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Рец. на кн.: Шмеман А., прот., Флоровский Г., прот. Письма 1947—1955 годов / сост., пред. П. Гаврилюка. М.: Изд-во Православ. Свято-Тихон. гуманит. ун-та, 2019. 446 с. / Review to: Schmemann A., archpriest, Florovsky G., archpriest. Letters of 1947—1955 years, comp. by P. Gavrilyuk, Moscow: St.-Tikhon’s Orthodox University for the Humanities Publishing House, 2019. 446 p.
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Purpose of Article. The purpose of the article is to analyze the culture-creating aspects of the civilization development of the Ukrainian people. The methodology of the study is to use methods of analysis, synthesis, comparison, generalization, as well as integrative approach and cultural-historical modelling. Scientific novelty. The authors of the article, on the basis of the integrative approach, have first suggested the definition of civilization as a macrocultural socio-historical community that encompasses different subjects (countries, peoples, nations, states), which have common socio-normative principles of the transatlantic level, such ethical-religious systems, the fundamental foundations of mentality, fundamental ideals and basic values, stable special features of the economic, political and legal and socio-cultural organizations, expressed in the appropriate way of life. Conclusions. Now Ukraine is in the stage of transition to the post-industrial (informational) stage of civilization progress. At this stage, the development of Ukrainian art is characterized by rapid development of innovativeness, pluralism, considerable creativity, virtuality, displacement of traditional forms of culture, creation of essentially new kinds of art, connected with modern technologies and aimed at producing attractive standardized and unified production. In these circumstances, the role of art, as the most universal way of human communication, is greatly enhanced. Civilization represents the highest degree of self-organization and development of human society, culture-creating is a system-forming factor of its development. Culture-creating and the Civilizational development of the Ukrainian people takes place in line with the main tendencies of the evolution of European civilization.
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Analyzed civilizational and historical factors of public awareness genesis in Ukraine. It is noted that the development of any civilization has two components chrono-vertical and chrono-horizontal. It is alleged that the Ukrainian people’s awareness combines the values of eastern and western cultural and civilizational systems, privileging the second one. Determined features of the Ukrainian people’s legal consciousness in historical retrospective. In this context was analyzed directions of development and was singled features as institutional and non-institutional sense of justice in Ukraine.Emphasized that civilizational and historical development of the Ukrainian people is characterized with stages, inconsistency and cultural features. In its turn, sense of justice in Ukraine based on axiological basis using the following basic constants: patriotism; justice; sense of national dignity; responsibility for the fate of the motherland; awareness of the importance of implementation of individual rights and freedoms in the domestic environment; respect for the rights and freedoms of other nations; recognition of the intrinsic value of Ukrainian culture and language.
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The purpose of the article is to generalize the positions of the theories of cyclic fashion development and to identify their relevance in fashion trends forecasting of the end of XX – beginning of XXI centuries. Methodology. Methodological basis of the research is formed by the principles of historicism and objectivity, the laws of the system approach, a comparative and historical method of analysis. The scientific novelty of the article is to find out the relevance of the principles of "cyclic theories" in the dynamics of fashion forecasting of the end of XX – beginning of XXI centuries. Conclusions. The analysis of the cyclicity of fashion theories confirms the topicality of a number of their principles in fashion trends forecasting of the end of XX – beginning of XXI centuries.
