Герой. Мит. Вотив

Author(s): Marina Koleva / Language(s): English,Bulgarian Issue: 1/2015

The article refers to the depictions of Greek myths on the sculptural monuments found in Lower Moesia and Thrace. The reliefs with the representation of the first of the Herakles Labours, the fight with the Nemean lion, are used as examples. The iconography of these sculptural pieces is studied in the context of similar images in Greek and Roman art. These votive reliefs are dedicated to Herakles by men of Thracian origin, which gives us the additional information on the recognition of the Greek myths and the classical iconography by the Thracian population in the Roman period.

Паметта за мъртвите: структуриране на сакралните пространства в ранновизантийските некрополи и градове (според паметниците от територията на съвременна България)

Author(s): Iva Doseva / Language(s): English,Bulgarian Issue: 1/2015

This article aims to pose some questions on the formation of the Christian value system: when did the attitude towards the dead changed, when did the attitude towards life and the saintly dead undergo a major alteration? This attitude is not only the very formation basis of a certain saint’s cults but it also has a powerful impact on the structuring of the urban as well as the extra-urban and church spaces. Ejnar Dуggve calls the commencement of the process of intrusion of the city of the dead into the city of the living, a problem of the cultural history. The short review of the development of the Christian necropoles, located in the vicinity of the fortified cities, is based on archaeological evidences. Isolated cases of urban burials are not left unmentioned. Another symptom of the undergoing change is the emergence of the practice of depositio ad santos, relating the intention of the faithful to find blissful rest next to the saintly relics. The burials under the church floors form yet another aspect of the general problem. The formation of the church crypts is analysed as well as the deposition of reliquaries there as late as the mid-fifth century. Some cases are commented showing examples of varying disposition ratio between grave, relics, martyrium and church.

Св. Георги Нови Софийски. Разпространение и аспекти на култа

Author(s): Ivanka Gergova / Language(s): English,Bulgarian Issue: 1/2015

St Georgе the New Martyr of Sofia/Kratovo was one of the first Balkan new martyrs after the Ottoman conquest whose cult was strongly developed and achieved wide dissemination. George was born in Kratovo in 1496–1497. When he was orphaned, left Kratovo and he went to Sofia. The local Muslims tried to draw the young man towards their faith, but he maintained his Christian beliefs. For this reason he was taken to court, condemned to death and burnt at the stake. The clergy and Christians buried them in the cathedral church of St Marina on the 11th February, 1515. From the very outset favourable conditions existed for the creation of a cult to the young mar- tyr. Priest Peio wrote an extensive life, service and prologue about the new martyr. The brief life of St Georgе the New Martyr tells how the relics of the saint were removed from the grave, later they were gradually scattered. There are references to a whole series of caskets containing relics of St George the New Martyr: in the Kremikovski Monastery, in the church of St George in Sofia; in Rila Monastery has five caskets containing parts of the bones of the saint; in the Hilandar Monastery. References to the relics of the Sofia martyr have also been found in the Serbian mon- asteries of Dechani, Studenitsa and Velika Remeta. Initially the cult of St George the New Martyr was local but not limited to Sofia. The service to the saint refers to believers from the surrounding area, who made pilgrim- ages to worship his relics. The earliest image of St George the New Martyr close to the centre of the cult can be found in the narthex of the church at the Bilinsky Monastery, which in my opinion dates from the 16th century. Soon after the establishment of the cult of the newly martyred saint in Sofia, the cult spread to the Hilandar Monastery on Holy Mount Athos. All the main elements required for a cult can be observed here – the presence of relics, texts and images. At the same time St George the New Martyr also became celebrated in his home village of Kratovo. In 1536–1537, Prince Dimitar Pepic of Kra- tovo became a patron of the Toplicki Monastery, in Demir Hisar region, and he paid for the murals in which St George the New Martyr is depicted. In the 17th century, images of the newly martyred saint continued to appear in the Demir Hisar and Kichevo region. The image of St George the New Martyr in the diocese of the Serbi- an Patriarchate of Pech became unusually popular after its restoration in 1557. Over the next decades and into the 17th century, dozens of churches over a large territory brought the image of the newly martyred saint of Sofia to the lay people and clergy. It can be stated with certainty that during the first century after the death of the saint, the majority of his images were created within the territory of the Serbian church. It is usually emphasised that the image of the newly martyred saint is an example to believers and protects them from abandoning the Christian faith. However, this is probably only a part of the truth. Of the large number of newly martyred saints, only this one can be found in Serbian churches and the reason for his choice must be connected with his Serbian nationality. The adherence to the cult of Serbian saints of all categories was an important element of the policy of the Patriarchate of Pech during the Ottoman Empire. The period between the 18th and 19th centuries marked a new stage in the devel-opment of the cult and its territorial spread. During these two centuries the cult underwent a real renaissance in the Bulgarian lands. In Sofia, where the cult had been maintained without interruption during the 19th and the 20th centuries, other traditional folk forms of reverence had developed. The guild of goldsmiths in Sofia, like those in Kratovo, Skopje and Pirot, accepted the newly martyred saint as their patron. From the second half of the 18th century to the end of the 19th century, a large num- ber of murals and icons of St George the New Martyr appeared in Sofia, frequently accompanied of St Nickola the New Martyr of Sofia. However, during this period in the Bulgarian lands the reputation of the martyr of Sofia went beyond the local boundaries of fame and reverence. He was included in the pantheon of those nation- al saints who played an important role in the leading processes of Bulgarian society– for national self-awareness and the struggle for the independence of the Bulgarian church. For a long time in the saint’s birthplace of Kratovo and the region, there was no mention of his worship. This was renewed or activated during the second half of the 19th century.

