kulture Srednevekov'ia [Genres and Forms in Medieval Written Culture]. Moscow, pp. 23‒44. (in Russian).
  11. Noell B. Medieval Representation of the Cherub and the Diagram in Beinecke MS 416, available at: http://brbl-archive.library.yale.edu/exhibitions/speculum/pdf/8r-noell.pdf (03.09.2019).
  12. Rudolph C. (2014) The Mystic Ark: Hugh of Saint Victor, Art, and Thought in the Twelfth Century. New York: Cambridge University Press.
  13. Saxl F. (1942) “A Spiritual Encyclopaedia of the Later Middle Ages”. Journal of the Warburg and Courtauld Institutes, 5, pp. 82‒139.

Egorova Anastasia


Student status: Graduate student;
Place of study: Lomonosov Moscow State University; 27/4 Lomonosovsky prospekt, Moscow, 119991 Russian Federation;
ORCID: 0000-0002-9356-2744;
Email: eto.nastya@gmail.com.
Nikulina Elena

Specific features of the influence of decorative and applied arts on icon-painting in Karelia of the 17th and 18th centuries

Nikulina Elena (2019) "Specific features of the influence of decorative and applied arts on icon-painting in Karelia of the 17th and 18th centuries ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2019, Iss. 35, pp. 48-60 (in Russian).

DOI of the paper: 10.15382/sturV201935.48-60
This article gives an analysis of the style of Karelian icons of the 17th and 18th centuries and, in particular, of the fixed typological patterns that were used by local painters during a long cultural and historical period. The icons were created by painters of peasantly origin, because of which they perceived the sacral space of the object of cult as a territory where they could implement their artistic standards and preferences. The latter aspects were closely related to the infl uence of decorative and applied arts and of folk culture that represented its pre-Christian foundation. If one takes into account the fact that the ethnic groups having lived in Karelia and the adjacent regions since ancient times, were bearers of pagan culture, one can see that the penetration of archaic elements into the space of the icon was quite understandable. The scientifi c study of this topic directly depended on discoveries of museum restoration. The question about the influence of folk art on the icon-painting of the region became topical in the 2000s, with the increase in discoveries of new artefacts. Among the wide range of typological patterns such types as the petal rosette and fi r-tree were distinguished. Identifying a significant circle of items allowed the author of the article to support the claim about a steady existence of such patterns in the icon-painting of the region and in the subsequent implementation of individual creative conceptions of the painters.
Karelian icon-painting, techniques of icon-painting, folk art, embroidery, painting on wood, typological patterns, petal fl ower, fi r-tree
  1. Buseva-Davydova I. (2011) “Narodnaia ikona: k opredeleniiu predmeta” [Folk Icon: Towards the Definition of the Artefact]. Antikvariat. Predmety iskusstva i kollektsionirovaniia, 9 (89), pp. 6‒20 (in Russian).
  2. Buseva-Davydova I. (2012) “Paradoksy narodnoi ikony” [The Paradoxes of a Folk Icon]. Antikvariat. Predmety iskusstva i kollektsionirovaniia, 9 (99), pp. 6‒13 (in Russian).
  3. Vishnevskaia V. (1981) Rez'ba i rospis' po derevu masterov Karelii [Wood Carving in Karelia]. Petrozavodsk (in Russian).
  4. Darkevich V. (1960) “Simvoly nebesnykh svetil v ornamente Drevnei Rusi” [Symbols of Heavenly Bodies in the Ornament of Ancient Rus’]. Sovetskaia arkheologiia, 4, pp. 56‒68 (in Russian).
  5. Ershov V. (2008) Staroobriadcheskaia ikona–primitiv XVIII veka «Arkhangel Mikhail — voevoda» [The Primitive Old-Rite Icon “Archangel Michael the Archistrategos”]. Petrozavodsk (in Russian).
  6. Ershov V. (2010) Moi krasnushki. Krest'ianskie ikony XVI–XX vv. [My “Krasnushki” (Little Nice Red Things). Peasants’ Icons of the 16th — 20th Centuries]. Petrozavodsk (in Russian).
  7. Ershov V. El' — drevo mertvykh [Fir-Tree is the Tree of the Dead], available at http://kizhi.karelia.ru/library/ryabinin-2003/102.html (03.09.2019; in Russian).
  8. Iamshchikov S., Popova M. (1966) Zhivopis' drevnei Karelii: al'bom [Art of Ancient Karelia: an Album]. Petrozavodsk (in Russian).
  9. Kochkurkina S., Spiridonov A., Dzhakson T. (1990) Pis'mennye izvestiia o karelakh [Written Sources about the Karelians]. Petrozavodsk (in Russian).
  10. Kosmenko A. (1977) Karel'skoe narodnoe iskusstvo [Karelian Folk Art]. Petrozavodsk (in Russian).
  11. Krokhin V. (2009) “Iazychestvo, khristianstvo i staroobriadchestvo v drevnerusskom zodchestve” [Paganism, Christianity, and Old-Rite Faith in Ancient Russian Architecture], in I. Mel'nikov, V. P. Kuznetsov (eds.) Kizhskii vestnik: sbornik statei, 12, pp. 232‒275 (in Russian).
  12. Orfinskii V. (2001) “Kul'tovoe zodchestvo Segozer'ia” [Sacral Architecture of Segozerye], in V. Orfinskii (ed.) Derevnia Iukkoguba i ee okruga: sbornik statei [The Village of Iukkoguba and its Environs: a Collection of Articles]. Petrozavodsk, pp. 91‒126 (in Russian).
  13. Serbina K. (1951) Ocherki iz sotsial'no-ekonomicheskoi istorii russkogo goroda. Tikhvinskii posad v XVI‒XVII vv. [Studies in Social and Economic History of the Russian City. Tikhvinsky Posad in the 16th and 17th Centuries]. Moscow; Leningrad (in Russian).
  14. Smirnova E. (1967) Zhivopis' Obonezh'ia XIV — XVI vekov [Painting of Obonezhye of the 14th — 16th Centuries]. Moscow (in Russian).
  15. Platonov V. (2009) “Mestnyi riad ikonostasa chasovni Uspeniia presviatoi Bogoroditsy v derevne Vasil'evo na ostrove «Kizhi» i nekotorye voprosy razvitiia ikonopisi Zaonezh'ia kontsa XVII — nachala XVIII veka” [Iconostasis of the Shrine of Dormition of Mary in the Village Vasilyevo on the island of Kizhi and Some Questions of Development of Icon-Painting of Zaonezhye of the 17th — Early 18th Centuries], in I. Mel'nikov, V.P. Kuznetsov (eds.) Kizhskii vestnik: sbornik statei, 12, pp. 179‒187 (in Russian).
  16. Putsko V. (2009) “Khramovaia ikona Preobrazhenskoi tserkvi Kizhskogo pogosta” [Church Icon of the Tranfiguration Church of Kizhsky Pogost], in I. Mel'nikov, V.P. Kuznetsov (eds.) Kizhskii vestnik: sbornik statei, 12, pp. 188‒200 (in Russian).
  17. Reformatskaia M. (1968) Severnye pis'ma [Northern Letters]. Moscow (in Russian).
  18. Tsodikovich V. (2002) “Semantika ikony Aleksandra Oshevenskogo XVI v. kargopol'skikh pisem” [Semantics of the Icon by Alexander Oshevensky of the 16th Century], in B. Raushenbakh (ed.) Pamiatniki kul'tury. Novye otkrytiia 2001: Pis'mennost'. Iskusstvo. Arkheologiia: Ezhegodnik [Monuments of Culture. New Discoveries 2001: Written Sources. Art. Archaeology], 25. Moscow, pp. 195‒200 (in Russian).

