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

The first monasteries of the Serbian dynasty of Nemanjich carried in their composition the symbolic meaning of the spiritual protection of the monastery as a sacred space, as an image of the “ideal” Heavenly City with its walls and towers. This image was largely taken from the Athos tradition, in particular, from the Khilandar monastery, built over many centuries by the labors of the Serbian rulers. However, the Athonite custom of building many pareklesia in the peripheral zones of monasteries did not take root in Serbia: chapels were usually arranged over the arch of the entrance or in the watchtower (pyrgos). The most significant fortifications appear in the architecture of the Serbian monasteries of the Moravian school from the second half of the XIV century, due to the aggravated Turkish danger. Now they are being built according to all the rules of medieval fortifications, and such large monasteries as Ravanitsa and Resava are growing into real fortresses. Their entrance complex is a double tower, like the image of the gates of Heavenly Jerusalem. At the final stage of the existence of the Serbian medieval state, its rulers return to the spiritual sources of the sovereign ideology that was laid by the first Nemanichs. At the same time, the plans and constructive solutions of the chapels inside the monastery fortifications follow the Byzantine tradition of that time, but adapt to the situation of their placement.

Serbian monasteries, monastery fortifications, pareklesia, chapels, symbolism of Christian architecture

1. Barišić S. (1998) “The church of St Basil on the Sea”, in Hilandar monastery. Belgrade.
2. Čаnаk-Меdić М. (1995) Аrhitеkturа prvе pоlоvinе XIII vеkа II. Crkvе u Rаškоj. Bеlgrаde.
3. Čаnаk-Меdić М. (2002) Svеti Аhilijе u Аrilju. Istоrijа, аrhitеkturа i prоstоrni sklоp mаnаstirа. Bеlgrаde.
4. Čаnаk-Меdić М., Bоškоvić Dj. (1986) Аrhitеkturа Nеmаnjinоg dоbа I. Crkvе u Тоplici i dоlinаmа Ibrа i Моrаvе. Bеlgrаde.
5. Čаnаk-Меdić М., Pоpоvić D., Vоjvоdić D. (2014) Žičа. Bеlgrаde.
6. Čаnаk-Меdić М., Тоdić B. (2013) Stаri Rаs s Sоpоćаnimа. Nоvi Sаd.
7. Ćirković S., Korać V., Babić G. (1986) Studenica monastery. Belgrade.
