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

The period of the end of the XIII – beginning of the XIV centuries is a difficult transitional period in the history of Florence, associated with the beginning of the formation of a new culture. The artist, living in a certain system of social relations, was influenced by the philosophical, social and other ideas of the time. Evidence of the development of the artist's personality is such a detail of the creative action as the signature on his work or, on the contrary, its absence. In the period under consideration in the development of the Florentine Republic, the signature serves as an unconditional factor in the formation of the artist, the concept of personality and its evolution in art, which is extremely important in the context of the study of art of a certain time. In this article, the author provides some information concerning both the anonymous artists of Florence at the turn of the XIII – beginning of the XIV century, and those who left their names, as well as philosophical and historical aspects associated with this phenomenon.

Florence, XIII–XIV centuries, Giotto, signature, principium individuationis, individualisation, personality, initials, expression

1. Baragli Sandra (2007). European Art of the Fourteenth Century. The J. Paul Getty Museum. Los Angeles.
2. Dvorzhak M. (2001). Istorii iskusstva kak istorii duha. [History of art as history of spirit] / Per. s nem. A. A. Sidorova, V. S. Sidorovoj, A. K. Leporka. St. Petersburg (in Russian).
3. Fond F. Dzeri. Available at: http://catalogo.fondazionezeri.unibo.it/ (15.12.2020).
4. Goldthwaite Richard A. (2009). The Economy of Renaissance Florence.
5. Italian news agency «ANSA» (since 1945). Available at: https://www.ansa.it/ (15.12.2020).
6. Offner R., Steinweg K. (1967). A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century: Giovanni Del Biondo. Sec. IV, vol. V, Institute of Fine Arts, New York University.
7. Offner R. (2002) A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century: Bernardo Daddi and His Circle. Florence. Guinti.
8. Viggiani Claudia (2019). L`Italia di Giotto Itinerari Giotteschi. Roma, Gangemi Editore.
9. A Companion to Medieval Art: Romanesque and Gothic in Northern Europe. Edited by Rudolph C. Published: Wiley-Blackwell.
10. Villani Dzh. (1997) Novaya hronika, ili Istoriya Florencii [New Chronicle or History of Florence] / Perevod, stat'ya, primechaniya M. A. Yusima. Moscow: Nauka (Pamyatniki istoricheskoj mysli) (in Russian).
11. Yаmpol'skij M. B. (2013) Prostranstvennaya istoriya. Tri teksta ob istorii [Spatial history. Three texts about history]. St. Petersburg (in Russian).
12. Zhurnal iskusstv (ezhemesyachnoe periodicheskoe izdanie, posvyashchennoe miru iskusstva, publikuemoe s 1983 g.) [Journal of Arts (monthly periodical on the art world, published since 1983)]. Available at: https://www.ilgiornaledellarte.com/ (15.12.2020).

Parfenova Elena

In the article by L. V. Kondrashkova «On the issue of compiling an incipient catalog of singing manuscripts from the collection of the RGADA Armory,» the results of the first year of work on the creation of a detailed catalog of this collection are published. The author focuses on issues of source studies that directly aff ect the methods of describing and cataloguing the present manuscripts on the material of the studied storage units of RGADA f. 396. 3731, 3732, 3749. The given musical examples testify to the mixed style of musical design of worship in Petrovsky Vremya, which included party treatments of the banner chant, triple and single-voice. Recorded in the form of parts of individual voices, polyphonic chants give an idea of the number of singers in the sovereign choir in the fi rst third of the 18th century. The tenor party, in which the chant is located, is quantitatively predominant — the source of the treatments. Much less bass and viola parts. The discant in this case has not been preserved at all. Along with one of the parts of polyphony in manuscripts, there are also single-voice chants similar in style to the Greek chant. Since all chants follow in a row, at the fi rst stage of the study (description of the manuscript) it is sometimes impossible to judge the musical characteristics of the service, the nature of the presentation becomes clear only in the future, when compiling the score.

church singing, polyphony, part music, trostroy, singing culture, archival collection, notation, handwritten sources, chants, history of Russian music