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This article presents data on nine synaxarion lives of Bulgarian and Serbian saints contained in one of the few extant copies of the Verse Synaxarion that covers the whole year. This is manuscript No. 47 in the library of the Zograph Monastery on Mount Athos (Zogr47). It is dated between 1473 and 1524, and its redаction is defined as Bulgarian without juses (ѫ, ѧ). It was created by two brothers from the village of Piskopie, near Debar – Yoan and Nikola Miloshev. The manuscript can be divided into two parts: the first part contains the complete Tаrnovo recension of the Verse Synaxarion and is the work of Yoan Miloshev; the second is his brother Nikola’s. The first part includes six original synaxarion lives of Bulgarian and Serbian saints: of St Petka of Tarnovo (14 October), St John of Rila (19 October), St Ilarion of Maglen (21 October), St Michael the Bulgarian (22 November), St Sava of Serbia (14 January), and St Simeon of Serbia (13 February), as well as the text of a translated from Greek verse synaxarion life of St Clement of Ohrid (27 July). The second part begins with the only surviving copy of the First synaxarion life of St Naum of Preslav-Ohrid (23 December), followed by the synaxarion life of the Byzantine saint Erasmus of Ohrid (of Formia). Next are twenty-five Sunday sermons. The inclusion of so many verses about Bulgarian and Serbian saints in one codex makes this manuscript unique. It should be given its due place in research on the Verse Synaxarion. It is a testimony to the perceived need for unity in spiritual activities in the Balkans under foreign rule. The Appendix contains the texts from Zogr47 in calendar order, and variant readings given from the oldest Bulgarian and Serbian copies of the Verse Synaxarion. It can be concluded that the synaxarion verses of the lives of Bulgarian and Serbian saints in Zogr47 preserved the texts without major changes for more than one century.
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In 1846 the Samokov icon painter Dimitur Hristov painted a cycle of seven scenes illustrating the miracles of the Virgin around an image of the Mother of God Axion Estin ("It is truly meet") in the blind dome of the open narthex of the catholicon at Rila Monastery. The scenes are taken from an exception ally popular book Amartolon sotiria, or The Redemption of Sinners, by the Mount Athos monk Agapios Landos. The Slavic translation of the book was well-known at Rila Monastery, as well as in the icon painter’s hometown of Samokov. Episodes were selected that offered a model for monks and worshipers’s behavior, as well as those connected to the famous sanctuary’ Zoodochos Pege (Mother of God the Life-giving Fountain). All the scenes have a logical connection to the wall paintings situated around the blind dome. This is the earliest cycle of its type in Bulgarian art, in which the icon painter illustrates texts that did contain visual models.
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The article treats the iconographic specifics of the cycle of Christ’s acts and miracles at the earliest narthex of the Catholicon of The Assumption, Monastery of Cherepish, which researchers traditionally attribute to the work of St Poemen of Zographou. The study makes also certain observations about their connection with the so-called School of Epirus as evinced in the murals at the Church of St Nicholas of Philanthropenoi in Ioannina, Pamvotida Lake, as well as in other examples in the Balkans and the Athonite monasteries of the age. The analysis shows that the icon-painters were familiar with the models used by the sixteenth-century leading post-Byzantine artistic centres.
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The Purpose of the article is to identify the main trends in the development of the Circus arts and the Circus business in the 1860s. and to define the influence of political and economic factors in Bukovina and in Eastern Galicia on them. The Methodology is to use the historical, historical-comparative, biographical methods to maximize the description of the functioning of the Circus during the period of the 1860s. in the Western Ukrainian lands. The Scientific Novelty. The author for the first time ever opens the unknown pages of the history of the Circus and Acrobatic performances in the two main cultural centers of the Western Ukrainian lands at the time that they were a part of the Hapsburg Empire - the cities of Lviv and Chernivtsi. As part of the study, the author has discovered, systematized, translated and used the materials from the German, Polish and Ruthenian press of the 1860s, as well as circus posters from the libraries of Poland (Jagiellonian University in Kraków), Austria (Austrian National Library) and a number of US university libraries, which are being deployed into scientific circulation for the first time.
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The purpose of the article is to determine the main vectors of sociocultural changes occurring in modern musical culture under the technical influence of the digital revolution. The methodology is based on the fact that this work has a pronounced interdisciplinary character, using the tools of modern culturology, economics, art history, and sociology. The scientific novelty of the article is to focus not only on the artistic processes, specific practices of musical life but also on the actual properties of the media space in which they exist. The study of the new media environment - the Internet, technical communicative capabilities that provided by the digital era in conjunction with the musical culture, is becoming one of the central principles of this study. Conclusions. It is a combination of personal choices of all participants in a musical life that ultimately determines the proportional ratio of all segments of the musical space, which develop according to different scenarios, and, accordingly, the overall result of the digital revolution in the world of musical culture. Today, when, thanks to the achievements of the digital revolution, most sociocultural tasks are being solved more successfully in the network space, new perspectives and potential directions of development are opening up for society, for the modern ―informational‖ civilization. The same potential paths of development are proposed for the space of musical culture: the way of ―curtailing‖ the network ―freedom‖, strengthening the control and hierarchical regulation of art; the path of complete chaos, network "anarchy" and irresponsibility; a movement in the direction of the potential to become a planetary global civil society that is rooted in the digital network, but is able to actively, responsibly and creatively produce, interpret and assimilate the products of the musical artistic environment.