Nikulina Elena


Academic Degree: Candidate of Sciences* in Art Criticism;
Place of work: Petrozavodsk State Conservatory; 16 Leningradskaya Str., Petrozavodsk, 185031, Russian Federation;
ORCID: 0000-0002-8817-5563;
Email: lennikulin@yandex.ru.

*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.

Zhidenko Nadezhda; Timofeeva Rimma

European engravings of “spiritual” content in Russia

Zhidenko Nadezhda, Timofeeva Rimma (2019) "European engravings of “spiritual” content in Russia ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2019, Iss. 35, pp. 61-73 (in Russian).

DOI of the paper: 10.15382/sturV201935.61-73
This article studies the presence of West-European engraved sheets with Biblical themes in the territory of Russia of the 17th — 19th centuries. The infl uence of West-European engravings already manifested itself as early as the 16th century and increased considerably in the 17th century. Books and engravings from Europe clearly influenced the masters from both the capital and provinces. The engraving, which is a cheaper and more aff ordable type of visual art, begins to be used to decorate living rooms, as images for prayer, to remind of the events of the Scripture. Despite the generally negative attitude of the church, the European engravings continued to spread in Russia and by the 18th century occupied a stable place in the household of various social groups. Collections of engravings began to be gathered; the sheets were used as “examples”, i.e. study material; were used as relayers of unaccessible painted originals. In the 19th century, the demand became even greater. Alongside original European engravings of “spiritual” content, cheap engravings and lithographies came to be widespread, these were only remotely similar to the primary sources. Illustrated edition based on the cycles of European engravings with Biblical themes were printed. The article pays special attention to the factors that supported or prevented the spread and use of West-European engravings in the teritory of Russia during the historical period in question.
Western European engraving, printed graphics, biblical plots, engraving, collecting, “spiritual” engraving
  1. Adariukov V. (1926/1984) V mire knig i graviur: Vospominaniia [In the World of Books and Engravings]. Moscow (in Russian).
  2. Alekhina L., Gamlitskii A. (eds.) “Bibleiskii teatr Martina Engel'brekhta. Siuzhety Sviashchennoi Istorii v zapadnoevropeiskoi knizhnoi graviure” [The Biblical Theater of Martin Engelbrecht. Scenes from Sacred History in Western European Book Engraving]. Moscow, 2017 (in Russian).
  3. Anisimov V. (ed.) (1923) Graficheskie iskusstva i reproduktsiia [Graphic Arts and Reproduction]. Moscow; Petrograd (in Russian).
  4. Belobrova O. (2005) “Ob istochnikakh miniatiur k sochineniiam Nikolaia Spafariia” [The Sources of Miniatures to Texts by Nikolai Spathari], in Ocherki russkoi khudozhestvennoi kul'tury XVI–XX vekov [Essays on Russian Visual Arts of the 16th — 20th Centuries]. Moscow, pp. 190–199 (in Russian).
  5. Belobrova O. (1993) “Virshi Mardariia Khonykova k graviuram Biblii Piskatora” [Mardariy Khonykov’s Rhymes for Piscator’s Engravings of Bible]. Trudy Otdela drevnerusskoi literatury, 46. St. Petersburg, pp. 334–436 (in Russian).
  6. Belovinskii L. (2003) Entsiklopedicheskii slovar' rossiiskoi zhizni i istorii [Encyclopaedic Dictionary of Russian Life and History]. Moscow (in Russian).
  7. Buseva-Davydova I. (1993) “Novye ikonografi cheskie istochniki russkoi zhivopisi XVII v.” [New Iconographic Sources of Russian Painting of the 17th Century], in Russkoe iskusstvo pozdnego srednevekov'ia. Obraz i smysl [Russian Art of the Later Middle Ages. Image and Meaning]. Moscow, pp. 190–206 (in Russian).
  8. Chaianov A. (1926) Staraia zapadnaia graviura [Antique Western Engraving]. Moscow (in Russian).
  9. Chernaia L. (2013) Povsednevnaia zhizn' moskovskikh gosudarei v XVII veke [Everyday Life of Moscow Monarchs in the 17th Century]. Moscow (in Russian).
  10. Chilingirov A. (1975) “Vliianie Diurera i sovremennoi emu nemetskoi grafi ki na ikonografi iu postvizantiiskogo iskusstva” [Infl uence of Duerer and his Contemporary German Engravings on Iconography of Post-Byzantine Art], in Drevnerusskoe iskusstvo. Zarubezhnye sviazi [Art of Ancient Russia. Foreign Links], vol. 9. Moscow, pp. 325–342 (in Russian).