1. Kondrashkova L. V. (2012). Troyestrochnaya rozhdestvenskaya stikhira «Dnes' Khristos v Vifleyeme»[Three-line Christmas verse «Day Christ in Bethlehem»]. Vestnik PSTGU. Voprosy istorii i teorii khristianskogo iskusstva. Vol. V. Vyp. 3(9), pp. 173–190. Moscow (in Russian).
2. Kondrashkova L. V. (2017) Trekhgolosnaya sluzhba Novoletiyu arkhiereiskim chinom [Threevoice service to Novoletia by bishop's rank], in Muzykal’naya pis’mennost’ khristianskogo mira”: Knigi. Notatziya. Problemy interpretatzii [The musical writing of Christendom. Books, notation, interpretation problems]. Moscow, pp. 386–411 (in Russian).
3. Kondrashkova L. V. (2018). Pevcheskiye rukopisi smeshannoy stilistiki kon. XVII – nach. XVIII v.: k probleme vzaimodeystviya partesnogo i bezlineynogo mnogogolosiya na grani epoch [Singing manuscripts of mixed stylistics of the late 17th– early 18th centuries: to the problem of the interaction of partesy and linear polyphony on the verge of eras]. Vestnik PSTGU. Voprosy istorii i teorii khristianskogo iskusstva. Vol. V. Vyp. 30, pp. 96–122 (in Russian).
4. Kondrashkova L. V. (2020). Yaroslavskaya sluzhba Rozhdestvu Khristovu partesnogo chetyrekhgolosiya. Rozhdestvenskiye besedy o dukhovnoy muzyke [Yaroslavl Service to the Nativity of Christ Party Four-Voice . Christmas Talks on Sacred Music]. Collection of articles on the materials of the XXVIII International Christmas Educational Readings. Moscow, pp. 52–91, 183–267 (note) (in Russian). Available at: https://psk-mp.ru/135752.html (27.12.2020).
5. Plotnikova N. Yu. (2004) Partesnyye garmonizatsii znamennogo i grecheskogo rospevov (na materiale stikhiry «Sovet prevechnyy» iz Sluzhby Blagoveshcheniya Presvyatoy Bogoroditse): Issledovaniye i publikatsiya [Party harmonizations of Znamenny and Greek chants (on the material of the verse «Sovet Prevechnyy» from the Service of the Annunciation of the Blessed Virgin Mary). Research and publication]. Moscow (in Russian).
6. Plotnikova N. Yu. (2015) Russkoe partesnoe mnogogolosie kontza ХVII – serediny ХVIII veka: istochnikovedenie, istoriya, teoriya [Russian party polyphony of the late 17th – mid 18th centuries. Source studies, history, theory. Moscow (in Russian).

Kondrashkova Lada

*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.

The study is devoted to the research of the notated Greek manuscripts from the collection of Bishop Porphyry (Uspensky), as well as its relationship with the musical and paleographic research of this outstanding collector and Hellenistic scientist. For the first time, along with 45 deranged Greek manuscripts (on the theory and practice of Byzantine and post-Byzantine music) from his collection, studied and described by E. V. Gercman, 18 more sources from the same collection are involved, containing signs of ekphonetic notation (they are presented in a special Appendix to the article). Like many other special collections of manuscripts (sample passages, as well as the most important copies) that were compiled by Bishop Porphyry for studies in paleography, this mini-collection can be considered as part of a grandiose paleographic atlas, which was compiled and placed by the scientist at the basis of his conceived and partially realized comprehensive work on the book culture of the Christian East. Of particular value in his musical collection are numerous dated Greek sources (including 17 with neumen-notation and 9 with ekphonetic-notation), which makes it possible to build a paleographically reliable picture of the development of the written-musical culture of the Eastern Christian tradition. A study of the scientist's archive and the history of the receipt of his collection in 1883 by the Imperial Public Library (now the National Library of Russia) showed, that shorty before it was reorganized, apparently, by Bishop Porphyry, it resulted all the originals (especially the fragments previously stored in extensive paleographic album folders) to be separated from the copies, which formed 7 new collections (including 4 collections of copies from Greek manuscripts), these are currently a part of Fond no. 1499 (RNB).