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The article addresses the history of the Church of Saint Sava in Vrbovljani (pron. Vrbovlyani), Diocese of Pakrac and Slavonia, and its pre-history through the lesser-known SerbianOrthodox monastery Dejanovac (pron. Deyanovatz). Vrbovljani were much older than the monastery, evident from the Templar/Turkish cemetery in the village. With the establishment of monastery Dejanovac, probably in the second part of XVI century, Vrbovljani became a part of a larger settlement called Dejanovci. Throughout the liturgical life of the monastery, Vrbovljani were the principal location and eventually succeeded some physical property of the monastery as well as its liturgical life, after the monastery was forcefully closed in 1757. Even though some researchers doubt the very existence of this monastery, this paper offers evidence not only that the monastery existed and had a significant role in the public and religious life of Serbs in this area, but also that its liturgical life continued through the Saint Sava Church until today
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Canonization of the saints, in one region in the past, had its own significance in relation to the cultural and historical affi rmation of the spiritual ambient itself. The early Slavic Christian community was tending to its own cultural self-assertion throught the forms of establishing cult to saints, which, by their work are related to the Slavic religious and educational mission. By placing the holy of the saints into the spiritual life of medieval Macedonia, their significance and popularity, the established cult forms related to the developtment of saint and monastery cults can be traced. This saint cult forms was in close relation with church organization in Macedonia in IX century and after that. The establishment of the Clement’s school, represented a beginning of a great cultural movement among the Macedonian Slavs, while by establishment of a Velicko-Dremvicka Eparhy headed by St. Clement, a bishop turned up and served in Slavic for the first time among the Macedonian Slavs. That is one of the reason why the foundations of the later Ohrid Archiepiscopacy are still to be found in the Eparchy od St. Clement. The theory that the origin of the Archiepiscopacy is connected with the Bulgarian (Drstar) Patriarchy which is considered that arrived in Prespa, and later in Ohrid, while their migration from Drstar, via Sofia, Voden end Meglen, does not base on historical sources and has not got any scientific base. Also, it is hard to accept the theory that the Ohrid Arhiepiscopacy is a prolongation of the Arhiepiscopacy of Justinian Prima. The church was indenpendent in the Samoil’s state and it’s competence coincided the state borders. In the process of acquisition of the Slavic cults, this article places the accent on the oldest slavic sinacsar, one in the Aseman’s Gospel, which represents the choise of general holidays in the Ohrid Patriarhate. St. Cyril, St. Metodii and St. Clement are Slavic saints whose names are included for the first time in this sinacsar, but the name of St. Naum iz not included. The Ohrid tradition drew not only on the cult of the first Slavic educators and their pupils for the purpose, but also on memories of the early Christian missionaries and martyrs connected with the Macedonia region. This included the cult of St. Erazmo and the Martyrs of Tiberiopolis, which received particular attenttion in the literature and life of the Apostol Andrew. Following the review, regarding the topic of canonization the Slavic saints at the Ohrid Church and wider ortodox region, a conclusion is drawn, that the original literary work in our region of the medieval period is mostly connected to the cult celebration of those martyrs, therefore in the later period revives the ascetic ideal as well as the celebration of martyr deed as a supreme debt to the religion.
