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Conversation between Dr. Anatoli Kanev and Prof. Dr. Miliyana Kaymakamova about Bulgarian history and role Politics played in different periods of it. There is one question to be answered and it is: How to make history "interesting" in suited in the modern society?
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The term pallium derives from Latin and signifies “coat”. It is a strip made of white wool, worn on shoulders, used as an element of a liturgical attire of a Metropolitan Archbishop. The pallium is decorated with six Greek crosses, three pins and silk black trimmings. Its meaning is to emphasize the liturgical function and power of a Metropolitan Archbishop and his unity with the Holy See. The liturgical rite for imposing the pallium in the history had many modifications, and the present form was approved by Pope Francis in 2015. The rite itself underlines the pastoral responsibility of the Shepard towards his flock. It is a visible sign of unity, of the communion with Holy See and it is also a call for evangelical fortitude.
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The existence of a residence of the metropolitans of Gniezno in Cracow had been confirmed from the fourteenth till the end of the eighteenth century. Its beginnings, attested by documentary evidence, reach back to the foundation of Archbishop Jarosław Bogoria Skotnicki (1342-1374) who erected a stonework mansion located extrawaros, probably to the south of Wawel Hill. The building, neglected in the following century, was eventually pulled down in 1498. In the fifteenth century, a new residence was constructed. It was located immediately outside the city walls, in front of Brama Poboczna [Lateral Gate], next to Wawels north slope, on the grounds acquired by Archbishop Mikołaj Kurowski (1402-1411) that had been in the possession of the Gniezno archbishops until 1523. According to a description from the beginning of the sixteenth century, there existed an extensive residential complex made up of episcopal offices, a few buildings which housed the living quarters and some utility buildings in a garden.Since the late Middle Ages until 1621, the archbishops of Gniezno had also owned a plot of land located intra warns, i.e. within the city walls, in Grodzka Street, to the south ofSt Martins church. There stood a stonework mansion, mentioned in documentary sources as curia arcfiicpiscopaiis, whose appearance, however, is unknown. In the sixteenth century the buildings that stood there were used by the canons of Gniezno during their stay inCracow. Archbishop fan Łaski (1510-1531), who in 1529 acquired a conveniently located plot of land on the corner of Grodzka Street in the neighbourhood of St Giles church, moved the residence to a different location. The new grounds were situated opposite the former plot owned by the archbishops, at the foot of Wawel Hill and the royal castle (adradices arczs), close to its north-east corner which housed the kings apartments. It was there that - apart from a brief interlude when the archbishops lodged in Kanonicza Street - since the mid-sixteenth century for the following 250 years the last residence of the Primates of Poland in Cracows history had been located.The architectural forms of the building were irretrievably lost in the course of radical transformations the residence underwent at the beginning of the nineteenth century(it was dismantled down to the foundations, and replaced with a new construction that has survived to this day). Therefore it has remained virtually unknown because of the scarcity of iconographic evidence and insufficiently researched documentary sources from the period before the end of the eighteenth century. An interpretation of the newly discovered inventories from the years 1673,1767 and 1777, which contain the only known descriptions of the residence from the times when the Primates stayed in it, combined with an analysis of earlier source materials, has helped to recreate the architectural transformations of the building and precisely reconstruct its spatial and functional disposition, as well as to establish the dating and attribute its construction to particular founders.A particularly valuable source, which complements the inventories, is a survey of 1798, used as a basis for the reconstruction of the plan of the residence in the last phase before it was dismantled.The early modern forms of the residence (which since the second half of the seventeenth century had been known as a 'mansion) were shaped as a result of adaptation and extension of a house, formerly owned by a knightly family and later by the CracowChapter, which occupied the southern part of the plot acquired by the archbishops in 1529, facing the castle. The forms of the residence that had survived until 1670 arose mainly in the course of construction works undertaken by the Primates: Piotr Gamrat (1541-1545)and Wawrzyniec Gembicki (1615-1624). According to an inventory of 1673, the residence consisted of three one-storey buildings surrounding an internal courtyard: two stone workhouses (of medieval and sixteenth-century origins) joined on the corner, forming the south and west wings, and a wooden building on the east (erected in the mid-seventeenth century) which housed the main gateway opening to Grodzka Street. Between 1672 and1676 the complex was substantially remodelled in