Bishop Porphyry (Uspensky), collections of Greek manuscripts, Greek musical paleography, ekphonetic notation, musical Byzantine studies, E. V. Gercman, V. F. Odoevsky, D. V. Razumovsky

1. Gertsman E. V. (1996) V poiskah pesnopenij grecheskoj Cerkvi. Preosvyashchennyj Porfirij Uspenskij i ego kollekciya drevnih muzykal'nyh rukopisej [In Search of the Chants of the Greek Church. Reverend Porfiry Uspensky and his collection of ancient musical manuscripts]. St. Petersburg (in Russian).
2. Gertsman E. V. (1996, 1999) Grecheskie muzykal'nye rukopisi Peterburga: Katalog [Greek musical manuscripts of St. Petersburg: Catalog], vol. 1: National Library of Russia; vol. 2: Library of the Russian Academy of Sciences, Archive of the Russian Academy of Sciences, Library of the State University, Hermitage. St. Petersburg (in Russian).
3. Høeg. C. (1935) La notation ekphonétique [Monumenta Musicae Byzantinae. Ser. Subsidia: Vol. 1. Facs. 2]. Copenhagen.
4. Smolenskij S. V. Afonskij dnevnik [Athos diary]. Russkaya muzyka v dokumentakh i materialakh [Russian music in documents and materials]. Moscow, 2012, vol. 7: Afonskaya ekspeditsiya Obshchestva lyubiteley drevney pismennosti, 1906 [Athos mission of ancient literature Community, 1906], book 1, pp. 185–388 (in Russian).
5. Wellesz E. (1949/1961) A History of Byzantine Music and Hymnography. Oxford.

Shekhovtsova Irina

*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.

The article deals with the problem of organising Church singing in Syzran district of Simbirsk diocese — a signifi cant area at the turn of the XIX–XX centuries for the Volga region in terms of social and economic indicators. In particular, it covers the process of education of psalmists and regents (the role of the Theological school and Seminary), training of singing personnel (monastic clerical practice, the possibility of passing the psalmist’s exam), their working and living conditions (including salaries). Separately, the possibility of improving the skills of regent staff within the diocese (Simbirsk and Syzran Psalmist’s and Regent's courses) and in the capital's center (at the courses of Moscow Synodal school of Church singing) is shown. In addition, the paper addresses the issue of succession of regent staff of Syzran district, as well as their mobility on the territory of the diocese and beyond. The article highlights the extra-liturgical social activities of Syzran clergy: their celebration of holidays, memorable dates, religious and moral readings in the city. The problem of organising folk singing is also touched upon. A significant place in the study is devoted to the analysis of the causes and consequences of personnel instability in the region, and the impact of this phenomenon on the organisation of singing in Syzran district. Many archival materials used by the author of the article are unique documents fi rst introduced into scientifi c circulation. The issues mentioned in the article are not considered narrowly locally, but in comparison with similar processes in the neighbouring Samara and Saratov provinces, which together make up the Middle Volga region. As a result of the analysis, it is concluded that the influence of all-Russian trends on the development of Church singing in this region.

Syzran district, Simbirsk diocese, Church singing, Psalmist, clerical practice, Moscow Synodal school of Church singing, Regency courses, Syzran Holy ascension monastery, Saratov province, Samara diocese