  11. Gamlitskii A. (1997) “Litsevye «Strasti» Leontiia Bunina. K voprosu o zapadnoevropeiskikh ikonografi cheskikh istochnikakh russkogo iskusstva kontsa XVII‒XVIII veka” [“Passions” by Leonid Bunin. On West-European Iconographic Sources of Russian Art of the Late 17th — 18th Centuries], in Filevskie chteniia. Tezisy piatoi nauchnoi konferentsii [Filevskie Lectures. Abstracts of the Fifth Scientifi c Conference], pp. 21–23 (in Russian).
  12. Iazykova I. (2012) So-tvorenie obraza. Bogoslovie ikony [Co-Creation of the Image. The Theology of Icon]. Moscow (in Russian).
  13. Il'ina T. (2012) Natsional'noe svoeobrazie russkogo iskusstva XVIII veka i ego mesto sredi evropeiskikh shkol [Nation-Specifi c Features of Russian Art of the 18th Century and its Place among European Schools]. St. Petersburg (in Russian).
  14. Kristeller P. (1939) Istoriia evropeiskoi graviury XV‒XVIII veka [History of European Engraving of the 15th — 18th Centuries]. [Moscow] (Russian translation).
  15. Malkov Iu. (2010) “K istorii ikonopochitaniia na Rusi v pervoi polovine XVII veka (maloizvestnyi ikonofi l'skii traktat iz «Knigi o vere», 1648 g.)” [Towards the History of Icon-Veneration in Rus’ in the First Half of the 17th Century (a little-known iconophile treatise from the “Book of Faith”, 1648)]. Vestnik PSTGU. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, vol. 1 (1), pp. 83–96 (in Russian).
  16. Nor N. (2008) “Poniatie «Lubochnoe»: problemy terminologii” [The Notion of “Lubochnoe”: Problems of Terminology]. Vestnik RGGU. Seriia «Istoriia. Filologiia. Kul'turologiia. Vostokovedenie», 4, pp. 222–248 (in Russian).
  17. Pavlova M. (2017) “Chastnoe kollektsionirovanie v Rossii XVIII — nachala XX veka (istorikokul'turnyi aspekt)” [Private Collections in Russia of the 18th — Early 20th Centuries (historical and cultural aspects)]. Vestnik KGU, 4, pp. 31–35 (in Russian).
  18. Prisiazhniuk Iu. (2002) “Tsenzurnoe zakonodatel'stvo v dorevoliutsionnoi Rossii (k voprosu ob istokakh avtorskogo prava): Grazhdanskoe obshchestvo, gosudarstvo i pravo v perekhodnyi period” [Censorship Legislation in Pre-Revolutionary Russia (to the question about the origins of copyright): Civil Society, State, and Lagislation in the Transition Period]. Vestnik Nizhegorodskogo universiteta im. N. I. Lobachevskogo: Grazhdanskoe obshchestvo, gosudarstvo i pravo v perekhodnyi period. Seriia: Pravo, 1 (5), 142–153 (in Russian).
  19. Rozanov V. (1995) Sobranie sochinenii. Okolo tserkovnykh sten [Collected Works. Near Church Walls]. Moscow (in Russian).
  20. Sarab'ianov D. (2003) Rossiia i Zapad [Russia and the West]. Moscow (in Russian).
  21. Wessely E. (2003) O raspoznanii i sobranii graviur: Posobie dlia liubitelei [On Identifi cation and Collection of Engravings. A Manual for Amateurs]. Moscow (Russian translation).
  22. Winckelmann J. (2000) Istoriia iskusstva drevnosti. Malye sochineniia [History of Ancient Art. Minor Writings]. St. Petersburg (Russian translation).

Zhidenko Nadezhda


Student status: Graduate student;
Place of study: St. Petersburg State University of Industrial Technologies and Design; 18 Bol’shaya Morskaya Str., St. Petersburg, 191186, Russian Federation;
ORCID: 0000-0002-7190-8951;
Email: Nadya.zhidenko@bk.ru.

Timofeeva Rimma


Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Associate Professor;
Place of work: St. Petersburg State University of Industrial Technologies and Design; 18 Bol’shaya Morskaya Str., St. Petersburg, 191186, Russian Federation;
Post: Assistant Professor;
ORCID: 0000-0002-9051-0391;
Email: Rimma.a.timofeeva@gmail.com.

*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.

Sekacheva Nina

Architectural features of the Trinity church of Sheremetev’s hospital of the former count N. P. Sheremetev’s infirmary in Moscow

Sekacheva Nina (2019) "Architectural features of the Trinity church of Sheremetev’s hospital of the former count N. P. Sheremetev’s infirmary in Moscow ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2019, Iss. 35, pp. 74-98 (in Russian).