the course of a building campaign initiated by Primate Mikołaj Prażmowski (1666-1673) and completed by Andrzej Olszowski(1674-1677). The construction works, which cost 24 thousand zloty, were overseen by the Cracow city councillor Jan Pernus. The resulting complex consisted of a two-storey palace building made up of two wings meeting at the right angle with matching external elevations, but differing in plan and the spatial disposal of interiors. The third part of the complex - a one-storey wing facing Grodzka Street - was erected in 1765 by Archbishop Władysław Łubieński (1759-1767) and was the last element in this additive construction process. In the functional hierarchy of the residence it held the lowest rank, being merely a kind of outbuilding that housed the main gateway. The longest, one-aisle south wing played an important part in the communication system of the palace: it housed another gate and the stately main staircase leading from the courtyard up to the rooms on pńmonoMc. The largest, two-aisle west wing had the function of an actual corps de fog is -the main part of the palace - being at the same time its predominant element as far as its architecture and functions were concerned. It was on its upper storey that the apartment of the Primate (consisting of antechamber, bedroom and wardrobe) was located, together with a large reception hall (measuring 12 by 15 m) overlooking Wawel where Primate Olszowski hung a portrait gallery of his antecedent archbishops, including his own likeness provided with a following inscription: Andreas Olszowski, Sfernmate Prnsszns cam ^ascdn'sioannis iff. Coronator. Both the location and decoration of the stately hall in the residence of Polish Primates in the capital city of Cracow should be understood as the key elements of the iconographic programme of the palace: a seat of the interrex and at the same time primate-archbishop who crowned.
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The paper examines the texts encomia in the Slavonic copies that contain the First and the Second book of Euthymios Zigabenos’s 12th century Panoplia Dogmatike. The focus is on the following written evidence: the Slavonic translation of PD First book from the first to the 11th chapter included in two manuscripts: HM.SMS 186 – a 16th century copy from Hilandar monastery, and another 16th century manuscript – miscellany III c 16, Mihanovich collection in HAZU; the only copy containing the Second Book of PD in Slavonic – Ms. Slav. BAR 296 from the repository in the Library of the Romanian Academy of Sciences in Bucharest, dated from the very beginning of the 15th century; the famous Zagreb miscellany of Vladislav the Grammarian from 1469 with excerpts from PD. The texts of encomia are published as a complex for the first time. The author sustains the hypothesis that the Slavonic translation of PD had a close connection with the Athonite monastic brotherhood, whose orthodoxy and orthopraxy was the main engine for both the appearance of the translation, and its subsequent use and spread, especially in Ottoman times, when the Orthodoxy, more than ever, needed the dogmatic bases of its identity. The article tries to answer the question about the role of encomia in this process.
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Na odabir termina paratekst, kojim je moguće definirati specijalne žanrove u srednjovjekovnoj književnosti, filolozi su potaknuti definicijama i interpretacijama iz teorije književne kritike do kojih je došao Gérard Genette. Paratekstualnost je odnos između teksta i njegovog parateksta, koji okružuje glavni tekst, kao što su naslovi poglavlja, predgovor, uvod, pogovor, sažetak, napomene, ilustracije, sve što je pored teksta, s osnovnom svrhom da poboljša i prilagodi njegovu recepciju. U srednjovjekovnoj su rukopisnoj tradiciji naslovi poglavlja ili glave (capita), koje nose glavno (kapitalno) značenje sadržaja pripovijesti, potom popratni tekstovi u rukopisnoj tradiciji četveroevanđelja poznatoj kao sinopsis i hipotezis tipično paratekstualne prirode, a takvim se može smatrati i aparat koji je specijalno osmišljen za sinoptičko čitanje teksta četiriju evanđelja, naime Euzebijevi kanoni na hotizontalnim marginama. U Mletačkom i Hvalovom zborniku ta se pravila nalaze na istaknutom mjestu, na početku knjige a popraćena su tradicionalnim tekstom, Euzebijevom poslanicom Ciprijanu, u kojoj je objašnjena njihova svrhovitost. Riječ je o podjeli teksta četveroevanđelja na takav način koji omogućava usporedbu odlomaka u kojima su “evanđelisti jedno rekli.” Osim svih tih formalno uočljivih uputa redaktora oko, ispred, iza i iznad samoga glavnog teksta, kao paratekst se tumače načelno i svi parabiblijski tesktovi, koji se u odnosu na kanonski tekst mogu smatrati periferijskim tekstovima. Tekstovi ove vrste širili su se uglavnom sekularnim putevima i sačuvani su u zbornicima apokrifne literature. Nešto su rjeđi slučajevi kada oni ulaze u sastav kodeksa s primarno kanonskim sadržajem. Većina ih je prevedena u Preslavu u razdoblju od kraja 9. i početka 10. stoljeća. Obilježeni su intertekstualnošću, koja uključuje citiranje, reminiscencije i aluzije na kanonski tekst. Priređivači tih tekstova uživali su veću slobodu pri prepisivanju nego što je to slučaj s prepisivanjem kanonskih tekstova. Dijalektalne odlike lakše su prolazile u te tekstove, pa oni imaju poseban značaj i sa stanovišta historije jezika.
