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With Malazgirt Victory in 1071 Turks migration began to Anatolia and Islam had found a new expansion field in the hands of Turks and spreading of Islam in Anatolia had accelerated in the period of Principalities and especially Seljuks, Anatolian Seljuks. But in the 13.centuries Mongolian influence which occurred in Central Asia and then affected to Anatolia, led to people different searches. Mongolians had vandalized where they gone through, therefore; a completely crisis period had began to in Anatolia. Especially in this period most of dervishes who got of Yesevi doctrines had immigrated to Anatolia and began to tell Islam with different ways to the people. This saints who came from Central Asia, dwelled upon to doctrines and emphasized that Islam is not a fear religion it is a love religion,and to fall for love to God rather than fear of God. In this way; this Yesevi dervishes who came from Central Asia, helped to people who fallen into crisis process and easily overcome from this process, also they exposed excellent and experienced human type with the help of advice which they gave to people in their works. In this study, in the century of 13 Religious-Sufism Folk Poetry ethical components were exposed and three great poets were examined who lived in the century of 13, such as Hacı Bektaş-ı Veli, Yunus Emre, Said Emre and also, common components which related with the ethical understandings were classified and commented on finding discoveries.
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The presented data were collected on the occasion of the outer refurbishment of the church of Sâncrăieni. We did not have the opportunity to do archaeological research elsewhere, nevertheless we could form a comprehensive history of the main building periods. Sâncrăieni is situated int he eastern part of Transylvania, in the former Szekler seat Csík. The name refers to Saint Stephen I, the first king of Hungary as „Saint King" (Szentkirály), this village name and its church had therefore been created before 1192, the canonization of the second saint king of Hungary, László I. The Hungarian-speaking population of the Szeklers was settled in the region int he late 12th and early 13th centuries. Sâncrăieni and its church were probably founded by the new settlers, but they can as well be of an earlier origin. The walls of the nave preserve the remains of two medieval phases. The western gate and one fragment of a window can be identified as parts of a Romanic period Later the nave was elongated towards the east, on this part of the southern wall an early gothic window was discovered. None of the medieval periods of the chancel is known, as the present chancel was built to the nave in 1759. Like the most village churches of the region, the medieval church had no spire, nevertheless a bell from 1562 testifies to the existence of a wooden tower. Based on dendrochronological dating of the timbers, the present tower in the west was built in the early 18th century. The roof forms of the two medieval phases of the nave were reconstructed on the basis of the western gable remains.The presented data were collected on the occasion of the outer refurbishment of the church of Sâncrăieni. We did not have the opportunity to do archaeological research elsewhere, nevertheless we could form a comprehensive history of the main building periods. Sâncrăieni is situated in the Eastern part of Transylvania, in the former Szekler seat Csík. The name refers to Saint Stephen I, the first king of Hungary as „Saint King" (Szentkirály), this village name and its church had therefore been created before 1192, the canonization of the second saint king of Hungary, László I. The Hungarian-speaking population of the Szeklers was settled in the region in the late 12th and early 13th centuries. Sâncrăieni and its church were probably founded by the new settlers, but they can as well be of an earlier origin. The walls of the nave preserve the remains of two medieval phases. The western gate and one fragment of a window can be identified as parts of a Romanic period Later the nave was elongated towards the east, on this part of the southern wall an early gothic window was discovered. None of the medieval periods of the chancel is known, as the present chancel was built to the nave in 1759. Like the most village churches of the region, the medieval church had no spire, nevertheless a bell from 1562 testifies to the existence of a wooden tower. Based on dendrochronological dating of the timbers, the present tower in the west was built in the early 18th century. The roof forms of the two medieval phases of the nave were reconstructed on the basis of the western gable remains.