DOI of the paper: 10.15382/sturV201935.74-98
This article studies for the fi rst time the features of architecture of the Trinity Church of the former Count N. P. Sheremetev’s Infi rmary (Russ. Странноприимный дом графа Н. П. Шереметева) in Moscow. Despite the fact that this complex of buildings is well-known and is a masterpiece of architecture of Classicism in Moscow, its home church has never been a topic of a scientifi c study. The distinctive features of the layout and the spacial decision of the church of the Infi rmary is discussed both in comparison with other buildings and projects of its authors (the architects E. Nazarov and G. Quarenghi) and in a broader context of topics of church architecture of the late 18th — early 19th centuries. Among its parallels the most prominent are not only home churches of hospitals of the period of Classicism but also large cathedral-like church buildings. The analysis of features of the layout and style of the monuments shows that in its scale, typology and stylistics, the Trinity church can be compared with the most significant examples of church architecture of its time, accomplished by commission of the state in the period os the so-called “Greek Project” of Catherine II, when church architecture was addressing the creative transformation of Byzantine and Old Russian architectural forms.
Classicism, church architecture, 18 century, Nazarov, Quarenghi, Sheremetev, Infirmary
  1. Altaiskaia E., Bulatnikova A., Malozemova A. (2013) Istoriia Strannopriimnogo doma [History of the Infirmary]. Moscow (in Russian).
  2. Chekmarev A. Ekho «grecheskogo proekta» Ekateriny II [Echo of the “Greek Project” of Catherine II. Pt. 1], available at https://arch-heritage.livejournal.com/1540839.html
  3. Disegni di Giacomo Quarenghi. La raccolta del Museo statale della Storia di San Pietroburgo (2003). Mendrisio.
  4. Domshlak M. (1956) Nazarov. Moscow (in Russian).
  5. Gra M. (1984) Bol'shaia Kolkhoznaia ploshchad', 3. Ot Strannopriimnogo doma do Instituta imeni N. V. Sklifosovskogo [Large Kolkhoz Square 3. From the Infi rmary to Sklifosovsky Institute]. Moscow (in Russian).
  6. Dzhakomo Kvarengi. Arkhitekturnaia grafika. Kollektsiia Gosudarstvennogo muzeia istorii S.-Peterburga. Nauchnyi katalog (1998) [G. Quarenghi. Architectural Graphics. Collection of the State Historical Museum in St. Petersburg. Scientifi c Catalogue]. St. Petersburg (in Russian).
  7. Nuvakhov B. (1994) Strannopriimnyi dom N.P. Sheremeteva. Traditsii rossiiskogo miloserdiia XVIII‒XX vv. [N. P. Sheremetev’s Infirmary. Traditions of Russian Charity of the 18th — 20th Centuries]. Moscow (in Russian).
  8. Piliavskii V. (1981) Dzhakomo Kvarengi. Arkhitektor. Khudozhnik [G. Quarenghi. Architect. Artist]. Leningrad (in Russian).
  9. Putiatin I. (2008) Kvarengi i L'vov. Rozhdenie obraza khrama russkogo ampira: k 500-letiiu Andrea Palladio [Quarenghi and Lvov. Birth of the Image of Church of the Russian Ampir. The 500th Anniversary of Andrea Palladio]. Moscow (in Russian).
  10. Putiatin I. (2009) Obraz russkogo khrama i epokha Prosveshcheniia [Image of the Russian Church and the Epoch of Enlightenment]. Moscow (in Russian).
  11. Springis E. (2001) “Graf N.P. Sheremetev — khramozdatel'. Novye materialy po istorii tserkovnogo stroitel'stva kontsa XVIII v. [Count Sheremetev, the Builder of the Church. New Materials for the History of Church Building of the Late 18th Century], in G. Vdovin (ed.) Graf N. P. Sheremetev. Lichnost'. Deiatel'nost'. Sud'ba. Etiudy k monografi i [Count Sheremetev. Personality. Activity. Fate. Studies for the Monograph]. Moscow, pp. 45‒59 (in Russian).
  12. Taleporovskii V. (1954) Kvarengi. Materialy k izucheniiu tvorchestva [Quarenghi. Materials for the Study of Artistic Works]. Moscow (in Russian).
  13. Vlasiuk A., Kaplun A., Kiparisova A. (1957) Kazakov. Moscow (in Russian).

Sekacheva Nina


Place of work: St. Tikhon’s Orthodox University for the Humanities; 6/1 Likhov Pereulok, Moscow, 127052, Russian Federation;
Post: Senior Lecturer, Department of History and Th eory of Christian Art;
ORCID: 0000-0003-1888-090X;
Email: niness@list.ru.
Tupitsina Ksenia

To the question of the study of the epigraphic inscriptions in the dome of Hagia Sophia in Thessaloniki

Tupitsina Ksenia (2019) "To the question of the study of the epigraphic inscriptions in the dome of Hagia Sophia in Thessaloniki ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2019, Iss. 35, pp. 99-116 (in Russian).