8. Ćurčić S. (2020) Architecture in the Balkans from Diocletian to Süleyman the Magnificent. New Haven, CT: Yale University Press, 2010.
9. Dаnilо Drugi (2008). Živоti krаljеvа i аrhij еpiskоpа srpskih. Službе. Bеlgrаde.
10. Djurić В., Ćirkоvić S., Коrаć V. (1990) Pеćkа Pаtrijаršijа. Bеlgrаde.
11. Jоvаnоvić G. (ed.) (1989) Коnstаntin Filоzоf. Pоvеst о slоvimа, in Žitijе dеspоtа Stеfаnа Lаzаrеvićа. Bеlgrаde.
12. Каndić О. (2005) Gradac. Istоrij а i аrhitеkturа mаnаstirа. Bеlgrаde.
13. Каndić О. (2016) Sоpоćаni. Bеlgrаde.
14. Kovačević M. (1998) “Fortification walls and towers”, in Hilandar monastery. Belgrade.
15. Kovačević M. (1998) “The Hrusija Tower”, in Hilandar monastery. Belgrade.
16. Коrаć V., Коvаčеvić М. (2004) Маnаstir Hilаndаr. Коnаci i utvrdjеnjе. Bеlgrаde.
17. Ljubinkоvić М. (2002) Маnаstir Rаvаnicа. Bеlgrаde.
18. Маksimоvić Lj. (2007) “Кrаlj Мilutin i cаricа Irinа: prаskоzоrjе idеjе о cаrstvu kоd Srbа”, in Маnаstir Bаnjskа i dоbа krаljа Мilutinа. Zbоrnik sа nаučnоg skupа оdržаnоg оd 22. dо 24. sеptеmbrа 2005. gоdinе u Коsovskоj Мitrоvici. Cеntаr zа crkvеnе studijе, Niš. Filоzоfski fаkultеt, Коsоvskа Мitrоvicа. Маnаstir Bаnjskа.
19. Nenadović S. (1998) “Parecclesia”, in Hilandar monastery. Belgrade.
20. Pеtkоvić S. (2002) Моrаčа. Bеlgrаde.
21. Pеtkоvić S. (2008) Маnаstir Hilаndаr. Bеlgrаde.
22. Pоpоvić М., Simić G. (2020) Utvrdjеnjа srеdnjоvekоvnоg grаda Nоvоg Brdа. Bеlgrаde.
23. Pоpоvić S. (1994) Кrst u krugu. Аrhitеkturа mаnаstirа u srеdnjоvekоvnоj Srbiji. Bеlgrаde.
24. Prаshkоv L., Bаkаlоvа Е., Bоyadziyеv S. (1992) Маnаstiritе v Blgаriya [Monasteries in Bulgaria]. Sоfia.
25. Simić G. (2010) Dоndjоn kulе u fоrtifikаcij i srеdnjоvekоvnih grаdоvа. Bеlgrаde.
26. Simić G., Vukаdinоvić S. (2018) Utvrdjеnjе mаnаstirа Rеsаvе: оd zаmisli dо оstvаrеnjа. Bеlgrаde.
27. Simić G., Тоdоrоvić D., Brmbоlić М., Zаrić R. (2007) Маnаstir Rеsаvа. Bеlgrаde.
28. Strati A. (1989) The monastery of Timios Prodromos at Serres. Athens.
29. Šuput М. (1995) Маnаstir Bаnjskа. Bеlgrаde.
30. Тоdić B. (1995) Маnаstir Rеsаvа. Bеlgrаde.
31. Тоdić B., Čаnаk-Меdić М. (2005) Маnаstir Dеčаni. Bеlgrаde.
32. Тоdić B., Čаnаk-Меdić М. (2016) Маnаstir Dеčаni. Nоvi Sаd; Маnаstir Dеčаni.
33. Тоdić B., Čаnаk-Меdić М. (2011) Маnаstir Studеnicа. Nоvi Sаd.
34. Тоdić B., Čаnаk-Меdić М. (2014) Маnаstir Pеćkа Pаtrijаršijа. Nоvi Sаd.