1. Alekseyenko N. A. (2018). Vremen svyazujucshaya nit’: iz istorii Staro-Kostychevskogo Smolenskogo zhenskogo monastyrya [The connecting thread of time: from the history of The Staro-Kostychevsky Smolensk women's monastery]. Syzranskii eparkhial’nyi vestnik [Syzran diocesan Bulletin]. Vol. 2–11, p. 6 (in Russian).
2. Bondarenko A. S. (2018) Istoriya i povsednevnost’ sel’skogo khrama i prikhoda na Srednei Volge v tzerkovnoi letopisi kontza ХIХ veka [History and everyday life of the rural Church and parish on the Middle Volga in the ecclesiastical chronicle of the end of 19th century] in Kabytov P. (ed.) Platonovskie chteniya. Materialy i doklady XXIII Vserossiiskoi konferentzii molodykh istorikov [Platonic readings: papers and reports of the XXIII all-Russian conference of young historians (Samara, 8–9 December 2017). Samara: Samara humanitarian Academy, pp. 32–34 (in Russian).
3. Dolmatov A. The fall of the monarchy and the clergy of the Simbirsk diocese Available at: https://ulpravda.ru/rubrics/100letie-revoliutsii/padenie-monarkhii-idukhovenstvo-simbirskoieparkhii (15.11.2019).
4. Gardner I. A. (2004) Bogosluzhebnoe penie Russkoi Pravoslavnoi Tzerkvi [Liturgical singing of the Russian Orthodox Church]. In 2 vols. Moscow (in Russian).
5. Gorod Cyzran’. Ocherki po geografii, istorii, kul’ture, ekonomike [The City of Syzran: essays on geography, history, culture, economy]. (2008) Vol. 1 / In-t ROS. istorii Povolzhsky branch; ed.-comp. E. G. Mochalova; scientifi c ruk. P. s. Kabytov. Syzran (in Russian).
6. Hoffman A. B. (2008) Sotziologiya traditzii i sovremennaya Rossiya [Sociology of tradition and modern Russia], in Gorshkov M. (ed.). Rossiya reformirujucshayasya. Ezhegodnik. [Russia is reforming. Yearbook]. Issue 7, pp. 334–352. Moscow: Institute of sociology of the Russian Academy of Sciences (in Russian).
7. Kokarev M., prot. (2016) Sistema upravleniya Samarskoi eparkhiei v predsobornyi period [The cont rol system of the Samara diocese in the pre-Council period (1894–1917)]. Moscow (in Russian).
8. Koltsova S. S. (2013) Izuchenie istorii Samarskoi i Syzranskoi eparkhii Russkoi Pravoslavnoi Tzerkvi v sovremennoi issledovatel’skoi literature [Study of the history of Samara and Syzran diocese of the Russian Orthodox Church in the modern research literature]. Platonovskie chteniya. Materialy i doklady XXIII Vserossiiskoi konferentzii molodykh istorikov [Platonic readings : papers and reports of the XIX all-Russian conference of young historians (Samara, 6–7 December 2013)] / ed. the editor of P. S. Kabytov. Samara: Samara University publishing House, pp. 146–147 (in Russian).
9. Kurmaev M. V. (2018) Syzran book (1874–1926): consolidated catalog-repertoire. Samara (in Russian).
10. Mironcheva E. A. (2017) Sotziokul’turnaya deyatel’nost’ zhenskikh monastyrei Rossii na primere Simbirskoi Eparkhii kontza Х1Х – nachala ХХ veka [Sociocultural activity of Russian women's monasteries on the example of the Simbirsk diocese of the late 19th – early 20th centuries] in Kabytov P. (ed.) Platonovskie chteniya. Materialy i doklady XXII Vserossiiskoi konferentzii molodykh istorikov [Platonic readings: papers and reports of the XIX all-Russian conference of young historians (Samara, 9–10 December, 2016)]. Samara: Samara humanitarian Academy, pp. 138–140 (in Russian).
11. Mochalova E. (ed.-comp.) (2001) Kto est’ kto v Syzrani [Who is who in Syzran]. Samara (in Russian).
12. Petrov S. B. (1994) Simbirskii arkhiereiskii khor [Simbirsk Bishop's choir]. Simbirskie eparkhial’nue vedomosti [Simbirsk diocesan Vedomosti]. Vol. 8, p. 3 (in Russian).
13. Petryshyn V. Preobrazhenskaya Sloboda: history, people (a brief sketch of history). Available at: http://www.lib.syzran.ru/kraeved/Petryashin.htm (20.04.2020).
14. Podmaritsyn A., deacon. (2008) Ocherki iz istorii Samarskoi Eparkhii [Essays from the history of the Samara Diocese (1917–1941)]. Samara (in Russian).
15. Sinodal’nyi khor i uchilicshe tzerkovnogo peniya: issledovaniya, dokumenty, periodica [Synodal choir and school of Church singing: Research. Documents. Periodical], in Russkaya dukhovnaya musyka v dokumentakh i materialakh [Russian spiritual music in documents and materials]. Vol. 2. Book 1. Moscow, 2002 (in Russian).
16. Slovikova E. G. (2014) Bogosluzhebnoe penie v Simbirskikh tzerkvakh (konetz 19 – nachalo 20 veka) [Liturgical singing in Simbirsk churches (the end of 19th — beginning of 20th century)]. Musica. Iskusstvo, nauka, practica. [Music. Art, science, practice. Scientific journal of the Kazan state Conservatory named after N. G. Zhiganov]. Vol. 3(7), pp. 60–64 (in Russian).