DOI of the paper: 10.15382/sturV201935.99-116
When the Cathedral of Hagia Sophia in Thessaloniki began to be scientifi cally studied in the mid-19th century, an erroneous version was formed of the dating of its construction and decoration, namely to the 4th century, i.e. the reign of Emperor Justinian. Since the cathedral was turned into a mosque, and the painting was covered by Turkish plaster, it was not possible to confi rm or disprove this hypothesis. However, after the fire of the 1890, the Turkish paint fell off in some places, and the mosaics became more accessible to specialists. Besides, epigraphic inscriptions were found both in the dome and in the altar of the cathedral. After studying these texts, it became clear that the painting of the cathedral belongs to diff erent times, and the mosaics of the dome were created later than the mosaics of the altar. Based on the inscriptions, the Ascension scene in the dome was dated 886, and the mosaic of the altar 787‒790. In 1908, large-scale restoration work in Gagia Sophia began. As a result, M. Le Tourneau revealed that the inscription in the dome belongs to an earlier decoration than the Ascension scene. However, this important discovery had not been noticed until 1976, when K. Theocharidou (who was studying the history of the construction of the cathedral) turned her attention to the inscriptions and linked the second phase of the construction of the cathedral to the appearance of these tablets. However, there are still many unresolved issues, including the dating of the mosaic of the dome and of the epigraphic inscriptions. This article discusses the basic versions of deciphering the tablets and proposes a variant of their attribution.
mosaics in the dome of Hagia Sophia in Thessaloniki, epigraphic inscriptions, foundation of Hagia Sophia Cathedral in Thessaloniki, construction phases, crossdomed churches, Byzantine art, era from creation of the world
  1. Antonin (Kapustin), archmandrite (2013) “Zametki poklonnika Sviatoi Gory” [Notes of the Pilgrim to the Holy Mountain]. Russkii Afon, 10 (in Russian).
  2. Bakirtzis K. (1982) “Neoteres paratereseis sten ktitorike epigraphe tou troulou tes Agias Sophias Thessalonikes” [Newer Remarks on the Inscription of the Dome of Hagia Sophia in Thessaloniki]. Byzantina, 11, pp. 167‒180 (in Greek).
  3. Βuchwald Η. (1969) The Church of the Archangels in Sige near Mudania. Graz.
  4. Cormack R. The Apse Mosaics of St. Sophia at Thessaloniki // Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας 10. Athens, (1980-1981). Pp. 114-126.
  5. Grabar A. (1957) L'iconoclasme byzantin. Paris.
  6. Kalligas M. (1935) Die Hagia Sophia von Thessaloniki. Würzburg.
  7. Kazarian A. (2004) “Vizantiiskaia imperiia. Arkhitektura” [Byzantine Empire. Architecture], in Pravoslavnaia entsiklopediia [Orthodox Encyclopaedia], vol. 8. Moscow, pp. 277–303 (in Russian).
  8. Krautheimer R. (1975) Early Christian and Byzantine Architecture. Baltimore.
  9. Kuzenkov P. (2007) Spory o vozraste mira v Vizantii VII–XI vv. (O trekh mirovykh erakh: aleksandriiskoi, «protovizantiiskoi» i vizantiiskoi) [Disputes about the Age of the World in Byzantium of the 7th — 11th Centuries (the three universal eras: Alexandrian, “pre-Byzantine”, and Byzantine)]. Vizantiiskii Vremennik, 66 (91), pp. 93–124 (in Russian).
  10. Kuzenkov P. (2014) Khristianskie khronologicheskie sistemy. Istoriia letoschisleniia v sviatootecheskoi i vostochnokhristianskoi traditsii III‒XV vekov [Christian Systems of Chronology. History of Chronology in the Patristic and East-Christian Tradition of the 3rd — 15th Centuries]. Moscow (in Russian).
  11. Lazarev V. (1986) Istoriia vizantiiskoi zhivopisi [History of Byzantine Painting]. Moscow (in Russian).
  12. Mango C. (1968) “The Byzantine Church at Vize (Bizye) in Thrace and St. Mary the Younger”. Zbornik Radova Vizantoloskog Instituta, 11. Beograd, pp. 9‒13.
  13. Mentzos A. (2007) “Santa Sofi a di Salonicco: il problema della prima fase”. Attidel Convegno Internazionale. Bologna-Ravenna, pp. 87‒98.
  14. Popova O. (2013) Puti vizantiiskogo iskusstva [Paths of Byzatine Art]. Moscow (in Russian).
  15. Popova O., Sarab'ianov V. (2017) Mozaiki i freski Sv. Sofi i Kievskoi. Moscow (in Russian).
  16. Speck P. (1978) Kaiser Konstantin VI, Die Legitimation einer fremden und der Versuch einer eigenen Herrshaft, Bd. II. München.
  17. Theocharidou K. (1988) “The Architecture of Hagia Sophia, Thessalonike: from its Erection up to the Turkish Conquest”. British Archaeological Reports. International Series, 399. Oxford.
  18. Theocharidou K. (1980) “Ta psephidota tou troullou sten Agia Sophia Thessalonikes. Phaseis kai problemata chronologeses” [The Mosaics of the Dome in Hagia Sophia of Thessaloniki. Phases and Dating Problems]. Archaiologikon Deltion. 31 (1976). Athens, pp. 265‒273 (in Greek)
  19. Velenis G. (1997) “E chronologese tou naou tes Agias Sophias Thessalonikes mesa apo ta epigraphika dedomena” [The Dating of the Church of Hagia Sophia of Thessaloniki according to the Epigraphic Data], in Thessalonikeon Polis. Thessaloniki, pp. 70‒77 (in Greek).
  20. Vinogradov A., Kuzenkov P. (2019) “Novye dannye o poiavlenii ery «ot sotvoreniia mira» v vizantiiskoi epigrafi ke” [New data on the emergence of the era “from the Creation of the world” in the Byzantine epigraphic], in Zvuchat lish’ Pis’mena. K iubileiu A. A. Medyntsevoi [“Only the letters sound”. To the anniversary of Medyntseva], Moscow, pp. 89–101.

Tupitsina Ksenia


Student status: Graduate student;
Academic Rank: Member of the Russian Academy of Sciences;
Place of study: Moscow State Stroganov Academy of Design and Applied Art; 9 Volokolamskoye shosse, Moscow 125080, Russian Federation;
ORCID: 0000-0002-2850-4652;
Email: ksuxa02@mail.ru.
Armeeva Ludmila

Icons by I. M. Malyshev discovered in Vilnius

Armeeva Ludmila (2019) "Icons by I. M. Malyshev discovered in Vilnius ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2019, Iss. 35, pp. 117-129 (in Russian).