Voronova Ariadna

*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.

At the turn of the 15th century typography was rapidly developing in Western Europe. The number of printing houses, type foundries and bookstores increased; printed products, including liturgical and didactic literature became more diverse. The article focuses on Hortulus animae (Little garden of the soul) dated by 1520 from the National Library of Russia. Parisian versions of this book are very rare, compared to the German and Dutch editions of that time. Analyzing the peculiarities of the content and illustrative part of the Hortulus animae, the author compares this copy not only with the Lyons printed products, manufactured according to German samples for export, but also with the printed illustrated Books of Hours, which were widespread in Paris. The main thematic dominants of the prayer book have been shown and the way they are figuratively represented is analyzed (the image of the Virgin Mary and the texts glorifying her; Passion of Christ, services and prayers referring to various events and subjects related to the gospel plots; prayers to heavenly patrons and intercessors). Special attention in the article was paid to the principles of reading of the Little gardens of the soul and the perception of the illustrative series. The illustrations here are non-linear, they do not unfold from the beginning to the end; illustrative material here is built on other grounds and depends on different liturgical cycles.

liturgical books of the 16th century, Parisian editions, Hortulus animae, personal piety, engraving, Christian iconography, text and image

1. Adams H.M. (ed.) (1967) Catalogue of books printed on the continent of Europe, 1501–1600 in Cambridge Libraries. Vol. I. Cambridge: University Press.
2. Bataille C. (2016) Birgitta quasi beate Maria Virginis sagitta. La culte de la Vierge Marie en Suède de Saint Birgitte à la Réforme (1300–1530). Thèse de doctorat. Vol. I. Université de Caen- Normandie.
3. Berlioz J. (1988) “La lactation de Saint Bernard dans un exemplum et une miniature du Ci nous dit (début du XIV siècle)”. Cîteaux. Commentarii cistercienses, 39, pp. 270–283.
4. Bondarko N. (2018) “Perevody i adaptatsii ¤Otkrovenij ″ Brigitty Shvedskoi v pozdnesrednevekovoi Germanii: postanovka problemy” [Translations and adaptations of St. Birgitta of Sweden’s “Revelationes” in later medieval Germany: raising the problem]. Indoevropeiskoe iazykoznanie i klassicheskaia filologiia, 22, pp. 182–197 (in Russian).
5. Bulst N. (2000) “Pochitanie sviatykh vo vremia chumy. Sotsial′nye i religioznye reaktsii na epidemii chumy v pozdnee Srednevekov′e” [Veneration of saints during the plague. Social and religious responses to plague epidemics in the late Middle Ages]. Odissei. Chelovek v istorii, Moscow, pp. 152–185 (Russian translation).
6. Charon-Parent A. (1989) “Jean Bonfons, libraire parisien, et l’illustration des romans de chevalerie”. Le livre et l’image en France au XVI siècle. Paris, pp. 85–107.
7. Dolgodrova T. (2000) Nemetskaia i niderlandskaia kniga XV veka [German and Dutch book of the 15th century]. Moscow (in Russian).
8. Pettegree A., Walsby M. (eds) (2012) French Books III & IV. Books published before 1601 in Latin and Languages other than French. Leiden; Boston.
9. Ricci M. (2011) “Illustrer les “Cent nouvelles nouvelles”: le manuscrit de Glasgow et incunable de Vérard (1486)”. Le Moyen Français, 69, pp. 83–98.
10. Subbotina O. (2020) “Graviury s podpisiami v parizhskikh Chasoslovakh Giioma Godara [1520–1530]: tekstovye istochniki i osobennosti vizual′nogo povestvovaniia” [Engravings with captions in Guillaume Godard’s Parisian Books of Hours [1520–1530]: text sources and features of visual narrative]. Novoe iskusstvoznanie, 3, pp. 39–46 (in Russian).

Subbotina Olga

*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 is devoted to the study of the iconography of the evangelists' symbols illuminated in the Gospel of 1571 from the collection of the Moscow Kremlin Museums. The author draws attention to the images of the angels crowning the symbolic animals on the miniatures. This iconographic detail is very unusual and even unique for the tradition of depicting of the evangelists' symbols. – there are no direct analogies in Christian art, as well as in any text sources dedicated to evangelists. Particular attention is paid to the question of the origin of such an iconographic motif as an angel with a crown in his hands. The author reveals a circle of ancient prototypes descended from the image of the winged goddess Nike, often found in the monuments of Antiquity. The process of adapting the antique iconographic motif to the Christian arts and endowing it with new semantic connotations is revealed in the article through the analysis of a number of early Christian monuments, in particular, the mosaics of Ravenna and Rome. The further development of this iconography in medieval arts is also examined.In this work, for the first time, it is hypothesized that the possible model for such an unusual iconographic solution in the Gospel of 1571 origins from a circle of Serbian monuments. The author argues her point that Russia and Serbia had close contacts during 15th and 16th centuries and underlines the special role of the Serbian heritage in Russian culture of the era of Ivan the Terrible. The uniqueness of the iconography of the evangelists' symbols in the Evangelists in the Gospel of 1571 is also associated with the special nature of the art of this period, which is characterized by the boldness of artistic creations and the freedom of iconographic experiments, reflected in a number of monuments of that time.

Christian iconography, 16th century, Gospel, symbols of the Evangelists, book illumination, Russian manuscripts, Kremlin workshops, Russian-Serbian relations, Ivan the Terrible