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Die mittelalterliche, heute evangelisch-lutherische Kirche in Durles (Dârlos/Darlac, RO) befindet sich im Norden des Landkreises Hermannstadt (Sibiu/Szeben, RO). Durles liegt 10 Kilometer westlich von Elisabethstadt (Dumbrăveni/Erzsébetváros, RO) und 6 Kilometer östlich von Mediasch (Media/Medgyes, RO). In einer Urkunde der päpstlichen Kurie aus dem Jahr 1332 erscheint der Ort unter dem Namen Dorlako. Die ältesten Dokumente, die Bezug auf die Wandgemälde der Kirche nehmen, verdanken sich dem französischen Schriftsteller Auguste De Gérando und stammen aus dem Jahr 1845. Die detaillierte Beschreibung umfasst Informationen über die Wandgemälde im Langhaus, im Chorraum und auf den Außenseiten des Kirchenbaus. Auf der Laibung trägt der Triumphbogen eine Aufschrift, die das Datum 1701 und den Vermerk enthält, dass im Jahr 1845 umfangreiche Renovierungsarbeiten am Kirchenbau vorgenommen worden sind. Während dieser Renovierungsarbeiten wurden die Wandgemälde in Chor und Langhaus mit Kalkfarbe überdeckt. Die Aufschrift gehört der ersten Kalkschicht an, die den Triumphbogen und die Wandgemälde der Chorwände bedeckt. Die letzten größeren Renovierungsarbeiten wurden im Jahr 1972 durchgeführt. Vermutlich sind mit dieser Gelegenheit auch die Wandgemälde auf den Wänden des Langhauses entfernt worden. Heute ist es nicht mehr möglich, Reste dieser Wandbemalung zu finden. Im Jahr 1975 wurden zufällig wenige Fragmente der Wandgemälde des Chorraums entdeckt. In den Jahren 2009–2011 führte der Restaurierungsfachbetrieb Imago Picta GmbH Rechercheund Konservierungsarbeiten in mehreren Etappen durch. Dabei trat auf der Nordwand des Chorraums eine Darstellung des Jüngsten Gerichts zutage; auf der gegenüberliegenden Südwand wurden Szenen aus dem Leben der Heiligen Katharina von Alexandrien und solche, auf denen Helena und Konstantin zu sehen sind, entdeckt. Die Fachliteratur hält keinen Aufschluss über den Fertigungsprozess von Wandgemälden in den mittelalterlichen Kirchen Siebenbürgens bereit. Der Großteil der verfügbaren Beschreibungen bezieht sich lediglich auf Maltechniken und Stilfragen. Die von mir durchgeführten Untersuchungen bieten neue Erkenntnisse über den aktuellen Zustand der Wandbilder, die Fertigungstechniken und die Abfolge der Malschichten, die verwendeten Materialien und Werkzeuge.
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On the medieval walls built in the 19th century church of Unirea (Felvinc) a significant Passion-cycle has been found. The frescoes found on the eastern and the southern walls of the sanctuary - in the area of the gallery supporting the organ - have been conserved between 2002 and 2007. The work will continue in the area beneath the gallery. The upper row of the south wall includes two fragmentary scenes before the Crucifixion: the Flagellation and the Trial of Christ. The Passion-cycle continues in the apex of the eastern wall with a large Crucifixion scene. The 19th century vault of the chancel covers the upper part of the scene. The two scenes of the second row - on either side of a window with the iconic representation of Kosmas and Damian - are the Deposition and the Entombment of Christ. The Resurrection and Anastasis of Christ are represented in the lower row, partly covered by the gallery. The scenes of the post-Resurrection incidents continue on the south wall with the Assumption. An apostle head depiction has been found under the Trial of Christ scene. The masterfully composed fresco full with emotions resembles the sparse compositions of the Middle Byzantine era, which lived throughout and influenced the art of the duecento. This is the heritage of the painters who fled Constantinople after 1204, and who found their new maecenas in the young Balkan and Crusade states, or further in Western Europe. It is interesting to note that at Unirea many depictions merge two scenes of the Holy History. The Deposition of Christ scene supports elements from the Lamentation of Christ, while the Anastasis Christ's victory pose refers more to the Resurrection. A Christ in victory is also represented a Resurrection. The scene blended this Western component with the Byzantine style: an angel points towards the empty grave and supposedly towards the three women, but that scene probably was covered by the 19 century structure. Other scenes prove the circulation of Franciscan patterns widespread in Italian painting from the middle of 13th century. The new images enhancing the sufferings like The Flagellum, the Trial shows the transformation process of the Byzantine imagery for Western use. We also find direct allusions to