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The village of Gintsi is located in Western Bulgaria, at the foothills of the Western Balkan Range and at about 50 km of Sofia. Once a road connecting Moesia and the river Danube with Sardica and Macedonia used to pass through the village. There were also fortifications around it, as evidenced by the toponym "Kaleto", relevant to two elevations at both sides of the route to Petrohan pass. According to a record dated from 1490, the village had an entirely Christian population, as did the entire area in the vicinity of Sofia. A Turkish register shows that the church in the village, that can be dated from the Middle Ages, continued to exist. According to its plan, the St. Nicholas of Myra belongs to the most widespread type of churches in Bulgarian lands in the Middle Ages and the National Revival, the single-naved basilica. The church has a semi-circular central apse inside and out, a naos and a narthex (added later). The entrance is one from the west, through the narthex into the naos. It has a barrel vault and has a gable roof with wooden casing and tiles, completely in the style of West Bulgarian single-naved churches in the period from the end of the 12-th to the 19-th century. The building technique is traditional for West Bulgarian lands. The material used was hewn and river stone, joint with white mortar. The church was decorated with murals. There were three distinctive period of decoration, with almost nothing remaining from the first murals. The murals are in three artistic layers.
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Two fundamental terms are used in this article: Church and modernization in their basic sense – modernization as renewal and church as the temple and the community around it. The leading idea is that Bulgarian modernization from the first half of the nineteenth century, especially from the 1830’s and 1840’s, developed through several interconnected components: massive church building, which consolidated local Bulgarian societies; renewal in religious literature, read by Bulgarians; innovation in church art, which changed the appearance of the temples. Bulgarian historiography in the first half of the nineteenth century speaks mostly about secular cultural trends, but actually they are only isolated islands in the general religious-spiritual picture. Unfolding of secular cultural trends was yet to come in the second half of the century, thanks to the religious renewal, which broke the old traditions and brought new impulses for internal Community solidarity and new spiritual attitudes in 1830–1840’s.
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Anthony is a highly honoured saint, considered to be a patron and a defender of various diseases. The church “St. Anthony” in the smallest town in Bulgaria – Melnik – is known exactly for its healing aspect and can be identified as one of the most sacred cult sites in the surroundings, connected with numerous stories of miracles, healings, interesting and rare ritual practices. The modern state and functioning of the church is a complex of different components that build the role and importance of the cult site as a very attractive place for pilgrimage and healing. Besides of the cult of the patron itself, these components include also various miraculous objects, iconographic features, the location of the church, and characteristic stories of miracles, media, and personal representations and interpretations. In this article, I will examine the cult of St. Anthony in the city and church dedicated to him through the prism of two basic elements – miraculous objects or other ones in the church area and beliefs and ritual practices related to them. It is precisely the connection between the different components of the cult site, combining diverse objects of pilgrimage, honoring, and usage, that creates a truly unique context in which this church, the only one in the country until recently dedicated to the St. Anthony, exists. The analysis is based on observations from conducted fieldwork studies in Melnik and bibliographic and online surveys in the period 2016–2018.
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A project of the same title on the preservation and conservation of the medieval Church of St John Aliturgеtos, Nessebar implemented currently by a team of the Bulgarian National Committee of the International Council on Monuments and Sites, briefly BNC of ICOMOS, underlies this article. The study, seeking to find, systematise and present the available mostly in the publications until the mid-twentieth century textual, graphical and photographic information, comprises above all the explorations of arch. Alexander Rashenov; Peter Mutafchiev; Max Zimmerman; G. Balş and Nicolae Ghika-Budeşti; of the unknown until the 1960s arch. Petr P. Pokryshkin; the Škorpil brothers, Karel and Hermenegild; Konstantin Jireček and Felix Kanitz. Prior to Felix Kanitz’s visit in 1872, the church was explored by the Frenchmen Xavier Hommaire de Hell and Jules Laurеnes, who visited the town in 1846. Two drawings from nature by Laurеnes were published in 1859, in an album of lithographs, put out as v. 2 of Hommaire de Hell’s accounts of his travels in Turkey and Persia. Alongside these two prints, reproduced in 1912 by Romanians Balş and Ghika-Budeşti, Laurеnes also made a sketch (croquis) of the church plan with an explanatory text. Published in 1860 at the end of v. 4, the last one of the travel notes, these were placed next to the sketch and notes pertaining to another church in Messembria, that of Christ Pantocrator, incorrectly given as Saint-Michel archange. The fact that the plans and the notes happen to be the earliest records of these two churches, affords ground for reproducing them in this article.
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Reviews / The Church in Kalenich and the Problems of Late Byzantine Architecture
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