Journal articles on the topic 'Novgorod (City). Church of St. Sophia'
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1
Antipov, Ilya, Alexandra Trushnikova, and Maksim Kostyria. "Architecture and Icon: the Origin of the Stepped Gables in the Icon ‘The Vision of the Sexton Tarasiy of Khutyn’." Baltic Journal of Art History 21 (August 20, 2021): 31–59. http://dx.doi.org/10.12697/bjah.2021.21.02.
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The article invites to look afresh at the late 16th century Novgorod icon‘The Vision of the Sexton Tarasiy of Khutyn`’ and the Faceted Palace,built in 1433 by German craftsmen. The stepped gables of the building,located west of St Sophia Cathedral in the icon, were interpreted asrealistic image of the upper parts of the Faceted Palace that havenot survived. However, the iconographic analysis of more than ahundred of the Russian icons and illuminated manuscripts datingback to the second half of the 16th – early 17th centuries proved thatthe stepped gable was a decorative architectural motive, widespreadsince the 1560s–1570s. The authors classified the images of buildingswith stepped gable in the late medieval Russian art, and determinedtheir possible sources among the Northern European prints of the15th – 16th centuries. The comprehensive study ascertained that thebuilding in the icon ‘The Vision of the Sexton Tarasiy’ can’t be used forreconstruction of the Faceted Palace. Since 1560s–1570s the schematicrepresentation of the city in Russian art often placed buildings withthe stepped gables (initially acquired from the European prints)next to the churches. Panorama of Novgorod in the Khutyn` iconfollowed this pattern and combined fantastic forms with ratherrealistic depiction of the church edifices.
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Brzozowska, Zofia. "Sophia – the Personification of Divine Wisdom in the Culture of Novgorod the Great from 13th to 15th Century." Studia Ceranea 4 (December 30, 2014): 13–26. http://dx.doi.org/10.18778/2084-140x.04.01.
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The idea of Sophia – the personified Wisdom of God served as a symbol of independence and identity of the republic in the political culture of Novgorod the Great. In Old Russian chronicles and other narrative sources which can be connected with Novgorod, one may find statements showing that – in the eyes of the Novgorodians themselves – Wisdom was not only one of the main attributes of God, but also a separate character, a kind of divine being, who could be interpreted as patronesses and supernatural protector of the city-state. Construction of the temple of Hagia Sophia in Novgorod is usually dated to 1045–1050. In the source material one can find information that Novgorodian Sophia church was undoubtedly the most significant and important monument in the city. The theme of Wisdom of God is also a very prominent topic in Novgorodian historiography and literature. Moreover, the feminine personification of God’s Wisdom can also be found on the coins, emitted by the city-state from 1420.
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Khromov, Oleg. "Books from Sofia library in the cyrillic book collection at the Russian state library." St. Tikhons' University Review 110 (February 28, 2023): 29–39. http://dx.doi.org/10.15382/sturii2023110.29-39.
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The article tires to identify early printed editions from Novgorod churches and monasteries as part of the Russian State Library (RSL) collection. It shows the way they got to the RSL and provides a method for their attribution. In the XVIII century, the books were collected in the St. Sophia Cathedral library in Novgorod. In the middle of the XIX century, some of them were brought to the library of the St. Petersburg Theological Academy. In the 1870s, the idea of exchanging book duplicates between the St. Petersburg Theological Academy and the Moscow Public and Rumyantsev’s Museums arose. It was supported by His Eminence Metropolitan of St. Petersburg, Novgorod and Finland Isidore. In 1874, the Rumyantsev’s Museum received 126 books. Among them, there were books from the Kirillo-Belozersk Monastery, the Sofia Library and some items of an unknown origin (without owner's signs). The article shows the methodology and process of attribution the books from Novgorod monasteries and churches based on the study of owners’ signs (for example, dedicatory inscriptions, authographs and other notes) taking in account the history of the Sofia Library collection. There were some contributions from the nobility, for example, D. M. Bashmakov, a statesman of the 17th century; or Princess Natalia Kirillovna, a mother of Peter I, who made a donation to the Novgorod Convent of Great martyr Euphemia the Glorious. This fact allows us to look at the history of monastic libraries in a more detailed way exploring their parts. The attribution of the books of Novgorod origin at the RSL collection illustrates the research method for regional Cyrillic book collections, which for the most part remains unexplored.Keywords: the early Cyrillic printed books, the Sofia Library, Novgorod Books, editions of the Moscow Printing House, the history of libraries, St. Petersburg Theological Academy, monastic and church libraries, books of Ancient Russia, regional collections of old printed books.
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Vinogradov, Andrey. "Ban as a Political Instrument in the Russian Church of the Middle 11th Century New Data about Luka Zhidyata." ISTORIYA 12, no. 9 (107) (2021): 0. http://dx.doi.org/10.18254/s207987840017171-7.
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The article deals with the biography of Luka Zhidyata, the Bishop of Novgorod. The mention of the consecration of St. Sophia of Novgorod by him probably dates back to the “Primary Chronicle”. Information of the chronicles about his three-year suspension and imprisonment in Kiev is compared with the norms of Byzantine canon law. The only rule by which Luka could be subjected to such punishment is a ban for clerics to play dice or communicate with the players. Such an accusation clarifies the role of his servant Dudika in in Luka’s process. The reason for the punishment of Luka by Metropolitan Ephraim was not revenge after Yaroslav's death for his participating in the election of Hilarion and the appointment of new Russian bishops in 1051, but rather the precarious political situation of Ephraim himself after 1054 and Luka's possible attempt to obtain the status of archbishopric for Novgorod.