1. Antonova V., Mneva N. (1963) Katalog drevnerusskoi zhivopisi XI — nachala XVIII vv. Opyt istoriko-khudozhestvennoi klassifi katsii [Catalogue of ancient Russian paintings of the 11th — beginning of the 18th centuries. Attempt of historical and artistic interpretation], vol. 1. Moscow (in Russian).
2. Borisova T., Ziuzeva S. (eds) (2019) Rukopisnye i pechatnye Ievangeliia XIII — nachala XX veka v sobranii Muzeev Moskovskogo Kremlia [Hand-written and printed Gospels of the 13th — beginning of the 20th centuries], vol. 1. Moscow (in Russian).
3. Bykova G. (2002) “Sravnitel′noe izuchenie miniatiur Evangeliia Uspenskogo sobora i Ievangeliia Khitrovo” [Comparative study of miniatures of the Gospel of the Assumption Cathedral and the Gospel of Khitrovo], in Ievangelie Uspenskogo sobora Moskovskogo Kremlia [Gospel of the Assumption Cathedral of Moscow Kremlin]. Moscow, p. 95–117 (in Russian).
4. Kachalova I., Maiasova N., Stsennikova L. (1990) Blagoveshchenskii sobor Moskovskogo Kremlia. K 500-letiyu unikal′nogo pamiatnika russkoi kul′tury [The Annunciation Cathedral of Moscow Kremlin. To the 500th anniversary of the unique monument of Russian culture]. Moscow (in Russian).
5. Kostiuhina L. (1963) “Novovizantiiskii ornament” [New Byzantine ornament], in Drevnerusskoye iskusstvo XV–XVI vekov [Ancient Russian art of the 15th — 16th centuries]. Moscow: Nauka, pp. 265–295 (in Russian).
6. Lifshits L. (2002) “Premudrost′ v russkoi ikonopisi” [Sofi a the Wisdom in Russian icon painting]. Vizantiiskii vremennik, 61 (86), pp. 138–150 (in Russian).
7. Podosinov A. (2000) Simvoly chetyrekh ievangelistov: ikh proiskhozhdenie i znachenie [Symbols of the four Evangelists: their origin and meaning]. Moscow (in Russian).
8. Postnikova-Loseva M. (1954) “Zolotye i serebrianye izdeliia masterov Oruzheinoy palaty XVI–XVII vv.” [Gold and silver items by the masters of the Armory chamber of the 16th — 17th centuries”], in Gosudarstvennaia Oruzheinaia palata Moskovskogo Kremlia [The State Armory chamber of Moscow Kremlin]. Moscow (in Russian).
9. Postnikova-Loseva M., Protas′ieva T. (1963) “Litsevoe Ievangelie Uspenskogo sobora kak pamiatnik drevnerusskogo iskusstva pervoi treti XV veka” [The illuminated Gospel of the Assumption Cathedral as a monument of Ancient Russian art of the first third of the 15th century], in Drevnerusskoye iskusstvo XV–XVI vekov [Ancient Russian art of the 15th — 16th centuries]. Moscow: Nauka, pp. 133–172 (in Russian).
10. Samoilova T. (2020) Blagoslovenno voinstvo Nebesnogo Tsaria [Blessed is the Host of the Heavenly Tsar]. Moscow (in Russian).
11. Serebriakova E. (1991) “Neizvestnyi pamiatnik moskovskoi miniatiury XVI v. iz sobraniia Pokrovskogo sobora” [The unknown monument of Moscow miniature of the 16th century from the collection of Pokrovsky Cathedral], in Pamiatniki kul′tury. Novye otkrytiia. Pis′mennost′. Iskusstvo. Arkheologiia. Iezhegodnik 1991 [Cultural Monuments. New discoveries. Writing. Art. Archeology. Yearbook of 1991]. Moscow, pp. 134–145 (in Russian).
12. Smirnova E. (1983) “Miniatiury dvukh novgorodskikh rukopisei” [Miniatures of two Novgorod manuscripts], in Drevnerusskoe iskusstvo. Rukopisnaia kniga [Old Russian art. Handwritten book]. Moscow: Nauka, pp. 180–203 (in Russian).
13. Ukhova T., Pisarskaia L. (1969) Litsevaia rukopis′ Uspenskogo sobora: Evangelie nachala XV v. iz Uspenskogo sobora Moskovskogo Kremlia [The illuminated manuscript of the Assumption Cathedral: the Gospel of the beginning of the 15th century from the Assumption Cathedral of Moscow Kremlin]. Leningrad: Avrora (in Russian).

Saltykova Veronika

*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 service to the holy noble prince Alexander Nevsky in the ancient Russian chanting sources of the 16th century was recorded in a short and lengthy versions in the style of a znamen monody. However, the four-part service, created by the zar’s singers (d'jaki) in the early 20s of the 18th century, belongs entirely to the Peter the Great era, relying on new texts and tunes. The article discusses the history of the creation of the service associated with the transfer of the relics of St. Alexander from the Vladimir Rozhdestvensky Monastery to St. Petersburg in August 1724, presents music manuscript sources stored in the Russian State Archive of Ancient Acts, analyzes the composition of the service, studies various criteria for dating the text and music service. It is concluded that the service was written on a text published in 1714, and probably belonged to Bishop Theophylact of Lopatinsky. At the present time, since this edition has been lost, the singing manuscripts are the only source of Bp. Theophilact. On the basis of a comparative analysis, differences were revealed in some texts of chants (stichera for praises "Oh, if there are many enemies" and troparion "Know your brethren, Russian Joseph") in music manuscripts and the printed edition of 1725, prepared by Archimandrite Gabriel Buzhinsky. An earlier dating of the singing manuscripts (1720) allows us to correct the unambiguous conclusion that the music for the service was written by ustavshchik Ivan Mikhailovich Protopopov.