friars in the representation of the cord-bounded hands of Christ in the scene of the Trial, or the cord legged clothes of the holy personages in the Anastasis scene. The technique used is secco-fresco with sepia. The giornates follows the frame of the scenes. Considering the wall paintings, one can recognize the characteristics of the "Italo-Byzantine style". The figures with red haloes tend to fill out the red frames of the scenes. In the space between them, western architectural patterns were inserted. The "horror vacui" is proved by the preference for the numerous decorative patterns, mostly painted al secco. The almost sculptural forms of the figures are painted with different saturations of the same colours, creating a chiaroscuro effect. On the frescoes left, one can identify three masters. One of them, who painted mainly the women side figures and the medical saints, had also the characteristics of the "Linear Gothic Style". The interference of the two styles can be observed also at Cecejovce, Cserkút and Sânta Măria Orlea. Both styles have Byzantine features, but it appears that one should not necessarily search for a direct influence of either style. The discovery of the Unirea frescoes helped to reconsider the importance of the Italo-Byzantine style at the beginning of 14th century. Together with other new discoveries (Văleni de Mureş, Crăciunel) and the reanalysis of the ones which were already known (Sântimru, Cricău, Cecejovce, Cserkút,) the circle of the Italo-Byzantine wall paintings (mostly Sânta Măria Orlea, Spisská Kapitula, Dravce, Ghelniţa) became wider. One can find common features in almost all works of the style circle, but the Unirea fresco is closest to the fresco of Sântimbru, Criău and Sânta Măria Orlea. This is due to the relatively common painting technique and the common source of the iconography. The diversity and the high quality of both styles and composition are raising the question of a possible local mixing of styles.
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Beszámoló a Colloquia Russica konferenciáról (Szepesváralja, 2014. október 16–18.)
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This volume contains the edited texts of the papers presented at the conference "Sălaj (Szilágy) Region and the Wesselényi Family in the 14–17th centuries" held between 7 and 8 September 2012 in Cluj (Kolozsvár). The essays deal with the estate system and the political and economic history of the medieval Sălaj (Szilágy) region (Middle Solnoc/Szolnok and Crasna/Kraszna counties), as well as with the history of the Wesselényi family archives and the early modern history of the Wesselényi family.
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According to the charter issued by Andrew, Bishop of Eger, the Košice burghers were exempted from jurisdiction of Archdeacon of Abaujvár in 1290. Circumstances connected to its origin and then comparison with other charters containing similar privilege seem to be essential factors leading to better understanding of the source. Hereby a very detailed analysis of the text might say more to explain its meaning. Therefore, the cognoscible context of exemptions with the examination of circumstances leading to the issuance of the charter in 1290, along with consideration of the words written in the text, encourage the opinion that the burghers of Košice had been exempted from jurisdiction of Abaujvár´s Archdeacon even before. The Bishop´s charter seems to be only a confirmation of the right allowed earlier, which was a common phenomenon in the towns (or in the communities of guests) of the Hungarian Kingdom.
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The altepetl (pl. aletpeme) was the basic political entity in Late Post-classic Central Mexico (from the half of 14th century to Spanish Conquest). This is the Nahutal term usually translated as city-state. Like other city-states (for example poleis) altpetl was characterized by small territory, one central town and a ruler called tlatoani. Altepeme was founded by immigrant people from the north of modern Mexico, called Chichimecs. Tlatoani ruled the altepetl as a despot, and decided about both internal and external affairs. In Tenochtitlan, which is the best described altepetl, tlatoque were chosen by the elite electors. Cihuacoatl and the Council of Four formed a type of „central administration” and gave advice to the ruler. Tlaxcallan is an example of a complex altepetl, which was ruled by not a single tlatoani, but a council consist the highest nobility. Another example of complex altepetl is Chalco. However a Chalco was a kind of a complex confederacy.