Tyuryakova Juliya

The author analyses the features and contradictions of Mormon visual art. It is assumed that Mormon art is the number of artistic forms and means used by Mormon intellectuals to visualise the project of Mormon identity, inspiring its consolidation and the formation of a positive image of Mormons as the community. The author believes that Mormon art cannot be defi ned as Christian because it does not develop the values of Christianity, but only imitates and simulates Christian cultural discourse. The article shows that the historical and portrait genres in Mormon painting are more developed than other ones. The author analyses how Mormon artists formed and invented the images of the Church, its history, and Jesus Christ also. The author believes that the Mormon art in its attempts to form the images of Christ contributed to his Americanisation. It is presumed that the most of the contemporary Mormon art reflect and actualise the religious and political experiences of American Mormons in the 19th and 20th centuries. The author believes that the tendencies of the historicisation of Mormon “high art” became an important factor in its development, but they also reproduced the clichés of mass culture, imitating and simulating the language of mass art. It is assumed that Mormon art became secondary because it assimilated the achievements of Western secular painting, integrating secular cultural discourse into the Mormon contexts. Analysing Mormon art in general, the author believes that it cannot be described in terms of Christian art, because it serves the interests of Mormonism as a political and ideological factor.

Mormonism, art, religious art, painting, Jesus Christ, Christology, Americanisation of Christianity