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Guimon, Timofey V. "Annalistic Writing and the Development of Written Culture (Novgorod of the 11th and the First Half of the 12th Centuries)." Slovene 4, no. 1 (2015): 94–110. http://dx.doi.org/10.31168/2305-6754.2015.4.1.5.
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The author studies key moments in the history of early Novgorodian annalistic writing in the context of other written practices in Novgorod. The first, very brief annalistic notes were made by clerics of the St. Sophia Cathedral in the middle of the 11th century, at the time when, in Novgorod, writing was becoming part of the everyday life of clerics as well as of the lay elite and the administration. The first systematic historical works (an annalistic compilation and a collection of lists) appear in the 1090s, when we see the spread of book production beyond St. Sophia and the start of the mass usage of princely seals. The beginning of the systematic keeping of annalistic records in the 1110s was probably stimulated by the creation and the revisions of the Primary Chronicle in Kiev but, at the same time, it is around 1117 that the posadnik’s seal appears, and this reflects a shift in the political balance in Novgorod. The 1130s were the time when the earliest extant documents granting lands, incomes, and privileges to church institutions were issued, and some other innovations in written culture also took place at around that time. In 1132 the annals previously kept for the prince passed to the control of the archbishop. Their content changed and official accusations relating to the behavior of princes began to be included. Thus, it was in the 1130s that the rights, privileges, and mutual positions of the actors in Novgorodian politics started to be fixed in writing.
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Сиренов, А. В. "Epitaph of Alexander Nevsky's mother in Novgorod and Vladimir." Architectural archeology, no. 4 (February 12, 2023): 215–19. http://dx.doi.org/10.25681/iaras.2022.978-5-94375-371-8.215-219.
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Статья посвящена надписям над погребением матери Александра Невского княгини Феодосии. Она была похоронена в Георгиевском соборе новгородского Юрьева монастыря, но в XVI в. ошибочно полагали, что местом ее погребения является Георгиевская церковь города Владимира. В XVIII в. и в новгородском Георгиевском соборе, и во владимирской Георгиевской церкви имелись надгробные надписи о погребении княгини Феодосии. Источником этих надписей является текст Степенной книги. Вероятно, что их составление с использованием одного источника было независимым и относится ко второй половине XVII в. или, что вероятнее, к XVIII в. The article is devoted to the epitaph over the burial of Alexander Nevsky's mother, Princess Feodosia. She was buried in St. George's cathedral of Yuriev monastery in Novgorod, but in the 16th century, she was mistakenly believed to be buried in St. George's church in the city of Vladimir. In the 18 century both in Novgorod St. George's cathedral and in Vladimir St. George's church there were tombstones with epitaphs witnessing that Princess Feodosia was buried there. The source of these epitaphs was the text of the book containing the genealogies of the Russian princes and czars. Their compilation using the same source was likely to be independent from each other. Both supposedly date back to the second half of the 17th century, or, more likely, the 18th century.
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Logvyn, Natalia. "SPECIFICITIES OF THE MASONRY TECHNIQUE OF KYIVAN MONUMENTS OF THE XTH THE BEGINNING OF THE XIITH CENTURIES." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 105–17. http://dx.doi.org/10.32347/2077-3455.2020.58.105-117.
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The material presented above concerns the research of the concealed course technique used in Kyivan monuments of the Xth the beginning of the XIIth centuries and its origin.
The concealed course technique presents the brickwork where the alternating brick courses are slightly recessed from the wall and covered by mortar, as a result, joints appear to be much thicker than they actually are.
The earliest known monument where the concealed course technique that occurs in the Desyatynna church in Kyiv completed in 996, as well as the two palaces of the Xth c. nearby. The recessed brick technique is also used in Kyivan monuments of the XIth the beginning of the XIIth centuries: the St. Sophia Cathedral, the Golden Gate, St. George’s Church, St. Michael’s Church of Vydubytsky Monastery, the Assumption Cathedral and the Holy Trinity Gate Church of Pechersky Monastery, St.Michael’s Cathedral of the Golden Domes and some other buildings. The Church of Our Savior at Berestove, completed in the first quarter of the XIIth century is the last known Kyivan monument with the concealed course technique. The following Kyivan monuments – the Church of Our Lady Pyrohoshcha (1130’s) and the St. Cyril’s Church (1140’s) have coursed brick masonry.
Apart from Kyiv the concealed course technique was used during the XIth - XIIth centuries in Chernihiv (the Cathedral of the Transfiguration), Pereyaslav (St. Michael’s Church), Novgorod (St. Sophia Cathedral and St. George’s Cathedral of St. George’s Monastery) and Polotsk (St. Sophia Cathedral).
Bricks used in Kyivan monuments have their side dimensions 27 to 36 cm with prevailed dimensions 27 to 36 cm. The thickness of bricks increased from 2.5 – 3 cm at the end of the Xth – the beginning of the XIth centuries to 3.5 – 4.5 cm at the end of the XIth – the beginning of the XIIth centuries. The width of mortar strips between protruding brick courses varies from 9 to 12 cm.
Walls in ancient Kyivan monuments were 1.1 to 1.3 meter thick. After the edifice was erected its outside and inside walls were covered with fine lime-and-ceramic plaster.
Brunov was the first scholar who noticed peculiar masonry technique used in Kyivan and several Byzantine monuments. He considered the concealed course technique first appeared in ancient Kyiv and then was adopted at Constantinople. Some other scholars (e.g. P. Rappoport and P. Vocotopoulos) agree that the technique is of Constantinopolitan origin in spite of the absence of the monuments built in concealed course technique, dating to the Xth c. The fact that no early dated examples have been found at Constantinople should be attributed to the lack of monuments to be dated between 920s, when the Myrelaion Church was erected and the middle of the XIth century when the monastery of St.George at Mangana was founded.