Към историята на християнството в София през ХІХ век Една непубликувана икона на св. Николай Нови Софийски и св. Георги Нови Софийски от Музея за християнско изкуство в Криптата на храм-паметник „Св. Александър Невски“

Author(s): Ralitsa Russeva / Language(s): English,Bulgarian Issue: 1/2015

The icon has a strange history, marked by a number of unknown facts and is a sad example of the attitude towards Christian values and commemorations in Sofia following the Liberation of the Ottomans. The icon belongs to the collection of the National Institute of Archaeology with Museum, NAIM (Inv. No 924). It features jointly Saint Nicholas the New Martyr of Sofia, the Holy Archangel Michael (C) and St George the New Martyr of Sofia. The icon is dated to the late eighteenth or the early nineteenth century. According to this publication, the icon was commissioned by the Church of The Holy Archangel Michael in Sofia, which was the centre of the cult of Saint Nicholas the New Martyr of Sofia. It was placed over a reliquary holding the relics of both saints or on the iconostasis. Its origin from the Church of The Holy Archangel Michael explains the unusual composition of the figures of the two new martyrs of Sofia coupled with Archangel Michael. In all likelihood, later representations of St Saint Nicholas the New Martyr of Sofia were iconographically modelled on the image of the saint on this icon. The icon was painted at a workshop, working for the churches in Sofia in the early nineteenth century and probably, in the late eighteenth century. The icon-painters were highly skilled, using seventeenth- century models and most numerous and admirably rendered were their icons representing mounted warrior saints.

Образите на св. Теодор Студит в България и техният балкански контекст

Author(s): Elka Bakalova,Tsvetan Vassilev / Language(s): English,Bulgarian Issue: 1/2015