1. Apostolos-Cappadona D. (1995) Art, Creativity, and the Sacred: An Anthology in Religion and Art. N Y.: Continuum, 352 p.
2. Barrett R.T., Black S.E. (2005) Setting a Standard in LDS Art: Four Illustrators of the Mid-Twentieth Century. BYU Studies Quarterly. 44(2). Р. 25–72.
3. Bruce St. (2002) God is Dead: Secularization in the West. L.; N Y.: Wiley-Blackwell, 280 p.
4. Carmack N. (2000) Images of Christ in Latter-day Saint Visual Culture. BYU Studies. 39(3). P. 18–76.
5. Dye C. (2018) Mormon Art: Bursting Out of Obscurity. Meridian Magazine. March 26. URL: https://latterdaysaintmag.com/mormon-art-bursting-out-of-obscurity/
6. Givens T. (2007) People of Paradox: a History of Mormon Culture. Oxford: Oxford UP.
7. Goble C. (2017) The Problem of Mormon Art, Times & Seasons. June 1. URL: https://www.timesandseasons.org/harchive/2017/06/the-problem-of-mormon-art/
8. Israelsen-Hartley S. (2011) Artist Jon McNaughton pulls political, religious art from BYU Bookstore. Deseret News. April 27. URL: https://www.deseret.com/2011/4/27/20188108/artist-jonmcnaughton-pulls-political-religious-art-from-byu-bookstore
9. Jahromi N. (2012) Adventures in Mormon Art History. The New Yorker. August 21. URL: https://www.newyorker.com/culture/culture-desk/adventures-in-mormon-art-history
10. Johnson H. (2019) Mormon Art: Painting the Gospel. Daily Art Magazine. May 2. URL: https://www.dailyartmagazine.com/mormon-art-painting-the-gospel/
11. Lev E. (2018) How Catholic Art Saved the Faith: The Triumph of Beauty and Truth in Counter-Reformation Art. Manchester, NH: Sophia Institute Press, 320 p.
12. McFarlan E. (2020) How an iconic painting of Jesus as a white man was distributed around the world. The Washington Post. June 25. URL: https://www.washingtonpost.com/religion/2020/06/25/how-an-iconic-painting-jesus-white-man-was-distributed-around-world/
13. Michalski S. (1993) Reformation and the Visual Arts: The Protestant Image Question in Western and Eastern Europe. L.; N Y.: Routledge.
14. Molander G. (2011) Pursuing Christ. Creating Art.: Exploring Life At The Intersection Of Faith And Creativity. Edinburgh: West Bow Press.
15. Moriancumer M. (2015) A Mormon Michelangelo? Thoughts on Mormon Art. Asking Big Questions about the Role of Fine Art in LDS Culture. May 31. URL: http://www.thoughtsonmormonart.com/questions/a-mormon-michelangelo/
16. Moriancumer M. (2015) Should Christ look like a tennis player or movie star? Thoughts on Mormon Art. Asking Big Questions about the Role of Fine Art in LDS Culture. June 14. URL: http://www.thoughtsonmormonart.com/questions/should-christ-look-like-a-tennis-playeror-movie-star/
17. Nes S. (2009) The Mystical Language of Icons. Grand Rapids: Eerdmans, 112 p.
18. Oman R.G. (1992) Visual artists. Ludlow D. (1992). Encyclopedia of Mormonism. NY: Macmillan Publishing, 1992. P. 70–73.
19. Peacock M.M. Art in Mormonism. Ludlow D. (1992). Encyclopedia of Mormonism. N Y: Macmillan Publishing, 1992. P. 73–75.
20. Pinder K. (2016) Painting the Gospel: Black Public Art and Religion in Chicago. University of Illinois Press.
21. Rees R.A. (2012) Jon McNaughton: Mormon Artist, Right-Wing Propagandist. Sunstone Magazine. September 21. URL: https://www.sunstonemagazine.com/jon-mcnaughton-mormonartist-right-wing-propagandist/
22. Rigal-Cellard B. (2015) The inspirational iconography of the LDS Church. Paper presented in the 2015 CESNUR Conference “Religious innovation and religious change in the 21st century”, Tallinn, Estonia, 17–20 June 2015. URL: https://www.cesnur.org/2015/tallinn-program.htm
23. Rosen A. (2015) Art and Religion in the 21st Century. N Y.: Thames and Hudson.
24. Shaw W. (2019) What is 'Islamic' Art?: Between Religion and Perception. Cambridge: Cambridge University Press.
25. Smolkin V. (2018) A Sacred Space Is Never Empty: A History of Soviet Atheism. Princeton: Princeton University Press, 360 p.
26. Swanson V. G. (2001) The Book of Mormon Art of Arnold Friberg: Painter of Scripture. Journal of Book of Mormon Studies. 10(1). P. 26–35.
27. Toman R. (2015) Ars Sacra: Christian Art and Architecture from the Early Beginnings to the Present Day. N Y.: H.F. Ullmann publishing.
28. Tradigo A. (2006) Icons and Saints of the Eastern Orthodox Church. L A.: The J. Paul Getty Museum.
29. Verdon T. (2014) Art and Prayer: The Beauty of Turning to God. N Y.: Paraclete Press.
30. Welch J. W., Dant D. R. (2009) The Book of Mormon Paintings of Minerva Teichert. Salt Lake City: BYU Press.
31. Winston K. (2016) Mormon ‘gospel art’: Kitsch or classic? Mormons call it “gospel art”, and it's revered less for its quality as art than as glue. Religion News Service. March 17. URL: https://religionnews.com/2016/03/17/mormons-kitsch-art-classic/