The oldest dated example of the concealed course technique known up to now in Constantinople is substructure of the St. George’s Church at Mangana. The other monument with the concealed course technique is the Panaghia Chalkeon Church in Salonika, dated by 1028 and is consequently earlier by approximately twenty years than the earliest dated examples of the technique in Constantinople. A lot of Byzantine monuments with the recessed brickwork dating back to the XIth – the XIIIth centuries could be found at Greece and Balkans.
It is obvious that the concealed course technique originated in Byzantium as a result of development of Roman concrete facing of coursed brick. The technique was widely used in Byzantine provinces where brick was prevailing building material. Evidently the technique was developed already at the Xth century or even earlier, before it was adopted by ancient Kyivan builders. It appeared that concealed course technique could not be undoubtedly considered the hallmark of Constantinople but a widely spread medieval building practice.
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Mikheienko, K. "Arched gables (zakomara) temple of the ХІІ century. Regional traditions." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 33–43. http://dx.doi.org/10.33838/naoma.27.2018.33-43.
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Speaking about an originality of the early stages of development of Ancient Rus architecture in comparison with Byzantine architecture, the first thing mentioned is the usage of several domes. However, the decorative arched gables (zakomara), that became attribute of Ancient Rus arched gables temple, yet unknown in Byzantium, are almost not being mentioned. St. Sofia Cathedral in Novgorod represents the initial formation stage of such type of temple (A. Komech). The earliest decorative arched gable (zakomara) found has been preserved in this Novgorod cathedral. The process of formation of the arched gables temple happened in Kyiv in the second half of the ХІ century. St. Michael's Golden-Domed cathedral and Trinity gateway church of the Pechersk monastery in Kyiv are indicative of complete forms of arched gables temple. These two temples were constructed almost at the same time at the beginning of the ХІI century, but they represent the initial stages of different directions of the arched gables temple development. Both temples have one dome. But St. Michael's Cathedral has the form of a parallelepiped, statics of which is emphasized on the meander located at the level chorus (but for the east apses) and also horizontal ranks of windows and niches on all its facades. Trinity church has a vertical volume without any horizontal partitioning. Temples, similar in composition to Dormition cathedral of the Pechersk monastery and St. Michael's Golden-Domed cathedral in Kyiv, were built in Chernihiv at the first quarter of the ХІІ century. Chernihiv temples, unlike Kyiv temples, were built only from brick in the «оpus isodos» building technique, using Romanesque structural components and decorative elements (cross vaults, semi-columns on lesenes, lombard band, perspective portals). In Novgorod after completion of the St. Sophia cathedral the tradition of stone construction was renewed at the beginning of the ХІІ century. The remained Novgorod temples of this period have complete arched gables forms with vertical layout of the volumes and several domes. During the XІІ century, there are two kinds of the Novgorod variant of the zakomara temple in Pskov and Staraya Ladoga. Walls of the Novgorod, Pskov, and Staraya Ladoga temples were built in mixed building technique from brick and stone. In the Vladimiro-Suzdalsky principality from the middle of the XІІ century, the temples presented a connection of several composite variants of the arched gables type and other options of the Romanesque building technique (hewn quadrants of limestone) and the Romanesque decorative elements. The Chernihiv variant of arched gables temple became interregional, but kinds of Novgorod variant and Vladimiro-Suzdal variant were local. Temples, similar to the Chernihiv temples, were built in Kyiv, Kanev, Vladimir-Volynsk, Smolensk, Pereiaslav from the second quarter of the ХІІ century. This variant of arched gables temple prevailed until the end of the XІІ century when it was displaced by a new interregional tower-shaped temple type with the step raised arches. Arched gables temple represented the main way of development of Ancient Rus architecture of the XІІ century, but there were other traditions which are presented by single remained or partially remained monuments.
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Natalia, Logvyn. "CONSTRUCTIVE PECULIARITIES OF FOUNDATIONS IN KYYIVAN MONUMENTS OF THE X-TH – THE XII-TH CENTURIES." Current problems of architecture and urban planning, no. 59 (March 1, 2021): 348–59. http://dx.doi.org/10.32347/2077-3455.2021.59.348-359.
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Majority of Old Rus` monuments are known to us by their excavated foundations. The character of foundation construction and layout of plan allows to reconstruct lost architectural forms of the monuments.
The layout of building plan was executed by the help of rope and pickets installed at building site where tranches for wall foundation were dug.
The earliest known masonry monuments of the X-th century had their wall foundation made of rubble on clay mortar. Another foundation type was used in Kyyivan monuments of the X-th – the XII-th centuries – the Tithe Church and palaces near to it, St. Sophia Cathedral, the Golden Gate and the Church of Klov monastery.
The wall foundations of the Tithe Church were constructed of rubble on lime-and-ceramic mortar, with wooden substructures arranged at their footing. Wooden substructures consisted of half-meter long pickets driven into soil and 4-5 rows of timber laid in parallel direction with wall foundation, and a layer of mortared crushed rubble put over it. The height of the foundations was 1.1 to 1.5 m, their width was about 1.5 m.
Wall foundation with complicated wooden substructure were also used in St.Sophia Cathedral in Novgorod and St.Michael Church in Pereyaslav.
Horizontal timbers at the footing of wall foundations were also used in many Old Rus` monuments, the practice was lasted till the end of the XIX-th century.
The other building peculiarity of ancient Kyyivan monuments was the separate foundations in a single building. E.g. St. Michael Church of Vydubytsky monastery has its narthex and apses not bonded with wall foundation to the main body of the monument. Because of the fact some scholars have concluded that narthex have been a later addition. In fact the ancient builders wisely designed foundations of the edifice and left the two units different in mass unbonded to allow for different settlement and avoid destruction of building fabric.