Peter the Great, Alexander Nevsky, Gabriel Buzhinsky, Feofilakt Lopatinsky, partes (part–sining) polyphony, manuscripts, Ivan Protopopov, znamenny chant

1. Begunov Iu. (1971) “Drevnerusskie traditsii v proizvedeniiakh pervoi chetverti XVIII v. ob Aleksandre Nevskom” [Old Russian traditions in the works of the fi rst quarter of the 18th century about Alexander Nevsky], in D. Likhachev (ed.) Trudy Otdela drevnerusskoi literatury [Proceedings of the Department of the Old Russian Literature], 26. Moscow; Leningrad, pp. 72–84 (in Russian).
2. Blandov A. (2014) “Problema avtorstva blagodarstvennoi sluzhby na vospominanie Nishtadskogo mira i pereneseniia moshchei sviatago blagovernogo kniazia Aleksandra Nevskogo v Sankt-Peterburg” [The problem of authorship of the service of praise for the remembrance of the Treaty of Nystad and the transfer of the relics of St. Prince Alexander Nevsky to St. Petersburg], in Aleksandr Nevskii i Ledovoe poboishche. St. Petersburg, pp. 150–154 (in Russian).
3. Luppov S. (1973) Kniga v Rossii v pervoi chetverti XVIII veka [Book in Russia in the first quarter of the 18th century]. Leningrad (in Russian).
4. Plotnikova N. (2004) “Gosudarev pevchii d′iak Ivan Mikhailovich Protopopov i ego partesnye garmonizatsii” [Tsar’s singer Ivan Mikhailovich Protopopov and his part-song harmonisations], in M. Aranovskii (ed.) Muzyka Rossii: ot srednikh vekov do sovremennosti [Music of Russia: from the Middle Ages to the present day], 2. Moscow, pp. 30–50 (in Russian).
5. Seregina N. (1994) “Pesnopeniia russkim sviatym. Po materialam rukopisnoi pevcheskoi knigi XI–XIX vv. "Stikhirar′ mesiachnyi"” [Chants to Russian saints. Based on the materials of the handwritten singing book of the 11th — 19th centuries Stikhirar′ mesiachnyi]. St Petersburg (in Russian).
6. Shenk F. (2007) Aleksandr Nevskii v russkoi kul'turnoi pamiati: sviatoi, pravitel', natsional'nyi geroi (1263–2000) [Alexander Nevsky in the Russian cultural memory: saint, ruler, national hero (1263–2000)]. Moscow (in Russian).
7. Smorzhevskikh-Smirnova M. (2009) “Perenesenie moshchei Aleksandra Nevskogo: ¤vodnyi put′″ v imperskom tseremoniale” [Transfer of the relics of Alexander Nevsky: the “waterway” in the imperial ceremony], in Trudy po russkoi i slavianskoi filologii. Literaturovedenie. VII (Novaia seriia). Tartu, pp. 38–59 (in Russian).
8. Sokolov R. (2014) “Aleksandr Nevskii v gosudarstvennoi i tserkovnoi ideologii v 1710–1720-e gody” [Alexander Nevsky in the state and church ideology of in the 1710–1720s]. Vestnik Udmurtskogo universiteta. Seriia “Istoriia i filologiia”, 2014, no. 3, pp. 18–24 (in Russian).
9. Spasskii F. (2008) Russkoe liturgicheskoe tvorchestvo [Russian liturgical art]. Moscow (in Russian).

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.

The aim of this article is to trace the transformation of the role of wilderness depictions in compositional and conceptual structure of the paintings dedicated to the Peaceable Kingdom Theme in the oeuvre of the american artist Edward Hicks (1780-1849). The author of the study considers examples of this subject visualization in some works of world art of preceding centuries which demonstrate scarce landscape background presentation or its complete absence. The main preconditions for including the images of local natural landscapes in E. Hicks’s compositions are outlined and important aspects of american nature perception in the first half of the 19th century reflected in them are mentioned. The significance of geology science development for determining the tendency of correlating the wilderness in the USA with theological reflections on the origin of the world is noted. The connection between the evolution of the paintings created by Hicks, who was a minister of the religious Society of Friends in Philadelphia, and the events that occurred in the Quaker community is emphasized. The fact that they conditioned the artist’s willingness to parallel the Quaker schism of 1827, a fact from early American History (Penn's Treaty with the Indians in 1683) and Isaiah's prophecy is underlined. The process of enrichment of the Peaceable Kingdom Iconography in the artist’s works by adding to its compositions elaborated landscape background is analyzed. The author also marks the intersection points between the textual basis for the iconography of the plot and its visualization in the artist’s paintings by matching the selected quotations from The Book of Isaiah with the elements of landscape images. Based on a comprehensive analysis of Edward Hick’s paintings dedicated to the Peaceable Kingdom Theme several conclusions were formulated - in these pictures landscape served a variety of functions: decorative, narrative-compositional, chronotopical, communicative and exegetical, and the depictions of wild nature played their role in the creation of the unique national romantic paradise image.