DOI of the paper: 10.15382/sturV201935.117-129
This article studies the history of appearance in Vilnius, the capital of Lithuania, of two iconostases by I. M. Malyshev, the renowned icon-painter of the second half of the 19th century who worked in the Trinity Lavra of St. Sergius (Троице-Сергиева Лавра). The iconostases were painted for the Orthodox convent which was founded by Emperor Alexander II in honour of Mary Magdalene. This convent was established on the place of a liquidated Catholic monastery in accordance with the policy of strengthening the power of the state and Orthodoxy in the North-Western region of the Empire after the riots of 1860‒1863. Bishop Filaret (Drozdov) of Moscow took part in the foundation of the convent. It was due to his eff orts that Mother Superior and the nuns came to Vilnius from Moscow. Bishop Filaret recommended that the iconostases should be ordered in the Trinity Lavra of St. Sergius; the commissioner was the Vilnius Committee for Building Orthodox Churches (Виленский комитет по строительству православных храмов). The article describes the hardships of the existence of the convent amid wars and revolutions. Only a small part of I. M. Malyshev’s iconostases survived, namely 11 icons. 3 icons are in private possession, 6 are in Uspensky Cathe- dral, 2 are in the sacristy of Mary Magdalene. All the icons are provided with dates, are well-preserved, those that are kept in private collections are very well restored. The article makes public the discovered icons as well as a number of archival documents.
I. M. Malyshev, convent of Mary Magdalene in Vilnius, iconostasis, Byzantine style, carved and gilded background
  1. Pristavko O., deacon (2008) Vilenskii Marie-Magdalininskii zhenskii monastyr' i ego rol' v istoricheskikh sud'bakh pravoslaviia v Litovskom krae [Mary Magdalene’s Convent in Vilnius and its Role in Historical Fates of Orthodoxy in Lithuania]. Minsk (in Russian).

Armeeva Ludmila


Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Degree: Candidate of Sciences* in Art Criticism;
Place of work: Moscow Theological Academy; Sviato-Troitskaia Sergieva Lavra, Sergiev Posad, 141300, Russian Federation;
Post: Lecturer;
ORCID: 0000-0003-0956-1675;
Email: Armeeva@yandex.ru.

*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.

Lebedeva-Emelina Antonina; Komarov Alexander

Publication of Maxim Berezovsky’s sacred music in the late 19th century: P. I. Jurgenson, K. K. Albrecht, and P. I. Tchaikovsky

Lebedeva-Emelina Antonina, Komarov Alexander (2019) "Publication of Maxim Berezovsky’s sacred music in the late 19th century: P. I. Jurgenson, K. K. Albrecht, and P. I. Tchaikovsky ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2019, Iss. 35, pp. 130-162 (in Russian).

DOI of the paper: 10.15382/sturV201935.130-162
This article studies an important episode in the wide-ranging activity of the prominent Russian music publisher P. I. Jurgenson in the fi eld of publication of Russian legacy of spiritual music of the 2nd half of the 18th — early 19th centuries. The largescale project of publication of the spiritual music by M. S. Berezovsky, as well as by B. Galuppi, S. I. Davydov, J. Sarti and other composers, devised in the 2nd half of the 1880s, was not fully accomplished because the manuscripts proposed for publication became an object of fi erce criticism of infl uential professional musicians. This article analyses for the fi rst time two manuscript scores of the Liturgy with Communion verses by M. S. Berezovsky which contain the reviewers’ comments. These manuscripts were read by P. I. Tchaikovsky and K. K. Albrecht, who expressed their negative assessment due to many mistakes in copying of choral parts. It is found that the works of Berezovsky, published by Jurgenson, were fi nally edited by Albrecht; the dating of these publications is made more precise; the interest of the scholars of the 1920s for these manuscripts is mentioned as well. The article is concluded with a brief description of the present-day historiography and publication of spiritual music by Berezovsky, which is directly linked to the predecessors’ work. The article also mentions the non-critical replication of erroneous scores together with the correct reading of the sources. The appendix contains the score of the Communion verse Praise the Lord from the Heavens (Хвалите Господа с небес, in G-dur) reconstructed by Antonina Lebedeva-Emelina.
Maxim Berezovsky, Pyotr Jurgenson, Pyotr Tchaikovsky, Karl Albrecht, sacred music, attribution, editing of sacred music, reconstruction of sacred music, source criticism
  1. Iurchenko M. (1988) “Ital'ianskie pis'ma o Maksime Berezovskom” [Italian Letters about Maxim Berezovsky], in D. Likhachev et al. (eds.) Pamiatniki kul'tury. Novye otkrytiia. Pis'mennost'. Iskusstvo. Arkheologiia: Ezhegodnik 1987. Moscow, pp. 150‒160 (in Russian).
  2. Lebedeva-Emelina A., Malinina G. (2016) “Zagadki rukopisi iz Berliner Sing-Akademie (k voprosu o dukhovnom tvorchestve M. S. Berezovskogo)” [Enigmas of the Manuscript from Berliner Sing-Akademie (on spritual creative work of M. S. Berezovsky]. Vestnik PSTGU. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, 3 (23), pp. 100–125 (in Russian).
  3. Levashev E., Polekhin A. (1985) “M. S. Berezovskii”, in V. Keldysh, O. E. Levasheva, A. I. Kandinskii (eds.) Istoriia russkoi muzyki [History of Russian Music], in 10 vols. Vol., pt. 2. Moscow, pp. 132—159 (in Russian).
  4. Malinina G. (2009) Kollektsiia dukhovnykh proizvedenii russkikh kompozitorov XVIII—XX vekov [Collection of Spiritual Works of Russian Composers of the 18th — 20th Centuries], issue 1. Moscow (in Russian).
  5. Malinina G. (2011) Kollektsiia dukhovnykh proizvedenii russkikh kompozitorov XVIII—XX vekov [Collection of Spiritual Works of Russian Composers of the 18th — 20th Centuries], issue 2. Moscow. (in Russian)
  6. Rytsareva M. (2013) Maksim Berezovskii. Zhizn' i tvorchestvo kompozitora [Maxim Berezovsky. The Life and Work of the Composer]. 2nd ed. St. Petersburg (in Russian).
  7. Shumilina O. (2012) Stil'ova dinamіka ukraїns'koї dukhovnoї muziki XVII—XVIII stolit' (za materіalami rukopisnikh kolektsіi) [Dynamics of Style of the Ukrainian Spiritual Music of the 17th — 18th Centuries (based on materials of manuscript collections). Donetsk (in Ukrainian).
  8. Shumilina O. (2016) “Prichasnі vіrshі Maksima Berezovs'kogo: origіnal chi pіznіsha pіdrobka?” [Communion Verses by Maxim Berezovsky: Original or a Later Fake?]. Chasopis Natsіonal'noї Muzichnoї Akademії Ukraїni іmenі P. І. Chaikovs'kogo, 4 (33), pp. 25—37 (in Ukrainian).
  9. Teterina N. (2013) “Bortnianskii, Chaikovskii & Iurgenson”. Iskusstvo muzyki: teoriia i istoriia, 7, pp. 5—22 (in Russian).
  10. Vaidman P. (2011) Chaikovskii P., Iurgenson P. Perepiska [Letters], in 2 vols. Vol. 1. Moscow (in Russian).
  11. Vaidman P. (2013) Chaikovskii P., Iurgenson P. Perepiska [Letters], in 2 vols. Vol. 2. Moscow (in Russian).