The same design of wall foundations of different parts of a building was used in the Tithe Church, St. Sophia Cathedral and some other Kyyivan monuments. Therefore outer galleries unbonded in foundation and brickwork with the building’s main body could have only light timber roof of the abovementioned monuments.
Skillful and experienced ancient Kyyivan builders perfectly knew soil bearing capacities and used wooden substructures in wall foundation to avoid problems of differential settlement and destruction of edifices.
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Torno Ginnasi, Andrea. "Guardian of Eden, Guardian of the City: The Lost Mosaic of the Archangel Michael in Hagia Sophia of Constantinople." Eurasian Studies 19, no. 1 (December 7, 2021): 79–105. http://dx.doi.org/10.1163/24685623-12340110.
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Abstract This contribution aims to shed light on the lost mosaic of the Archangel Michael with a drawn sword once set, according to Niketas Choniates, in a πρόναος of the Hagia Sophia in Constantinople. After an overview of previous hypotheses, I will argue for a position just outside of the south-west vestibule of the church in the 10th century. Such a location and dating would be in line with the connotation of the Archangel as defender of a sacred space, perceived as a sort of Eden in Byzantine textual and visual sources. The spread of similar representations confirms the role of a reference point that the mosaic soon acquired by virtue of its position at the ceremonial entrance of the most important church of the Empire, not to mention its political importance. The ideological character of the Archangel went a step further during the last centuries of the Empire. A unique use of the First Arab Siege of Constantinople as a stage for St. Michael’s role as sword-wielding guardian in a 14th century Serbian painting is more broadly reflective of a theme throughout Byzantine artistic tradition in varied media. This representation reflected the duty of the Archangel not just as guardian of Hagia Sophia, but also of the emperor, Constantinople and the Empire in a broader sense.
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Storozhuk, S. S. "NATURAL AND CULTURAL FEATURES OF THE CITY OF OHRID, NORTH MACEDONIA." Regional problems of architecture and urban planning, no. 17 (October 17, 2023): 34–40. http://dx.doi.org/10.31650/2707-403x-2023-17-34-40.
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The article examines the natural and cultural features of the city of Ohrid. North Macedonia is unique for its natural features, located in the north and west in the Vardar River valley. In the southwest are the large Lake Ohrid and Prespa, partly belonging to North Macedonia, and in the southeast is the large Lake Dojran. Lake Ohrid is the deepest and oldest lake on the Balkan Peninsula, on the eastern shore of which the city of Ohrid is located. In 1980, Ohrid and Lake Ohrid were included in the list of UNESCO World Heritage Sites. The city of Ohrid is a tourist city that is a jewel of Macedonia and is famous for having once had 365 churches and was called the "Jerusalem of the Balkans" or "Slavic Jerusalem". Of the 365 original churches, only 70 have survived, for their unique heritage values (natural and cultural), it was the oldest and most complete architectural ensemble in the southeastern part of Europe, which deserved one of the places of honor in the list of UNESCO heritage pearls. This town with a population of only 60 thousand is an inexhaustible potential site for excavations and art history research. Ohrid – one of the oldest European settlements, was founded in ancient times (II – III century BC) and was called Lihnidos – the city of light. As a result of the conquests and control of Alexander the Great, the Roman Empire, the Byzantine Empire and the Ottoman Empire, Macedonia has a significant ethno-cultural diversity, which has preserved a rich cultural heritage. The most famous sights of architecture in Ohrid are: the ancient amphitheater of the times of the Macedonian kingdom; Plaošnik hill with the Church of St. Panteleimon (XXI century); a fortress built by Tsar Samuil during the Bulgarian Empire; 70 churches, the most famous are the Church of St. Sophia, the Church of St. John Kaneo, etc.
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Turkan, Zihni, and Çimen Özburak. "Lefkoşa Tarihi Kent Dokusunda “Selimiye Meydanı” / “Selimiye Square” Within the Historical City Texture of Nicosia." Journal of History Culture and Art Research 7, no. 2 (July 2, 2018): 430. http://dx.doi.org/10.7596/taksad.v7i2.1486.