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Jewellery represents a very indicative and chronologically sensitive type of archaeological material, expressing the fashion and style of a certain period, and certain examples have characteristics related to specific cultures and indicating ethnic affiliation of persons wearing it. Medieval rings, just like jewellery in general, represented an integral part of the traditional garb as well as a decorative piece that an individual carried in life and was often buried with it too. Their unchanging shape makes them the most conservative piece of jewellery, which has retained the same form until the present time. What varied through time/space were materials the rings were made of, the quality of production, the choice of motives and also the appearance of the hoop and the shape of the head of the ring. This paper offers an analysis of medieval rings with anthropomorphic representations. According to the number of figures represented on the head of the ring, two groups are distinguished: rings with one or with two human figures. With respect to the elements represented alongside the figure defining it more precisely, the first group includes rings with warriors and holy warriors. With respect to the variations in compositions with two figures, we can distinguish four groups of rings: the ones with a cross between human figures; the ones with hands raised in the act of benediction; the ones with a halo; the ones without a halo around the figures’ heads. The rings are dated back to the 12th century and the first decades of the 13th century. According to results of archaeological research, they are mostly found on necropoles in Eastern Serbia. Similar to the most of the rings from this period, they belong to the Byzantine cultural circle, i.e. they imitate Byzantine models, and certain examples can be linked to the strengthening of Christianity among the Slav populations of the Balkans.
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The article explores the late Medieval musical life in Lithuania. Scanty resources and facts by which one can reveal the specifics of musical life, also early contacts and influences that came from the other countries have been analyzed. It is an attempt to reconstruct the musical culture as well as to indicate the traditions of the Lithuanian Grand Duke's court, which extends back to the 13th c. - the years of establishing the Lithuanian State. Important are the assumptions about the national and international traditions of music.In the ruling years of Grand Duke Vytautas, musical contacts with the Order of the Knights of the Cross and Poland were more intensive; it was the period when culture of Latin origin accelerated in Lithuania. Considering the period before the reign of Grand Duke Vytautas,there are only scattered facts that have remained until today; they reveal some important traits of musical life in the Lithuanian Grand Duke's Court. Moreover, as these facts reveal connections with the cultural life of other countries, one may look for the parralels and analogies and thus fill the gaps of Lithuanian musical life. Of course, early Lithuanian musical life is not to be compared with major centers of European culture; it represented the margin of this phenomenon, though at the same time it infused the variety of its forms. The article also aims at revealing the influences of Turks, Tartars and other nations that stimulated the phenomenon of Sarmatic culture.
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This contribution describes and evaluates four wells explored or documented in 1990s in the streets of Košice. Two of the wells were investigated in Hlavná Street – one of them is located in the Lower Gate area and the other is near the Immaculata. The third well was researched in Dominikánske Square. The well in front of Kováčska Street 26, damaged by a sewer trench, was documented only. Profile of the wells is round, narrowing towards the bottom. Their construction character is identical as well – stone walls built on a wooden base construction. The maximum difference between the bottoms’ levels is 1.5 m. It was impossible to measure the depth and identify the construction method of the well in Kováčska Street – in front of Kováčska 25, as it was situated under the bottom of the sewer trench backfill. Despite the fact that dating of the wells was not possible, it is undoubtable that they were used in the modern era. They disappeared when the city water supply was built in the beginning of the 20th century.
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Artykuł omawia dokonania arcybiskupów gnieźnieńskich w latach 1199 - 1382.//The article outlines the achievements of Gniezno archbishops in the years 1199–1382.