Lebedeva-Emelina Antonina


Academic Degree: Doctor of Sciences* in Art Criticism;
Academic Rank: Senior Research Fellow;
Place of work: State Institute for Art Studies; 5 Kozitskii Pereulok, Moscow, 125009, Russian Federation;
Post: Senior Researcher;
ORCID: 0000-0003-0803-6879;
Email: lebedeva-emelina@list.ru.

*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.


Komarov Alexander


Academic Degree: Candidate of Sciences* in Art Criticism;
Place of work: Russian National Museum of Music; 4 Fadeeva Str., Moscow, 125047, Russian Federation;
Post: Leading Researcher;
ORCID: 0000-0002-9613-2213;
Email: komluvi@mail.ru.

*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.

Kreydun Yuri, archpriest; Talashkin Alexey

Decorative artwork of the bells of the factory P.I. Gilyov and sons in Tyumen’

Kreydun Yuri, Talashkin Alexey (2019) "Decorative artwork of the bells of the factory P.I. Gilyov and sons in Tyumen’ ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2019, Iss. 35, pp. 163-180 (in Russian).

DOI of the paper: 10.15382/sturV201935.163-180
This article deals with the decor of the bells of the factory P.I. Gilyov and Sons in Tyumen’. The merchants Gilyovs (Russ. Гилёвы) are the major Syperian dynasty of bell masters that for 200 years cast bells for the whole region. At present, 50 bells made by the Gilyovs are known, and 25 more bells were presumably made by them. The works of the factory were awarded at international and all-Russian industrial exhibitions, as well as by the letter of gratitude of His Majesty Emperor Nicholas II. The decor of the bells is represented by a wide range of typical ornaments that are combined in variations in differents groups of bells. Particularly rich adornment is seen on big bells, where one can fi nd ornamental friezes, professionally made iconic images, inscriptions. The article establishes time periods in the development of artwork on the bells, raises questions about loans of elements of decoration from other manufacturers; the most typical decorative elements are classifi ed and given names. Particular attention is paid to the question about the colouring of the whole bell or its fragments. The attribution of Siberian bells poses a diffi cult problem because the majority of the items preserved are not signed by the authors. The article provides photographs of the decorative elements of the Gilyovs’ factory, which allows one to acquire an impression of the appearance of the bells and to attribute newly-found unsigned bells.
bell, Gilyov, Kondakov, bells in Siberia, decor of the bell, metal colour, ornament
  1. Bezrukova N. (2013) Istoriia moego roda i ego vklad v razvitie Sibiri s serediny XVII v. do nashikh dnei [The History of My Family and its Contribution to the Development of Siberia from the Mid-17th to the Present Day]. Moscow (in Russian).
  2. Dereviannaia rez'ba Tiumeni (1984) [Wood Carving of Tyumen’]. Sverdlovsk (in Russian).
  3. Glushetskii A. (2010) Kolokol'noe delo v Rossii vo vtoroi polovine XVIII — nachale XX veka. Entsiklopediia liteishchikov [The Craft of Casting Bells in Russia in the 2nd Half of the 18th — Early 20th Centuries. Encyclopaedia of the Moulder]. Moscow (in Russian).
  4. Kostina I. (2015) Kolokola XIV — XIX vekov [Bells of the 14th — 19th Centuries]. Moscow (in Russian).

Kreydun Yuri, archpriest


Academic Degree: Candidate of Sciences* in Theology;
Academic Degree: Doctor of Sciences* in Art Criticism;
Place of work: Barnaul Theological Seminary; 25A Shumakova Str., Barnaul 656058, Russian Federation;
Post: lecturer;
ORCID: 0000-0002-0746-8875;
Email: krey70@mail.ru.

*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.


Talashkin Alexey


Place of work: Siberian Centre of Bell Art; 229 (Offi ce 1) Bolshevistskaya Str., Novosibirsk, 630083, Russian Federation;
Post: Deputy Director;
ORCID: 0000-0002-4633-8723;
Email: talashkin@mail.ru.
Abdokov Yuri

The origins of “orchestral poetics”

Abdokov Yuri (2019) "The origins of “orchestral poetics” ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2019, Iss. 35, pp. 181-207 (in Russian).