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<p><strong>ABSTRACT</strong></p><p>Selimiye Square, placed in the historical Selimiye neighborhood within the walled city of Nicosia, has become an important center, shaped with the architectural heritage of different cultures throughout the history of Cyprus. The creation of the square began with the building of the St. Sophia Cathedral of the Lusignan Period, at the beginning of the 1200s, and it developed as a religious center with the addition of St. Nicholas Church and the Archbishopric right after. Although not much development in the texture, a guest house built for travelers and pilgrims (The Venetian House) and the meeting place built for the priests of the cathedral (Chapter House), continued the process of creation of the square and the religious quality of the texture. During the Ottoman Period, which was an important era for the historical urban texture of Nicosia, Turkish Architecture, a new architectural style, was added to the surroundings of Selimiye Square. St. Sophia Cathedral was turned into a mosque with the addition of minarets, the Archbishopric and the building next to it were turned into Traditional Turkish Houses with alterations and additions, and St. Nicholas Church was turned into Bedesten (covered bazaar). With the addition of Sultan Mahmut Library and the Big and Small Medrese (madrasah), educational and business functions were added to the religious center; thus the creation of a historical environment and the boundaries of the square became clarified. The boundaries of the square were completed during the British Period with the construction of houses towards the west of the square and it gained the identity of a meeting place for the social activities of the city. During this period, the square was opened for vehicle traffic, and its texture, its religious and business center character were preserved. The periods of the Republic of Cyprus and the following Cyprus Turkish Administration years were a stagnant period for the creation and development of the square. During this period, the square was used as a place of ceremonies with the erection of the Fighters Monument in the east of the library. The buildings around the square underwent functional changes during the TRNC period, from 1983 to today, but the texture preserved its importance with its religious, educational, and business activities. With the new arrangements in 2001 within the scope of the pedestrianization project, an important meeting place was created for the social activities of the city. Thus, becoming an important center for the tourism and social life of the city with the mosque, cultural center, museum, folk arts atelier, restaurants, and bars, which all exist within this historical texture. </p><p><strong>ÖZ</strong></p><p>Lefkoşa Suriçi’nde, tarihi Selimiye Mahallesi’nde yer alan Selimiye Meydanı; Kıbrıs’ın tarihindeki farklı kültürlerin mimari mirasları ile biçimlenen önemli bir merkez olmuştur. Lüzinyanlar Dönemine ait St. Sophia Katedrali’nin, 1200’lü yılların başında burada inşa edilmesiyle başlayan meydan oluşumu, hemen sonrasında St. Nicholas Kilisesi ve Başpiskoposluk Binasının eklenmesi ile buranın bir dini merkez olarak gelişmesini yönlendirmiştir. Venedikliler Döneminde, dokuda fazla bir gelişme olmamakla birlikte, seyyahlar ve hacılar için yapılan misafirhane binası (Venedik Evi) ve katedralin rahipleri için yapılan toplantı binası (Chapter House), dokunun dini merkez niteliği ile meydanın oluşum sürecini devam ettirmiştir. Lefkoşa tarihi kent dokusunun gelişimi için önemli olduğundan, Selimiye Meydanı için de bir değişim dönemi olan Osmanlı Döneminde, Selimiye Meydanı çevresine yeni bir mimari olan Türk Mimarisi kazandırılmıştır. St. Sophia Katedrali, eklenen minarelerle camiye, Başpiskoposluk binası ve yanındaki bina, tadilât ve ilâvelerle Geleneksel Türk Evi’ne, St. Nicholas Kilisesi de Bedesten’e dönüştürülmüştür. Sultan Mahmut Kütüphanesi ile Büyük ve Küçük Medrese binalarının dokuya eklenmesiyle de dini merkeze eğitim ve ticaret işlevleri de katılımış; böylece tarihi çevre oluşumu ve meydan sınırları belirginleşmeye başlamıştır. İngiliz Döneminde, meydanın batı yönüne inşa edilen konutlarla meydan sınırları tamamlanmış ve kentin sosyal etkinlikleri için toplanma alanı kimliğini kazanmıştır. Bu dönemde meydan, araç trafiğine açılmış, çevre dokusu, dini ve eğitim merkezi özelliğini korumuştur. Kıbrıs Cumhuriyeti ve sonrasındaki Kıbrıs Türk Yönetimi Dönemleri, meydan oluşumu ve gelişimi için durgun bir dönem olmuştur. Bu dönemde, kütüphanenin doğu tarafına inşa edilen Mücahitler Anıtı ile meydan, tören alanı olarak da kullanılmıştır. 1983 yılından günümüze kadar olan KKTC Döneminde, meydan çevresindeki yapılar işlev değiştirmiş, fakat doku yine dini, ticari ve eğitim faaliyetleri ile önemini korumuştur. Yayalaştırma projesi kapsamında 2001 yılında meydanda yapılan yeni düzenleme ile kentin sosyal etkinlikleri için önemli bir buluşma alanı oluşturulmuş, tarihi dokuda yer alan cami, kültür merkezi, müze, halk sanatları atölyesi, lokanta, bar gibi işlevlerle de kentin turizmi ve sosyal yaşamı için önemli bir merkez olarak yaşam bulmuştur.</p>
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Jackson, Tatjana N. "Garðaríki and Its Capital: Novgorod on the Mental Map of Medieval Scandinavians." Slovene 4, no. 1 (2015): 170–79. http://dx.doi.org/10.31168/2305-6754.2015.4.1.9.
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The paper presents data preserved in Old Norse-Icelandic literature on Hólmgarðr, a place that is traditionally identified with Novgorod. Hólmgarðr appears in these writings as a capital of Garðaríki (Old Rus’): all Russian princes familiar from these sources have their seat in this place. Almost all the events occurring in Russia are associated in the sagas with Hólmgarðr: Scandinavians come to Hólmgarðr to seek refuge or service; four Norwegian kings stay in Hólmgarðr for a period of time; Scandinavians return to their homeland or sail to distant lands from this place; and Scandinavian merchants also come to this town. Hólmgarðr is described in a generalized way. It has the prince’s court, the chamber of the princess, a special hall built for the Varangian guards, the Church of St. Olav, and a marketplace; in other words, we are dealing with a traditional set of characteristics of a capital city. Novgorod on the mental map of medieval Scandinavians belongs to the eastern quarter (Austrhálfa) of the oekumene, and to get there travelers had to go austr ‘east,’ to cross the Baltic Sea (Austmarr, Eystrasalt), and to pass Ladoga (Aldeigja, Aldeigjuborg), where they changed from ocean-going ships to river vessels and where they waited for a guaranty of safe travel (grið) from the prince of Novgorod (konungr í Hólmgarði).
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WU, He, Atsuyuki OKAZAKI, and Tadahiko HIGUCHI. "REGENERATION PROJECTS OF CONSERVED HISTORIC ENVIRONMENT IN HARBIN CITY : Case study of the central avenue and St. Sophia church." AIJ Journal of Technology and Design 8, no. 16 (2002): 277–80. http://dx.doi.org/10.3130/aijt.8.277.
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Turkan, Zihni. "Sustainability in the Formation and Development of Historical Cities: “Nicosia Historical City Texture”." European Journal of Sustainable Development 9, no. 2 (June 1, 2020): 250–62. http://dx.doi.org/10.14207/ejsd.2020.v9n2p250.