Book of Isaiah, the Peaceable Kingdom, religious art, iconography, Edward Hicks, quakerism, landscape background, Romanticism, American wilderness, geology, theology

1. Adams A. (2003) Webs of Allusion: French Protestant Emblem Books of the Sixteenth Century. Geneva: Droz.
2. Alent′eva T. (2002) “Uiliam Penn, kvakery i osnovanie Pensil′vanii” [William Penn, Quakers and the foundation of Pennsylvania]. Metamorfozy istorii, 2. Pskov (in Russian).
3. Bedell R. (2001) The Anatomy of Nature: Geology and American Landscape Painting, 1825–1875. Princeton, N. J.; Oxford: Princeton University Press.
4. Campbell S. (1989) “Early Christian Anemurium and her neighbours in the early Christian period: the mosaics”, in Actes du XIe congrès international d'archéologie chrétienne. Lyon, Vienne, Grenoble, Genève, Aoste, 21–28 septembre 1986. Rome: École Française de Rome, pp. 1639–1645.
5. Dillenberger J. (1984) The visual arts and Christianity in America: the colonial period through the nineteenth century. Chico, CA: Scholars Press.
6. Ford А. (1998) Edward Hicks, Painter of the Peaceable Kingdom. Philadelphia: University of Pennsylvania Press.
7. Gough M. R. E. (1974) “The Peaceful Kingdom: An Early Christian Mosaic Pavement in Cilicia Campestris”, in Mé langes Mansel. Ankara, pp. 411–419.
8. Hachlili R. (2009) Ancient Mosaic Pavements: Themes, Issues and Trends. Leiden; Boston: Brill.
9. Kallir J. (1982) The folk art tradition: naive painting in Europe and the United States. New York: Galerie St. Etienne and Viking Press.
10. Likhachev D. (2015) Izbrannye trudy po russkoi i mirovoi kul′ture [Selected works on Russian and world culture]. St Petersburg (in Russian).
11. Lipman J. (1972) American primitive painting. New York: Dover Publications.
12. Lopukhin A. (2011) Tolkovaia Bibliia ili kommentarii na vse knigi Sviashchennogo Pisaniia Vetkhogo i Novogo Zavetov. Kniga proroka Isaii [Explanatory Bible, or notes on all the books of Holy Scripture of the Old and New Testaments. The Book of Isaiah]. Moscow (in Russian).
13. Mather E. P. (1973) “A Quaker Icon: The Inner Kingdom of Edward Hicks”. The Art Quarterly, vol. 36, pp. 84–99.
14. Mather E. P., Miller D. C. (1983) Edward Hicks, his peaceable kingdoms and other paintings. Newark: University of Delaware Press; New York, London, and Toronto: Cornwall Books.
15. Mauro H. (2019) Messianic Fulfi llments: Staging Indigenous Salvation in America. Lincoln: University of Nebraska Press.
16. Moracchini-Mazel G. (1967) Les monuments paléochrétiens de la Corse. Paris: Bibliothèque des Cahiers archéologiques.
17. Parakhonskaia G. (2013) “Kommunikativnaia funktsiia peizazha kak predmet sotsiologicheskogo analiza” [Communicative function of landscape as a topic for sociological analysis]. Vestnik TvGU. Seriia “Filosofiia”, no. 4/44, pp. 83–93 (in Russian).
18. Porter C. M. (1983) Edward Hicks Reads The Book of Nature. Earth Sciences History, vol. 2, no. 2, pp. 91–96.
19. Sokolov M. (2011) Printsip raia: Glavy ob ikonologii sada, parka i prekrasnogo vida [The principle of Paradise. Chapters on the iconology of garden, park and beautiful view]. Moscow (in Russian).
20. Tolles F. B. (1961) The Primitive Painter as Poet. Bulletin of Friends Historical Association, vol. 50, no. 1, pp. 12–30.