Saint Theodore the Studite is undoubtedly one of the most prominent representatives of Orthodox monasticism. He is known primarily as an abbot of the famous Studion monastery in Constantinople, as a monastic reformer, theologian and ardent enemy of heretical iconoclastic policies in the Byzantine Empire. The sources about him emphasize above all his adamant character, his brilliant abilities as a preacher and his willingness to champion the rights of the church, even at the price of deep personal sacrifice. As a writer he is pointed out mainly with his polemic against Iconoclasme, but he is also the author of other sermons, letters and hymns. He is credited for the creation of important works of Byzantine hymnography. We especially highlight this aspect of the work of Theodore the Studite, because it turned out to be particularly essential in the representation of the saint in monumental painting. Our task here is to present the images of St Theodore the Studite in the monuments in Bulgaria as compared to similar images (mainly unpublished) from other churches in the Balkans from the period XII–XVIII c., as we add to the presented material in the study of Doula Mouriki. We have discussed the images of the saint in the Boyana church (1259), in the church of “St Stephan” (a New metropolis) in Nessebar (1599), “St Athanasius” in Arbanassi (XVII c.) and the church “The Nativity of the Virgin” of the Rozhen monastery from 1732. We pay special attention to the texts of the scrolls held by the saint. The texts inscribed on the scrolls held by St Theodore vary. This fact indicates that the image of this saint often was associated with a particular aspect of the iconographic program in which his portrait was incorporated. According to the findings of Doula Mouriki, which are confirmed by the reviewed by us monuments and texts written on the scrolls held by the saint “in so far as church decoration is concerned, Theodore appears in his role of great doctrinal personality in the icon controversy, the preacher of ideal life within monastic communities, and the composer of pertinent ecclesiastical hymns.” In addition to many new examples of frescoes in Bulgaria and other Balkan countries we should point out the especially included image of St Theodore the Studite with the corresponding hymn in the composition of the “Tree of Jesse” from XIII c. on.

Les sources des citations peintes sur les phylactères des saints de la rangée inférieure de la façade de l’église de la Résurrection de Dieu du monastère de Suceviţa

Author(s): Constantin I. Ciobanu / Language(s): Bulgarian,French Issue: 1/2015

Образите на св. 40 мъченици в арбанашките църкви oт ХVІІ век

Author(s): Elena Popova / Language(s): English,Bulgarian Issue: 1/2015

The Presentation of the Forty Martyrs of Sebasteia in medallions is typical for the monumental programs of Postbyzantine churches in the Balkans. In Bulgaria their images were especially concentrated in the church murals dated from 17th century located near old metropolis Turnovo, mainly in the village of Arbanassi. In St Demetrius church (1621) 9 images were remained and partly identified, in St Athanasius (1667) – 8, in the church of the Virgin monastery (between 1684 and 1692) – 17, in the old chapel of Kilifarevo monastery (second part of 17th century) – 24; probably in the Nativity church also some of the Forty Martyrs were depicted in medallions but without forming any detached rows. Functions of the presentations. There are three general types of functions of the painted images of the Forty Martyrs of Sebasteia in the monumental programs: 1. Liturgical; 2. Preventive; both of them are universal in the all Orthodox area; 3. Historical – it is peculiar to the mural decoration of the churches in Arbanassi, connected with the royal cult to the Forty Martyrs of Sebasteia in Turnovo dated from 1230 when in their holly day tsar Ivan Asen II won the battle of Klokotnitsa and ordered a temple dedicated to his celestial patrons to be built in his capital. Iconography and identification of the martyrs. There are a great many discrepancies of the names of the Forty Martyrs in all the Greek and Slavonic aghiographical and panegyric literature dated from the time preceding our depictions in Arbanassi up till now. Indications of the iconography of their images in the old Ermineias (16th – 18th cc.) are not in unity also. So the works of the painters in 17th century are full of contaminations and incorrect inscriptions. A brief attempt for identification of every personal image presented in medallion on the south wall of St Demetrius church in Arbanassi may be an illustration of the problems.

Светците епископи от наоса на църквата „Св. Георги“ във Велико Търново

Author(s): Maria Kolusheva / Language(s): English,Bulgarian Issue: 1/2015

The frescoes on the northern wall of the nave of Saint George’s Church in Veliko Tarnovo date from 1616. In the topmost register, a frieze of the images of thirteen bishops in full length has been preserved. Previous publications on the frescoes differ with regards to the saints’ identity; in the current text we aim to add to or correct these previous identifications. At the same time we offer a possible explanation for the presence of such a great number of saint hierarchs’ images outside the altar, in the nave of the temple. This is a rare feature, typical for a limited number of mural monuments that were created within three decades. Together with the frescoes at Saint George’s six examples in total exist: the frescoes in the Kurilo Monastery (1596); Seslavtsi Monastery (1616); the second layer of frescoes in the Dragalevtsi Monastery (the end of the 16th and the beginning of the 17th century); besides the frieze in Dobarsko (1614), a similar frieze can be found in the monastery church in the village of Zhurche, Demir Hissar region (1617). Even more rarely such lines of bishops are positioned in the narthex of some monasteries: Holy Trinity Monastery near Plevlya (1592), Podgumer Monastery (1596), Ilientsi Monastery (end of 16th and the beginning of 17th century), as well as in the narthex of the Saint George’s Church in Veliko Tarnovo (first half of the 17th century).