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The formation of the historical city texture of Nicosia, the capital of Cyprus, began during the Lusignan Period. St. Sophia Cathedral and St. Catherine Church, which have an important place in the formation of the texture, are two of the few works of art still surviving today. Being a period of destruction for the city, in general, The Venetian Period provided the city walls to Nicosia which still surround the historical texture. The Ottoman Period brought a change to the historical city texture and Islamic culture and Turkish Architectural construction style replaced the Christian cultures. A number of architectural works from this period, still existing within the walled city of Nicosia, provided a great contribution to the formation and development of the present day texture, as well as for its sustainability. The British Period is one which brought novelty to the city texture of Nicosia. With demolition of historical works and changes in the street and square dimensions, British Colonial Architecture displays the traces of the recent past. The administrative buildings constructed in place of the demolished Lusignan Palace, still serve at present. With the beginning of the Period of the Republic in 1960, Nicosia underwent a fast process of development as an important capital in the Middle East. The traditional visuality in the city texture left its place to contemporary constructions and formations. The inter-communal conflicts, which started in 1964 on the other hand, negatively affected the formation and development of the city texture, and there was a period of stagnation until the 70s. The new developments observed since the 70s and the insufficiency of precautions to protect historical texture, caused a deterioration the city texture. With the position of an open-air museum, Nicosia with its history of over twenty-five centuries has a very rich historical city texture with the legacies of various cultures which reigned over Cyprus and is sustainable in the present, and is therefore an important cultural and touristic center Keywords: Cyprus, Nicosia, Historical City Texture, Walled City, Sustainability.
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Melnikov, Ilya A. "The Tikhvin Old Believer Almshouse in the Second Half of the 18th – First Half of the 19th Century." Herald of an archivist, no. 2 (2023): 491–502. http://dx.doi.org/10.28995/2073-0101-2023-2-491-502.
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The article highlights the history of establishing and functioning of the Old Believer almshouse of the Pomorian congregation, operating in the city of Tikhvin since 1764. In some sources, it is called “monastery” and “skete,” as nuns lived there. The main sources used in the article are documents stored in the Russian State Archive of Ancient Acts and in the Russian State Historical Archive; most are being thus introduced into scientific use. Among the identified documents are decrees and petitions related to the monastery establishing and its property acquisition in the 18th – early 19th century. The sources demonstrate the role of the Tikhvin Old Believer almshouse in maintaining ties with Old Believer spiritual centers in the Olonets gubernia, St. Petersburg, and Moscow. The skete housed locally revered relics: miraculous icons, relics of saints (some from Novgorod). Old Believers from other regions came to worship them, especially during the Tikhvin spring fair. There were active contacts between Tikhvin and Vygovskaya Old Believer community. The skete also promoted consolidation of the uezd inhabitants, gathering in Tikhvin to worship local shrines, to perform repentance, to make a prayer (nachala) for non-observance of the Old Believer rules, which was important for the priestless communities: thus, they returned to the community by the decision of the skete council of spiritual mentors. The article focuses on tragic closing of the prayer house and almshouse and its rearrangement into edinovertsy church. It happened during government repressions against the Old Believers in 1854. The Tikhvin Edinovertzy Church, founded by the Ministry of Internal Affairs official Yu. K. Arseniev, was the first in the Novgorod eparchy, antedating similar developments in the region. The success of this Ministry project sprang from readiness of the officials to forcibly take control of relics and locations sacred to the Old Believers (monastery’s revered icons, including those with relics, its cemetery with its prayer house, where the ancestors of the Tikhvin Old Believers were buried).
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Мелехова, Г. Н. "On the Question of the Monastic Colonization of Kargopol." Церковный историк, no. 4(10) (December 15, 2022): 96–107. http://dx.doi.org/10.31802/ch.2022.10.4.006.
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Монастырская колонизация Русского Севера, как и мирская, шла из Новгорода и с юга, из Ростово-Суздальских, позже Московских земель, и восприняла её черты: полиэтнический характер, двунаправленность колонизационных потоков (из Новгорода и с юга, «снизу»), включённость в жизнь поселенцев и крестьян, участие в формировании славянских и финно-угорских народностей в единую северорусскую общность. Основная цель исследования — на примере житий ранних основателей монастырей Каргополья (XIV–XV вв.) выявить специфику монастырского уклада жизни обителей, основанных как новгородцами, так и представителями низовской колонизации. На взгляд автора, в этом аспекте Каргополье, — модельная территория, т.к. считается, что по нему проходила граница новгородской и низовской колонизации, что отразилось, как выявил автор, в мировоззренческих предпочтениях представителей различных колонизационных потоков, запечатлевшиеся, в частности, в структуре посвящений храмов и почитаемых праздников города Каргополя, а также в создании обителей представителями как новгородских, так и среднерусских земель. По житийной литературе прослеживаются направления монашеских устремлений и решаемых аскетических проблем первооснователями каргопольских Кирилло-Челмогорской и Александро-Ошевенской обителей, основанных монахами новгородской и московской традиций. На каргопольском материале подтверждается, что новгородская монашеская традиция основана на крайней аскезе, пустынничестве, нестяжательстве; борьба со стяжанием — в числе главных нравственно-религиозных проблем. Подвижники московской церковной традиции, при подвижничестве духа и строгой молитвенности, развивали аскетическую парадигму смирения, послушания, преодоления гордости и самости, в чем продолжился киевский церковно-аскетический опыт, развитый школой прп. Сергия. The monastic colonization of the Russian North, like the secular one, came from Novgorod and from the south, from the Rostov-Suzdal, later Moscow lands, and took on its features: a multi-ethnic character, the bidirectionality of colonization flows (from Novgorod and from the south, from Kyiv, Rostov-Suzdal, later the Moscow lands), involvement in the life of settlers and peasants, participation in the formation of Slavic and Finno-Ugric peoples into a single North Russian community. The main purpose of the study is to identify the specifics of the monastic way of life of the monasteries founded by both Novgorodians and representatives of the Nizov colonization using the example of the lives of the early founders of the monasteries of Kargopol (XIV–XV centuries). In the author's opinion, in this aspect, Kargopolye is a model territory, because it is believed that the boundary of the Novgorod and Nizov colonization passed along it, which, as the author revealed, was reflected in the ideological preferences of representatives of various colonization flows, imprinted, in particular, in the structure of temple dedications and revered holidays in the city of Kargopol. According to hagiographic literature, the directions of monastic aspirations and ascetic problems being solved by the founders of the Kargopol Kirillo-Chelmogorsk and Alexander-Oshevensk monasteries, founded by monks-students of the Novgorod and Moscow traditions, are traced. On the Kargopol material, it is confirmed that the Novgorod monastic tradition is based on extreme asceticism, hermitage, non-acquisitiveness; the fight against acquisitiveness is among the main moral and religious problems. The ascetics of the Moscow church tradition, with the ascetic spirit and strict prayerfulness, developed the ascetic paradigm of humility, obedience, overcoming pride and selfhood, which continued the Kyiv church ascetic experience developed by the school of St. Sergius.