Doroshenko Ksenia

The outstanding medieval scholar, Archpriest Vasily Mikhailovich Metallov (1862–1926) believed that the Synodal Choir "played an important role in awakening the interest of society and musicologists in church singing." Questions related to the Synodal Choir and church singing culture in general arose not only in scientific works, but also in the correspondence of Father Vasily with clergymen, choir directors, teachers of church singing, public figures, which is now kept in the Department of Manuscripts of the Russian State Library, F 178 [Museum collection]. M 10794, No. 1–45. Thus, Hierodeacon Alexei, a fourth-year student at the St. Petersburg Theological Academy (1901), recognized the singing of the Synodal Choir as exemplary, while the choirs of the Chudov Monastery and the Cathedral of Christ the Savior were critical. His position was shared by the famous choral conductor and teacher A. N. Karasev (1854–1914). DV Rusanov, choir director of the Vladikavkaz choir, who previously served in the churches of Finland and Saratov, touching upon the problems of the culture of choral performance, opposed the concert "thunderclap" in the church. The well-known Russian jurist N.O.Kuplevsky (1847–1917) in the pages of his letter expressed his impressions of the St. Petersburg concert of the Synodal Choir on March 10, 1911. The article compares his opinion with the reviews of reviewers in periodicals. The correspondence has preserved a lively reaction of contemporaries, their attitude to questions of the churchliness of liturgical singing.

V. M. Metallov, A. N. Karasev, N. O. Kuplevasky, D.V. Rusanov, Synodal Choir, Chudov Monastery Choir, Liturgy of St. John Chrysostom S. V. Rachmaninoff

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5. Zvereva S., Naumov A., Rakhmanova M. (eds) (2004) Russkaia dukhovnaia muzyka v dokumentakh i materialakh [Russian spiritual music in dokuments and materials], 2. Sinodal′nyi khor i uchilishche tserkovnogo peniia. Kontserty. Periodika. Programmy [Synodal choir and church singing school. Concerts. Periodicals. Programmes]. Moscow (in Russian).

Zolotova Ekaterina

The article, which is a continuation of the author's publications about the Assumption Cathedral of the Pyukhtitsky Monastery, examines the architectural and artistic history of the monastery as a whole in the context of the change of forms of the Russian style in the domestic church architecture of the late XIX-early XX centuries. The monastery ensemble, the largest in the Baltic States both in terms of the number of buildings and the occupied area, was created by the works of the Governor of Estonia, Prince S. V. Shakhovsky and Princess E. D. Shakhovskaya, on the revival of an ancient Orthodox shrine in an unfriendly non-Orthodox environment. It includes buildings within the boundaries of the monastery fence and beyond: the most important historical shrine-the place of the appearance of the Mother of God and Her icon, a cemetery and a Holy spring, a chapel. Most of the ensemble was built in the Moscow-Yaroslavl version of the Russian style, in a short period of time and according to the plan of one architect – M. T. It is distinguished by its integrity, harmonious inclusion in the natural environment and hilly terrain, a variety of types of structures: "big cathedral", stone, "semi-stone" and wooden (cage and tent) churches, small forms (chapels), residential, economic, educational, medical and other civil buildings. During the construction, both natural local granite stone was used (which anticipated its use in the northern Art Nouveau of the early twentieth century), and building materials produced at the monastery or in the Baltic provinces. Russian Russian architecture gives a local flavor to the architecture of the monastery, especially the cathedral, designed by the Russian-Estonian architect A. A. Poleshchuk, which makes it possible to consider the buildings of Pyukhtitsa as works of not only "imperial" Russian, but also Estonian architecture. The construction of the monastery was carried out in the late Soviet period, under Abbess Varvara (Trofimova), when it was actually banned everywhere in the USSR, and with the preservation of historical stylistics and on the basis of the first "master plan" (monastery walls and towers). Currently, the ensemble is being completed with the construction of an almshouse, the project of which is also based on the drawings of Preobrazhensky. Thus, the Pyukhtitsky monastery, which has never been closed, still preserves local architectural and construction traditions, as well as interiors in the Russian style. They give an idea of the style of the works of famous masters at the beginning of the twentieth century, other works of which were lost during the persecution of the Church in the USSR.