За св. Петка, образите с крила и грешките

Author(s): Margarita Kuyumdzhieva / Language(s): English,Bulgarian Issue: 1/2015

The article discusses the possibility of the existence of images of St Parascheva of Epivates (St Petka) with wings. The question came up in connection with an image from St Petka Church (1636) in the city of Vidin, Bulgaria, which has been previously wrong identified by the author as winged St Parascheva. In order to clarify the problem, a brief survey of the development of the saint’s imagery is made with special attention to 15th and 16th century examples kept today in Polish and Ukrainian museums. Some details concerning the earlier stages of the visual aspect of St Parascheva’s cult are examined and a correction is made concerning the image from the church in Vidin and another image from St Petka Church (1580) in Trnava, Serbia, which was indicated in the literature as an image of St Parascheva with wings. As a result of the research it is established that to represent St Petka with wings has not been a common practice in Orthodox art. The one and only instance of the winged St Parascheva, known to the author, comes from a much later epoch, being represented in the 19th-century paintings of St Constantine and Helena Church (1865) in the city of Plovdiv, Bulgaria, but it remains an exotic exception even in the practice of those times. The hypothetic image of St Parascheva with wings is juxtaposed to the image of the winged St John the Baptist, which became something habitual in Orthodox art, on the basis of some common connotations of their images revealed in hagiography and hymnography. In addition, the text includes some considerations on the factors that trigger the emergence of a certain iconographic type and on the mechanisms of visualization of hymnographic motifs in medieval art.

Między fikcją a rzeczywistością - czyli po co i dlaczego ogląda się seriale paradokumentalne

Author(s): Justyna Wrzochul‑Stawinoga / Language(s): Polish Issue: 02/2015

For some time, including TV, one gets the impression that it was dominated serials paradokuments. Examples of such programs are: „Difficult Cases”, „Memoirs of the holiday”, „Why Me?“ „Whose fault?”, „Betrayal”, „The day that changed my life”. Currently popular is the production of „The Contender“ television broadcast by TVN. Among the television stations, that give parase -riale documentary, leads the Polsat: Monday only suited up six series quasi. This is because that the way of presenting reality and the conditions of play of the vicissitudes, in which their characters are involved clearly is constructed so that it was getting to a mass audience in a fairly wide age group. In this article I will try to answer the question: What is the phenomenon of quasi serials popularity, whether they are a response to the needs of modern audiences? Who is the present participant of TV culture and what is expected of television? To what extent paradokumentalny series meets the expectations of a modern audience, and by what procedures implements (apparent or real?) mission advisor, comforter, therapist and psychologist?

Kronika

Author(s): Drahoslav Magdoško,Zuzana Tokárová,Martin Pekár,Mikuláš Jančura,Peter Fedorčák,Bernadeta Fabová / Language(s): Slovak Issue: 1-2/2012