Kirchanov Maksym

*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 introduces the creation of two highly diff erent Russian artistsemigrants Nikolai Milioti and Leonid Uspensky. In the fi rst years of emigration the poverty and desire to overcome loneliness forced many artists, who left Russia, to stay in a circle of like-minded people, or rather, in a circle of people of similar fate, because this circle united not only like-minded people, it brought together artists who worked in highly different manners. The study of their work is prompted by the fact, that their heritage and life path, although the artistic heritage of the Russian emigration both in volume and quality cannot but arouse interest. Russian culture is generally considered to have been formed in the French capital in the twenties, which is often referred to as the «second Russian culture», but in fact was rather the result of desperate attempts by Russian artists to recreate the spirit of the artistic life of Moscow and St. Petersburg, which they had to leave. There were at least two reasons for this, namely the need and the desire to cope with loneliness. Russian culture abroad, the «second» or let's call it «nostalgic», strongly emphasised its Russianness, interest in Russian history, folklore, and antiquity, although it did not separate itself from the culture of the country that sheltered it. This explains the uniqueness of the creative path of Russian artists abroad, especially Leonid Uspensky, who in his childhood and youth did not have any interest in painting as a form of creative activity.

Nikolai Milioti, Leonid Uspenskii, Grigorii Krug, society «Icon», Brotherhood of St Photius, emigrant artists, Russian diaspora

1. Emilie van Taack. (2018) Leonide Ouspensky, le mystère de l`Icône, in Leonide Ouspensky. Le mystère de l`Icône. 1987–2017. Paris, pp. 32–47 (in French).
2. Kovalevskii M. (without date) Temoignage, in Jean de Saint-Denis, in memoriam. Paris, p. 20 (in French).
3. La fondation de la paroisse des Trois Saints Hiérarques, Église Cathédrale des Trois Saints Docteurs: websait. Available at: https://trois-saints-docteurs.fr/ru/wp-content/uploads/sites/2/2020/01/history-RU.pdf (07.12.2020).
4. La Théologie en couleurs, la fresque des fêtes en la cathédrale des Trois Saints Hiérarques á Paris. (2007). Paris (in French).
5. Leonide Ouspensky (2018). Le mystère de l`Icône. 1987–2017. Paris (in French).
6. Milioti E. Y. (2002) Dedushkin Parizh [Grandfather's Paris]. Mir muzeia [The Museum world]. no 3. pp. 57–63 (in Russian).
7. Muratova X. (2018) Ouspensky et l'icône en exil, in Leonide Ouspensky. Le mystère de l`Icône. 1987–2017. Paris, pp. 11–31 (in French).
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9. Ozoline N. (2018) L`actualité de l'iconologie de Leonid Alexandrovitch Uspensky, in Leonide Ouspensky. Le mystère de l`Icône. 1987–2017. Paris, pp. 50–79 (in French).
10. Podkopaeva Y., Sveshnikova A. (comp., introduction, footnotes) (1979) Somov K. A. Pis`ma. Dnevniki. Suzhdeniia sovremennikov [Letters. Diaries. Opinions of contemporaries]. Мoscow (in Russian).

Fokina Snezhana

The methodology of the article is determined an integrated approach to the analysis of the concerto cycle by V. S. Khodosh Chants of the Liturgy of St. John Chrysostom. The study draws on the foundations of musicology, liturgics, choral studies. Information about the stages of creativity and about the chronology of concerto performance of individual cycle items that preceded the writing of the liturgical cycle by the faculty choir of the Rostov State Conservatory under the guidance of Yu. I. Vasiliev was obtained by the authors of this article in an interview with the composer’s spouse. In the analysis of the cycle, the attention is drawn to the structure of intonationmelodic complexes, the correspondence of the melodic design of prosody of the text of prayers, the dependence of the structure of themes on their location in parts of the whole. The characteristics of the types of textural organization of musical fabric in their connection with the principles of voicing the text of prayers are given, the general colour of the sound is noted as well as its compliance with the logic of compositional deployment. Free transitions from one type of texture organisation to another are noted as a sign of the concert style of chants. A harmonic analysis of the work has made it possible to identify the principles of tonal development within the cycle items, to determine the conditions for the occurrence of tonal displacements, to identify the expressive possibilities of the consonance structure and their sequences in the design of the thematic material. An integrated analysis of the liturgical cycle by V. S. Khodosh has led to general conclusions about the individuality of the author’s reading of the text of prayers and about a peculiar implementation of the stylistic principles shared by Russian composers of the turn of the 20th and 21st centuries, manifested in the synthesis of the Russian and the European, classical and modern principles.