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Lapina, Darya Andreevna. "Social and political foundations of the formation of urban planning and architecture of the cities of Ancient Russia." Genesis: исторические исследования, no. 4 (April 2023): 116–24. http://dx.doi.org/10.25136/2409-868x.2023.4.37944.
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The subject of the study is the political and social aspect of the formation of town-planning scheme of ancient Russian cities. The object of the study is architecture, urban planning, street layout, urbanonims, social topography of cities such as Kiev, Novgorod, Vladimir, Ryazan. The author examines in detail the following aspects of the topic: the influence of the political situation on the architectural appearance of the city, the social and ethnic composition of the population of cities, the origin of ancient Russian urban toponyms. Particular attention is paid to architecture and urban planning as a source on social and political history, the process of evolution of urban development in the context of foreign policy relations, the influence of domestic political and social factors on it. The main conclusions of the study are that the following trends can be identified in the town-planning scheme of ancient Russian cities: chaotic development at the first stage of development and withdrawal to planning with the strengthening of political power, secondariness of streets in some cities of Ancient Russia, by means of urbanonims of ancient Novgorod, Vladimir and Kiev, it is possible to develop ideas about the social and ethnic composition of the city's population Ancient Russia, to trace the changes in its structure, in its political situation. A special contribution of the author to the study of the topic is the identification of a common architectural element between two religious buildings of different regions and different periods in the context of foreign policy contacts. This element is a promising portal in the Church of St. Paraskevi and in the church of Allenau in the village of Porechye, Kaliningrad region. The novelty of the research lies in the fact that urban planning and architecture of Ancient Russia can serve not only in the format of an art history discipline, but also as a visual illustration for political and social history. At the moment, the architecture and urban planning grid of ancient Russian cities is not considered as a serious source in research related to political power, international relations, and the history of social structures.
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Davidenko, Dmitrii G. "Stone church construction in Vologda and in the Trinity-Sergiev Monastery in the last third of the XVI century." Herald of an archivist, no. 2 (2024): 495–507. http://dx.doi.org/10.28995/2073-0101-2024-2-495-507.
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The article deals with the origin and history of stone construction in Vologda in the 16th century, especially in the last third of the century, when the St. Sophia Cathedral, the fortress and, judging by some information, several stone structures inside the fortress were built. Simultaneity and compactness of the construction allows us to assume the participation of one large brigade. Researchers drew attention to the participation of foreigners Razmysl and H. Locke in the building of the Vologda fortress. But the volumes of construction directly indicate the multiplicity of its participants. In the act of the Trinity-St. Sergius Monastery of January 13, 1586 the Vologda mason Leonty (Pozdey) Vasilyev’s son is noted, who sold the yard to the largest Russian monastery according to this document. Finding the mason in Vologda allows us to assume with a high degree of probability his participation in the sovereign city construction of the last third of the XVI century. The fact that his neighbors sold another part of the courtyard to the Trinity-Sergius Monastery in 1584 leaves no doubt about his acquaintance with the authorities of the Trinity-Sergius Monastery already at that time. Taking into account that in 1585 in this monastery the construction of the largest monastery building at that time - the Dormition Cathedral - was being completed, one can have no doubt that around the time of the transaction with the Vologda mason, the most important Russian monastery needed such specialists. This gives grounds for assumption about the work of the Vologda mason Leonty (Pozdey) Vasilyev’s son not only on sites in Vologda, but also in the Trinity-St. Sergius Monastery. Our assumption can be supported by architectural proximity of the Sofia Cathedral in Vologda and the Assumption Cathedral in the Trinity-Sergius Monastery, oriented on the main Russian temple - the Assumption Cathedral of the Moscow Kremlin. We take into account the interest of Tsars Ivan the Terrible and his son Fyodor Ivanovich in both the Vologda cathedral and the cathedral of the Trinity-St. Sergius Monastery, their location in the same direction from Moscow, as well as the perception of both monumental buildings as typologically similar not only in our days, but already at the end of the XVII century, a century after their building. Attention is drawn to the fact that the yard of the Vologda mason Leonty (Pozdey) Vasilyev's son was white, i.e. free from sovereign taxes, which was usual for the yards of sovereign craftsmen, which is symptomatic, since stone architecture in Vologda and in the Trinity-St. Sergius Monastery in the second half of the 16th century, which took place under vigilant sovereign control, was obviously carried out primarily by sovereign specialists.