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The period of XIV and XV century is one of the most important for Balkan history. The Ottoman invasions of the Balkans predetermine the destiny of Bulgarians, Ottomans, Greeks, Serbs and a number of other nations, because Ottoman hegemony significantly alters the ethnic, religious and geopolitical outlook of Southeast Europe. One of the most memorable personalities of this period is the Byzantine Em¬peror Manuel II Paleologus (1391 – 1425), who in order to save his decaying state made a desperate move - on December 10, 1399, he sailed from Constantinople, aboard several Venetian galleys, to seek personal help from the rulers of the West. This adventure is one of the most romantic parts of Byzantium’s past, and to this day it is of great interest to historians. In this article we will explore some of the key points in this journey.
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Today, Bulgaria is both a political and a cultural member of Europe, while Korea forms a common areal with its neighbours, China and Japan. Throughout the centuries, however, both countries, located geographically on the road of intensive commercial and cultural exchange, experienced the impact of nomad peoples, like the Mongols and the Turks. This is why today we can find many similar elements in the culture of Korea and that of Bulgaria, which are the result of the centuries-long thread connecting Koreans, Mongols, Turks and Bulgarians. One of these elements worthy of academic research is the deified Heaven known as tengri, which most probably lies at the core of the names Tangra in Bulgaria and Tangun in Korea. The Korean Tangun is only mentioned once in the work of the Buddhist monk Iryeon from the 13th century as a celestial son, founder of the first Korean kingdom – Ancient Joseon. The name Tangra was deciphered by some scholars in Bulgaria from a Turkish manuscript which did not survive to this day and a somewhat illegible writing on a stone pillar. Throughout the centuries, there have been no traces in either country of people worshipping Tangun or Tangra. There is no historical, archaeological or ritual evidence supporting the existence of a religious cult of the two deities. However, in modern times, in both Korea and Bulgaria, Tangun and Tangra have been brought to public attention as the symbols of an ancient proto-Korean and proto-Bulgarian religion, respectively. For patriotic reasons, the two peoples have brought Tangun and Tangra to the foreground in opposition to the official religion. The aim is to derive a monotheistic religion from one main proto-deity to equate (and why not to precede) the official religions (Christianity in Bulgaria, and Confucianism and Buddhism in Korea). This study investigates the construction of the image of Tangun as a supreme national symbol in Korea and draws a parallel with Bulgarian Tangrism. It focuses on the transformation of the image of Tangun in Korea from a deified mythological hero into a historical figure, through a large-scale, well-coordinated and well-funded state policy. While the cult of Tangra in Bulgaria is a source of national pride for some Bulgarians, it has not received the strong state support the cult of Tangun in Korea has.
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The paper presents the results of the visual clay and glaze analysis carried out on restored stove tiles and pieces safe-kept at the Museum of Moslavina in Kutina; these results indicate that for the making of all the analysed stove tiles, which were synchronously made, the same casts and two types of clay were used. The stove tiles of Garić grad are divided into twenty various types and compared with analogue finds of stove tiles originating from the area divided into the so-called western and eastern region of the stove-making production. Stove tiles with full decorative front plates have relief ornaments – presentations as found in bestiaries, mediaeval literary descriptions of monsters and animals. When comparing the illuminations in the subject manuscripts with the presentations on stove tiles, all the motives used and their symbolics may be unmistakably recognised. Further, when considering the motives on the front plates and comparing them with analogue material, the influence of the stove-making products from workshops dating from the era of Sigismund of Luxemburg (the first half of the 15th ct.) may be recognised.