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The Order of The Brothers of The Most Blessed Virgin Mary of Mount Carmel arrived in Silesia late in the 14th century, when its first monastery was established in Strzegom. It was however liquidated during the Reformation. Only after the end of the Thirty Years’ War was it successfully regained, and three new locations were opened in Głębowice, Wołów, and Kożuchów. Baron Johann Adam de Garnier, a colonel of the imperial army hailing from Alsace, owner of the estate in Głębowice, played a major role in their design and development. The first two centres are impressive Baroque projects with lavishly furnished churches, while the third is a mediaeval castle entrusted to the monks late in the 17th century and adapted into a monastery, which, besides the Jesuit Otyń, is considered a singularity in Silesia. The essay presents the artistic achievement of Silesian Carmelites based on the state-of-the-art research and emphasises the role of the founder. It is also an attempt at assessing the contribution of the Order to the development of Baroque culture and art in Silesia, which is modest, especially when compared to the neighbouring regions of the Commonwealth of Poland–Lithuania. It also emphasised the absence of the reformed branch of the Order, that is the Discalced Carmelites, in the area. Although the achievements of the Carmelites would be difficult to compare with the impressive heritage of Cistercians and Jesuits who dominated the religious and artistic realm of post-Tridentine Catholic Church in Silesia, it nonetheless merits the interest of researchers in various fields of culture and art.
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Nous désirons utiliser dans cet article (Aspectele istorico-economice ale episcopiei Transilvaniei reflectate de registrul de dijme – 1332-1337; Les Aspects Historico-économiques de l’Épiscopat de Transylvanie, reflétés par le registre des dîmes) six années (1332-1337) des sources éditées de registres des dîmes, faites par les personnes envoyées par le pape Jean XXII, les collecteurs Jacobus Berengarii et Raimundus de Bonofato. Nous allons étudier les aspects historico-économiques de ces registres pour deux motifs: 1. on n’a jamais analysé ces sources d’un point de vue qui puisse présenter les raisons primordiales pour lesquelles ont été faîtes – leur côté économique; 2. parce que ce registre est beaucoup plus complexe d’un point de vue structurel et de composition que ne sont le autres registres faites par les autres collecteurs qui ont travaillé dans le royaume de la Hongrie avant 1331. Par les données présentées nous avons essayé de réaliser une radiographie complète regardant les sommes payées sous la forme des dîmes par les clercs des archidiacres de l’Épiscopat de Transylvanie vers la Chambre Apostolique pendant la période 1332-1336, donc 5 années. Nous avons pu identifier les sommes dans la plupart des cas, mais à cause des lacunes des textes, cette identification des dîmes a été possible seulement dans une proportion de 90,25%. Et si nous considérons la somme payée par le diocésain de Transylvanie dans cette période, sans les 1170 marks payés par l’évêque local, la possibilité d’identification des sommes diminue á 73%. La somme totale marquée comme collectée sous la forme des dîmes dans de cette période de 5 années dans la Transylvanie est de 1831,5 marks, qui équivalent à 449,7 kg argent (métal). Cette somme reflète la puissance économique de diocèse qui se trouve sur les bords de Societas Christiana. Le pouvoir économique de cette diocèse transylvain, qui s’élevait à 1831,5 marks (449,7 kg), représente 19,5% de la somme totale collectée soul la forme des dîmes pendant la IVe décennie du XIVe siècle dans le royaume de la Hongrie (cette somme étant: 9385 marks, représentant la valu de 2304,3 kg – 2,3 tonnes – d’argent métal). Mais la 1/3 de la somme totale était la revenue du roi Charles Robert de Hongrie (d’Anjou), donc environ 3130 marks type « poids de Buda » (768 kg argent métal), mais le reste de 2/3 a été envoyé á la Chambre Pontificale d’Avignon (1536 kg / 1,53 tonnes d’argent métal).
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This paper discusses the use of the names of heresies: bogomilism, messalianism and the heresy of autoproscoptae in 14th century Bulgarian sources. The author underlines that the names of bogomilism and messalianism do not always refer to dualism. Two wider unknown examples of such use of the name “messalinism” are recalled. In the Pseudo-Zonaras Nomocanon (CIAI 1160), the name “messalianism” is treated as being equal to the “heresy of autoproscoptae”. In the Rule for hermits, messalians are presented not as heretics, but as monks disregarding their rules.
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