Russian style, Moscow-Yaroslavl style, Russian monastic church building, architect M. T. Preobrazhensky, Estonian governor Prince S. V. Shakhovskaya, Princess E. D. Shakhovskaya, Abbess Varvara (Blokhina), Abbess Varvara (Trofimova)

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3. Bertash A., archpriest (2021) “Uspenskii sobor Piukhtitskogo monastyria v Estonii kak pamiatnik retrospektivnogo russkogo stilia, ego stroiteli i zhertvovateli” [The Assumption Cathedral of Pühtitsa Monastery in Estonia as a monument of the retrospective Russian style, its builders and donors]. Vestnik PSTGU. Serij a V: Voprosy istorii i teorii hristianskogo iskusstva, 41, pp. 132–152 (in Russian).
4. Bertash A., archpriest (2020) “Piukhtitskii v chest′ Uspeniia Presviatoi Bogoroditsy zhenskii stavropigial′nyi monastyr′” [Pühtitsa Holy Dormition Monastery], in Pravoslavnaia entsiklopediia [Orthodox encyclopaedia], vol. 59. Moscow, pp. 107–124 (in Russian).
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6. Bertash A., archpriest (2018) “Arkhitektor Mikhail T. Preobrazhenskii i ego nasledie v stranakh Baltii i Vostochnoi Evropy” [Architect Mikhail T. Preobrazhensky and his legacy in the Baltic countries and Eastern Europe]. Sztuka Europy Wschodniej — The Art of Eastern Europe. T. 6. Polscy i rosyjscy architekci w XIX i XX wieku. Warszawa; Toruń, 2018, pp. 61–76 (in Russian).
7. Bertash A., archpriest (2018) “Tserkovnyi zodchii M.T. Preobrazhenskii i ego raboty v Estliandskoi gubernii” [Church architect M. Preobrazhensky and his works in Estland], in Sed′mye Piukhtitskie chteniia. Materialy mezhdunarodnoi nauchno-prakticheskoi konferentsii [Seventh Pühtitsa Readings. Materials of the international conference], Kuremiae, 2018, pp. 116–124 (in Russian).
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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.

This article traces the way in which the All-Night Vigil was created, Op. 2003-2020 Moscow composer Mikhail Simakov, the features of genre-style originality and cyclicality are considered. This work continues the tradition of creating author's liturgical and choral cycles by representatives of the New trend in the refraction of a modern composer of the early 21st century. The influence of S. V. Rachmaninov, A. A. Arkhangelsky, I. F. Stravinsky, G. V. Sviridov from the point of view of using the means of composition and signs of cyclicity (musical thematic arches) is noted. The originality of the musical language of Mikhail Simakov is expressed in allusions to traditional chants and tunes, monothematism ("Quiet Light"), the use of various types of texture (counterpoint, undervoice, homophonic-harmonic warehouse). Among the signs of cyclicality, two parts are highlighted, in accordance with the division of the rite of worship into Vespers and Matins, the alternation of cycle numbers according to the principle of contrast: modal-tonal, rhythmic, textured, stylistic.The goal is to determine the genre and stylistic originality of this work, to reveal the signs of its artistic integrity as a choral cycle of 15 numbers. The methodology of the work is based on an interdisciplinary approach to the study of a spiritual and musical work using terminology from liturgy as a science of worship, as well as scientific categories of Russian musicology. Output. The genre and style originality of the All-night Vigil of Mikhail Simakov is determined by the organic interaction of compositional techniques inheriting the traditions of their predecessors (melodic-harmonic language, texture, shaping, cyclicality), with the personality of the composer's language, his desire to deeply comprehend and figurative content, symbolism.

M.S.Simakov, All-night vigil, choral cycle, small cycle, monothematicism, liturgical singing tradition, chanting, tune

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2. Kovalev A. (2018) Zhanry russkoi dukhovnoi muzyki v tvorchestve otechestvennykh kompozitorov (vtoraia polovina XIX — nachalo XXI vekov) [Genres of Russian sacred music in the works of Russian composers (second half of the 19th — beginning of the 21st centuries)]. Tambov (in Russian).
3. Kovalev A. (2018) “Vsenoshchnoe bdenie S.V. Rakhmaninova kak zhanrovo-stilevoi obrazets” [All-Night Vigil by S. V. Rakhmaninov as a genre and stylistic model], in S.V. Rachmaninov i mirovaia kul′tura: materialy VI mezhdunarodnoi nauchno-prakticheskoi konferentsii 17–18 maia 2018 g. [S. V. Rakhmaninov and world culture: conference materials]. Tambov, pp. 30–40 (in Russian).
4. Paisov Iu. (ed.) (2004) Traditsionnye zhanry russkoi dukhovnoi muzyki i sovremennost′: sbornik statei i issledovanii [Traditional genres of Russian sacred music and modernity: a collection of articles and studies]. Moscow (in Russian).

Kovalev Andrey

*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.