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The monastery of St. Paul in Garić is one of the oldest Paulist monasteries in Croatia. It seems credible that the lord of Garić-grad, Henrik of Hungary (where the order was founded in 1215), invited the hermits there. Upon arrival to Moslavina, the hermits found peace and quiet they needed for prayer and contemplation. After having studied the documents, the author came to the conclusion that hermits came to Garić either at the same time when the Paulists came to Dubica (in 1244) or earlier, since – according to the documents available – the Paulists of Garić had already had a domicile in 1256, and a while later, they began building the monastery and the church of the Blessed Virgin Mary. They extended and added on them in the early 15th century, and thus created a complex that comprised all they needed for everyday life; thanks to the local aristocracy, they became rich landowners and, consequently, economically independent. The monastery in Garić was the locus credibilis – the place of credibility, in which local aristocracy used to keep their important documents and valuables. The church of the Blessed Virgin Mary was a well-known place of pilgrimage. 588 documents (deeds of gift, testaments, etc.) witness to the greatness and the importance of this mediaeval monastery. The last document from the monastery in Garić dates from 1520. As the danger approached, the Paulists moved their archives and valuables to Remete and Lepoglava; around 1543, together with the people, they fled from the Turkish army and the Armatoloi in search of a safer place. After the fall of Garić-grad (in 1544) and Moslavina (in 1545), neither the Paulists nor the people survived there. After Moslavina was freed in 1591, the Paulists of Garić endeavoured to revive the life in their monastery; however, they did not succeed.
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The Russian Chronograph is one of the most significant chronicles in Russian literature. It has several redactions – the First from 1512, the Basic from 1617 and the West Russian from the middle of the 16th century. Each of the variants contains information about Bulgarian history from the settlement of the Proto-Bulgarians in the Danube River area until the death of Tsar Mihail III Shishman. The West Russian version differs because of the distinct sources used in its compilation. This peculiarity is also noticed in the evidence on Bulgarian history, which has not yet been the subject of independent research.
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Documentary compilation review
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The study deals with ‘regained’ popularity of the names SIMONIDA (in Serbia) and DESISLAVA (in Bulgaria). Cultural events related to literature, theater, cinema, television made those names fashionable in the XX century, while their current presence in the naming practice has a sociopolitical hint.
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The purpose of the article is to determine the influence of the aesthetic ideals of the Italian Renaissance on the formation and stylistic diversity of aristocratic women's hairstyles. The methodology of the study consists of the principles of objectivity, historicism, multifactor, systemicity, complexity, and pluralism; and to achieve the goal methods used: problem chronological, concrete-historical, statistical, descriptive, logical-analytical. Scientific novelty. An art-study analysis of the formation of the style of women's aristocratic hairstyles in Italy in the fourteenth and eighteenth centuries was conducted in the context of Renaissance aesthetics, based on the study of rare sources and archival materials; The role of well-known Italian aristocrats, legislators of the Isabella and Beatrice d'Este, Bianchi Maria Sforza, Batista Sforza, Maddaleni Doni, Eleonora of Toledo, Lucia Albani Avogadro, and others are researched in the process of creating and promoting new styles of women's hairstyles. Conclusions. Based on the study of the specifics of the creation and finishing of aristocratic female hairstyles of the Italian Renaissance, it has been proved that their stylistic and formative features are one aspect of the modification of the human body in accordance with the humanistic views and aesthetic ideals of the Renaissance; It was found that a female hairstyle in the fourteenth and eighteenth centuries was a symbol of individual and group identity.
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For many centuries, the Volga Bulgarians maintained close economic, cultural and religious ties with Muslim countries and especially with the peoples of Central Asia. Traditionally, relations between them were good and clashes were rare. But after the Battle of the Kalka River (1223), Mongolians turned against Volga Bulgaria. The first attack was repulsed, but after a long fight, Volga Bulgaria was conquered in 1236 by the Mongols and ceased to exist as an independent state.
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