V. S. Khodosh, сhoral performance, spiritual and musical creativity, Liturgy, concerto style of Orthodox spiritual music, means of musical expressiveness

1. Khodosh V. (2017) Pesnopeniya Liturgii svyatogo Ioanna Zlatousta: dlya smeshannogo khora bez soprovozhdeniya [Chants of St. John Chrysostom for a mixed choir unaccompanied]. Rostovna- Donu (in Russian).
2. Khodosh V. (2002) Zoryushki-zori, in Proizvedeniya dlya smeshannogo khora bez soprovozhdeniya. [Works for a mixed choir unaccompanied]. Rostov-na-Donu (in Russian).
3. Malatsay L. (2017) Fenomen ispol'zovaniya kanonicheskikh bogosluzhebnykh tekstov i stikhotvoreniya otechestvennykh poetov v kantate dlya smeshannogo khora V. S. Khodosha «Po prochtenii “Arkhiyereya” A. Chekhova, in Bogosluzhebnyye praktiki i kul’tovyye iskusstva v sovremennom mire [Liturgical practices and religious arts in the modern world]. Maykop (in Russian).
4. Tzuker A. (2017) Pesnopeniya nebesnye i zemnye [Chants of Heaven and Earth], in Pesnopeniya Liturgii svyatogo Ioanna Zlatousta: dlya smeshannogo khora bez soprovozhdeniya [Chants of St. John Chrysostom for a mixed choir unaccompanied]. Rostov-na-Donu, p. 4 (in Russian).

Malatsay Lyudmila

*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.

Moshkovskaia Ianna

The article contains the history of construction and architecture of one of the most signifi cant monuments of the Russian style of the early 20th century — The Dormition Cathedral of the Pühtitsa monastery in Estonia, built on the site of the dismantled old church in 1907–1910, designed by architect A. Poleshchuk, who is a student of the author of the project of the monastery, professor M. Preobrazhensky. The features of the architecture and the semantics of the dedication make it possible to include it in a number of cross-domed centric churches of Russian cathedral churches and to include it in the iconographic line of the Assumption churches, starting from the 11th century — Kyiv Pechersk Monastery, which shows the conservatism of the volumetric-spatial solution of Orthodox church building with a variety of artistic forms. The architecture of the Pühtitsa monastery cathedral is closest to the type of «large cathedrals» of the 17th century, which is characterized by «church-state content». Cathedral in Pyukhtitsa and a number of cathedral-type churches of the turn of the XIX–XX centuries can be attributed to a special «retrospective» direction of the Russian style. Its prototypes — not only use the above ancient Russian samples, but also centric cathedrals, which were designed by the founder of the Russian style K. Ton («stylization of stylization»). As well as Ton's projects, the churches of this group are distinguished by their monumentality and restrained, not intrinsically valuable decoration, in contrast to the churches in the style of the Moscow-Yaroslavl ornamental pattern of the 17th century, which were built in the 1880–1900s. The architecture of the cathedral, perfectly correlated with the natural surroundings, also has an Estonian fl avor, in particular due to the use of local building materials. The biographies of benefactors and architects who took part in the design of the temple at the first stage, when the construction of a temple with the predominant features of the Moscow-Yaroslavl style was supposed to be considered. One of the architects, A. Vladimirov, with a high probability is the author of the project of the The Church of St. John Climacus in the Moscow Donskoy Monastery — the burial vault of the construction benefactor of the Pühtitsa Cathedral — I. Tereshchenko.

Assumption Cathedrals in Russian architecture, «large cathedrals”, Russian monastery church building, Pühtitsa Assumption Monastery, Russian style, Moscow- Yaroslavl style, retrospectiveism in church architecture, temple builder I. Tereshchenko, architect A. Poleshchuk, Riga Diocese, Archbishop St. Agafangel (Preobrazhensky)

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Bertash Alexander, archpriest

*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.