KONFERENCIA BITKA PRI ROZHANOVCIACH V KONTEXTE SLOVENSKÝCH A UHORSKÝCH DEJÍN. KONFERENCIA SLOVENSKO V ROKOCH NESLOBODY 1938 – 1989 II. OSOBNOSTI ZNÁME – NEZNÁME. PÄŤ MESIACOV AUTONÓMIE. (VÝCHODNÉ) SLOVENSKO MEDZI 6. OKTÓBROM A 14. MARCOM. DISKUSNÝ VEČER ÚSTAVU PAMÄTI NÁRODA. ZASADNUTIE NEMECKO-ČESKEJ A NEMECKO-SLOVENSKEJ KOMISIE HISTORIKOV – DOKTORANDSKÝ WORKSHOP. KOŠICE – INŠTITUCIONÁLNA ZÁKLADŇA KULTÚRY, ŠKOLSTVA A VEDY (K 140. VÝROČIU ZALOŽENIA VÝCHODOSLOVENSKÉHO MÚZEA V KOŠICIACH). PREZENTÁCIE MEDZINÁRODNÉHO PROJEKTU ALTERNATÍVNY SPRIEVODCA HISTÓRIOU KOŠÍC 2013. STRETNUTIE MLADÝCH HISTORIKOV II. PRIESEČNÍKY SPOLOČNEJ HISTÓRIE ŠTÁTOV V4.

Muzyka chóralna Andrzeja Koszewskiego (1922-2015) i jej aspekt liturgiczny

Author(s): Joanna Cywińska - Rusinek / Language(s): Polish Issue: 47/2016

A. Koszewski was one of the most outstanding Polish composers of the last century. He passed away on 17 February 2015. The most prominent of his works are choral pieces which were briefly characterized and classified according to various criteria. The attention is also given to his sacred music. The author presents arguments for its use in the liturgy. Based on the literature and two masses in a different stylistics it was shown that sacred music of A. Koszewski has got all the qualities of liturgical music. Considering its high artistic level and its deep spiritual expression, the music should be performed not only during concerts but also during the liturgy.

Semantyka tytułu jako klucz interpretacyjny w religijnej twórczości Marka Czerniewicza

Author(s): Joanna Schiller-Rydzewska / Language(s): Polish Issue: 47/2016

Marek Czerniewicz is a young composer from Gdańsk. Works of religious nature play an important part in his achievements. A significant feature of his works is using titles with extra-musical meaning. And this connection between the title of the piece and its musical realization is the most interesting for us in the research field. For such outlined problems analytical concepts of Charles Seeger, Eero Tarasti and Maciej Jabłoński have proven to be helpful. Thanks to them it was possible to track the connection between idea of the piece contained in the title and its sound picture per se.

ŞENER ŞEN’İN BAŞROL OYNADIĞI FİLMLERDE KULLANILAN ATASÖZLERİ VE DEYİMLER ÜZERİNE BİR İNCELEME

Author(s): Mehmet Gedik,Erhan Akin / Language(s): Turkish Issue: Special/2016

The impact of the media in today's language has been an accepted condition now beyond. Individuals embarking on use of language to the school life on family and begins to learn the media tools. This use case also throughout school life. Students through the internet, television, cinema, they continue to develop their presence in the word. In this study, the expression used in the movie and Şener Şen proverbs tried to be identified. In this way, the expression used in motion pictures and proverbs on the clarification and special starring Şener Şen in the film are addressed. When documents review and review categorically rejected the content analysis method is used. Category focuses on expressions and as saying. Has been examined in the movies last statement and Proverbs of the films under the names and specifying when. As a result, made suggestions on the subject of the study.

URARTU MİMARİ VE SANATI

Author(s): Filiz Günderen / Language(s): Turkish Issue: Special/2016

The comminities who live in the high plateaus of easth Anatolia especially these who lived in Van lowland united aganist the Assyrian Kingdom in the south and this established the Urartu kingdom. The kingdom who prefer high peaked and mountainous areas as a setlement left architecturally magnificent castles the monumental rocks doors, single-room or multi-room tomb, steles that extand. Urartu kingdom took the advantages of the rich mineral resourches of the area and gave unique and excellent works of art. This sense of art, sometimes, was infulunced from near by cultures or bore distinctively eclectical traces.

TÜRKİYE’DE KLASİK MÜZİK ve SAHNE SANATLARI EĞİTİMİ ve İSTİHDAM SORUNU

Author(s): Müge Akpinar / Language(s): Turkish Issue: 31/2016

Art is one of important elements for a nation to achieve contemporary level of civilization. In his speech at the parliament on 1 March, 1923, Atatürk expresses his opinions about fine arts and underpinned the necessity of modern libraries, museums, fine arts exhibitions and conservatory buildings in the main centers of a country. In this study by analyzing the schooling in music and performing arts in our country, the employment possibilities of graduate conservatory students’ will be studied.