DOI of the paper: 10.15382/sturV201935.181-207
This article analyses the nature of comprehension of orchestra writing. It substantiates the morphological correlation between artistic practice and orchestrating theory as integral part of the process of composing music in the context of understanding stylistic etymology in art. It emphasises the symbolic and semiological character of the orchestral language as one of the most perfect means of expression of aesthetical and metaphysical ideas. The methodology of the analysis is based on viewing the art of orchestrating in the context of a wide range of professional and composing-related, historical and aesthetical, philosophical and religious problems. It denies the priority of the linear and evolutionary approach to the study of development of orchestrating. The article off ers arguments for the insuffi ciency of exclusively instrument-related, formal and techicising assessment of the most important factors of orchestral style-formation. It also proposes ways of relevant scientifi c cognition of orchestral vocabulary in a wide historical and stylistic dimension, taking into account the achievements of modern performing practice, including historical (authentic). For the fi rst time, the main categories of orchestral poetics are formulated, i.e. the logic of spatial and proactive thinking, timbral progression, texture agility, coloristic dramaturgy, orchestral tectonics, timbre “optics”, metaphorical and symbolical ontology of orchestra. The poetic basis of orchestral writing is interpreted as an integral unity of universal (generally valid) and personal (author’s individual) aesthetic categories from which the style of the epoch is being derived, as well as poetical originality of specifi c artistic trends and authors. Poetics of orchestral writing is viewed as the mainstay of modern orchestral science, the major principle of which is derivation of analytical inventory from specific (possible to be analysed) artistic artifacts, rather than from unifi ed schemes of general usage.
orchestra, poetics, orchestration, theory of orchestral writing, orchestral style, organology, evolution, style diagnostics
  1. Adamovich G. (2015) Literaturnye besedy (Zveno: 1923‒1928) [Literary Conversations (Unit: 1923‒1928)]. Moscow (in Russian).
  2. Bakhtin M. (2017) Avtor i geroi v esteticheskom sobytii [Author and Hero in the Aesthetic Event]. Moscow; St. Petersburg (in Russian).
  3. Blagodatov G. (1970) Istoriia simfonicheskogo orkestra [History of the Symphonic Orchestra]. Leningrad (in Russian).
  4. Cars A. (1990) Istoriia orkestrovki [The History of Orchestration]. Moscow (Russian translation by E. Lenivtsev, V. Ferman, N. Korndorf).
  5. Fowles J. (2006) Aristos. Moscow (Russian translation by I. Bessmertnaya).
  6. Gardiner J. (2015) Bach: Music in the Castle of Heaven. New York.
  7. Harnoncourt N. (2005) Moi sovremenniki: Bakh, Motsart, Monteverdi [My Contemporaries: Bach, Mozart, Monteverdi]. Moscow (Russian translation by S. Grokhotov).
  8. Harnoncourt N. (2007) Töne sind höhere Worte: Gespräche über romantische Musik. Salzburg; Wien: Residenz Verlag.
  9. Harnoncourt N. (2009) Musik als Klangrede. Wege zu einem neuen Musikverstandnis. Essays und Vortäge. Salzburg; Wien: Residenz Verlag.
  10. Harnoncourt N. (2014) «… es ging immer um Musik»: eine Rückschau in Gesprächen. Salzburg; Wien: Residenz Verlag.
  11. Huizinga J. (2017) Teni zavtrashnego dnia [The Shadows of Tomorrow]. St. Petersburg (Russian translation by D. Sil'vestrov).
  12. Ionesko E. (1999) Mezhdu zhizn'iu i snovideniem. Besedy s Klodom Bonfua [Between the Life and the Dream. In Conversation with Claude Bonnefoy]. St. Petersburg (Russian translation by I. Kuznetsova).
  13. Junger E. (2002) Izlucheniia. Kirkhkhorstskie listki. 1944‒1945 [Radiations. Kirchhorst sheets. 1944‒1945]. St. Petersburg (Russian translation by N. Guchinskaya).
  14. Junger E. (2011) Sem'desiat minulo. 1965‒1970 [Turning Seventy. 1965‒1970]. Moscow (Russian translation by E. Voropaev).
  15. Junger E. (2015) Sem'desiat minulo. 1971‒1980 [Turning Seventy. 1971‒1980]. Moscow (Russian translation by E. Voropaev).
  16. Metner N. (2019) Muza i moda: zashchita osnov muzykal'nogo iskusstva [The Muse and the Fashion: In Defence of the Foundations of the Art of Music]. St. Petersburg (in Russian).
  17. Paustovskii K. (2017) Vo glubine Rossii [In the Depth of Russia]. Moscow (in Russian).
  18. Spengler O. (1993) Zakat Evropy [The Decline of Europe], vol. 1. Moscow (Russian translation by K. Svas'ian).
  19. Sviridov G. (2017) Muzyka kak sud'ba [Music as a Fate]. Moscow (in Russian).
  20. Wittgenstein L. (2015) Dnevniki 1914‒1916 [Diaries of 1914‒1916]. Moscow (Russian translation by V. Surovtsev).
  21. Zabolotskii N. (2014) Mysl' — Obraz — Muzyka [Thought — Image — Music], in Metamorfozy. Nikolai Zabolotskii. Moscow (in Russian).

Abdokov Yuri


Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Professor;
Place of work: Tchaikovsky Moscow State Conservatory; 13/6 Bolshaya Nikitskaya Street Moscow, 125009, Russian Federation;
Post: professor;
ORCID: 0000-0001-9033-3279;
Email: abdokovgeorg@mail.ru.

*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.