INNOWACJE ARCHITEKTONICZNE W POLSKIM HANDLU A ZACHOWANIE KONSUMENTÓW

Author(s): Grażyna Śmigielska,Karolina Orzeł / Language(s): Polish Issue: 38/2015

In the paper the concept of architectonical innovations has been applied to retailing, acknowledging that these are the new forms of retail business which has been accepted by the consumers. The paper indicates the key characteristics of the development of these forms of retail and the dynamic of their development in Poland after 1989. The attempt to identify the relationship between their development and the consumer behavior has been made, identifying basic trends in this scope.

Dyskurs upersonifikowanej Śmierci w wybranych przykładach literatury i sztuki europejskiej od XII do XVII wieku

Author(s): Anna Gostomska / Language(s): Polish Issue: 5/2016

The aim of this article is to describe the discourse of personified Death in the selected works of European art and literature from the 12th to the 17th century. The article deals with five discursive situations: questioning Death by a man in verse and prosaic disputations and in dialogues in the paintings and woodcuts of the danse macabre, sending Death to man in Helinand of Froidmont’s poems and in morality plays based on the Everyman theme, dispraising Death by the dolce stil nuovo authors, Dante, Petrarch, Johannes von Tepl, as well as Polish Renaissance and Baroque poets, summoning Death in Polish sermons of the 17th century, and finally ridiculing Death in a number of Old Polish dramatic works reflecting the carnival tradition. The analysis proved that the discourse of personified Death functioned in various contexts, had diverse forms and performed many functions. It primarily functioned in the context of Christian eschatology as the doctrine about the last things. The interaction between Death and man also employed satire and farce to mock the representatives of all social strata. On the other hand, addressing personified Death in love and funeral poetry was an emotional contemplation on the loss of a loved one.

Personifikacje cnót w dramacie liturgicznym „Ordo Virtutum” Hildegardy z Bingen i na romańskich kolumnach kościoła św. Trójcy w Strzelnie

Author(s): Debora Wiąckiewicz / Language(s): Polish Issue: 04 (31)/2016

Composed by Hildegard of Bingen in the Rhine-Hessen region in the middle of the 12th century, the liturgical drama Ordo Virtutum depicts a symbolic internal struggle for the fate of the soul between the virtues and the devil and is originally transposed into the language of low-relief found in the church owned by the Canonesses Nuns convent in Strzelno, a little town situated on the border of Kujawy and Wielkopolska regions in Poland. The aim of this article is to present how two visions of the same concept complement each other in an intriguing way, although they are expressed by two separate, yet merging languages of music linked with the text and low relief. Most of the musical and literary personifications of both Ordo Virtutum and low reliefs featuring figures in Strzelno are still comprehensible, despite being created eight centuries ago. They introduce the audience to the world of medieval sermons, theological treatises, lectures on ethics and moral theology. Both works show a holistic vision of the world, held by people of the medieval era. In that vision what is spiritual, mystical and elusive for the outward physical senses intertwines and is closely linked with what is tangible, material and directly perceptible. Hildegard’s music praised not only the works of God but also the virtues as deeply human attributes, linked with effort and choices of a free human being, capable of establishing a relationship with God. The column of virtues in Strzelno introduces to the sacred sphere a multitude of figures that become an icon of widely accessible perfection. It seems that both artists aimed at educating their audience as beauty was supposed to ennoble by giving the strength to the truth so that it could lead to good, also the ultimate good — God.

Храм „Св. Пророк Илия", с. Беласица (Елешница), Петричко

Author(s): Vladimir Dimitrov / Language(s): Bulgarian Issue: 4/2016

The paper focuses on a monument painted by the Minovs family of iconographers in the National Revival period. I came across it after publishing my study on the heritage of this family of icon-painters. The church is located in the village of Belasitsa (Eleshnitsa) in the region of Petrich and is dedicated to the Holy Prophet Elijah. The text presents the murals and the icons at the church.