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Aleksandrova, Tatiana L. "The Image of Light in the “Ekphrasis of the Hagia Sophia” by Paul the Silentiary." Studia Litterarum 8, no. 1 (2023): 82–99. http://dx.doi.org/10.22455/2500-4247-2023-8-1-82-99.
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The paper explores the imagery of light in a poem by Paul the Silentiary (6th century) “Ekphrasis of the Hagia Sophia” (and in an adjoining poem “Ekphrasis of the Ambo”) written by order of the Emperor Justinian in 562 on the occasion of the re-consecration of the Church. This problem is more often touched upon from the point of view of art because of the detailed description of the lighting system in St. Sophia, which uses artificial as well as natural light. But the imagery of light in the poem by Paul the Silentiary bears a purely artistic load as well. On the one hand, the light symbolize the presence of the Deity in the Temple; the lighting system itself is arranged so that its description echoes the image of the descent of heavenly light in Pseudo-Dionysius Areopagite. On the other hand, the light symbolizes joy that comes to replace sadness. Here Paul alludes to contemporary historic atmosphere and the events that inspired the writing of the poem: the earlier victories of Justinian and the ability of the emperor to resist adversity that marked the late period of his reign; the collapse of the dome in the earthquake and its recovery. The date of re-consecration committed on Christmas Eve becomes an occasion for thinking: after the December decrease sunlight should be his new revival. Thus, the symbolism of light carries the idea of a new flourishing, which awaits the Kingdom of Justinian. The emperor himself in the description of Paul appears as the “Sun King,” who shines to the East and the West and bear to the world the divine light of the Trinity. The poem ends with a supplication to God — the Light — to donate His grace to the emperor, the city and its citizens. Such a multi-dimensional approach indicates the high poetic skill of Paul the Silentiary.
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Matsokha, Alina. "LANDSCAPE ARCHITECTURE AS MEANS OF FORMING AN EMOTIONALLY POSITIVE CONTEXT IN BUFFER ZONES OF CULTURAL HERITAGE OBJECTS." Urban development and spatial planning, no. 84 (September 25, 2023): 227–39. http://dx.doi.org/10.32347/2076-815x.2023.84.227-239.
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The article presents the results of the author's research on the formation of an emotionally positive context in the buffer zones of cultural heritage objects by means of landscape architecture; considered scientific and theoretical base of world research.
Buffer zones (according to I. Korotun) are divided into 3 categories: I direct use of the territory; II multifunctional; III combined. The most difficult is the II category of buffer zones "non-direct multifunctional usage". In Ukraine, 4 out of 8 World Heritage sites have buffer zones of non-direct multifunctional use ("Kyiv: St. Sophia Cathedral and nearby monastery buildings, Kyiv-Pechersk Lavra, Church of the Savior on Berestov" (1990); "Ensemble of the historical center of Lviv" (1998); "Residence of the Metropolitans of Bukovina and Dalmatia" (2011) and "Historical Center of Odesa" (2023)). The historical city center belongs to the II category of buffer zones, and it is the core of the urbanized environment, where the administrative, transport or combined functions of the city can be concentrated. Multifunctionality makes the city center the place of the greatest activity of people, which in turn forms a prerequisite for the formation of an emotionally positive context.
Landscape organization of buffer zones as places of constant circulation of people is a prerequisite for the creation of high-quality space. So, we determined that the formation of an emotionally positive context in the buffer zones of cultural heritage objects can be carried out through the method of "green corridors," which will be connections between activity points or will be multifunctional zones.
The formation of an emotionally positive context is a universal method for the landscape organization of urban space within the buffer zones of cultural heritage objects under various urban conditions.
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Грибов, Н. Н., Т. А. Марьенкина, and Н. В. Иванова. "ARCHAEOLOGICAL EXCAVATIONS IN THE LOWER PART OF THE NIZHNIY NOVGOROD KREMLIN (PRELIMINARY RESULTS OF THE 2018-2019 EXCAVATIONS)." Краткие сообщения Института археологии (КСИА), no. 262 (November 15, 2021): 322–38. http://dx.doi.org/10.25681/iaras.0130-2620.262.322-338.
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В статье представлены предварительные результаты первых масштабных археологических исследований в нижней части Нижегородского кремля. Раскоп, заложенный в зоне воссоздания храма Святого Симеона Столпника, вскрыл культурные отложения двух периодов - XIII - начала XV в. и XVI - середины XVIII в. Впервые средневековая усадебная застройка Нижнего Новгорода зафиксирована на таком элементе волжской долины, как береговой склон. Выдающееся значение для нижегородской археологии имеют обнаружение стратифицированных культурных напластований XIII - начала XV в. и зафиксированный на стратиграфических разрезах перерыв в активном освоении городской территории, соответствующий большей части XV в. Предложена реконструкция истории освоения раскопанного участка. Выяснилось, что связанный с храмом малоизвестный нижегородский Симеоновский монастырь вряд ли существовал до строительства Нижегородского кремля. Наиболее раннее, предположительно, монастырское сооружение, возникшее после исчезновения усадебной застройки XIII - начала XV в., датировано концом XV - серединой XVI в. С этим периодом связано строительство деревянного моста, обеспечивавшего транспортное сообщение между «нагорным» и приречным районами города. Обнаружение остатков этого свайного сооружения существенно корректирует известную реконструкцию застройки кремлевской территории начала XVII в., выполненную по письменным источникам. Дано обоснование времени функционирования обнаруженного некрополя Симеоновского монастыря в пределах середины XVI - начала XVIII в., приведена общая характеристика изученных погребений. В общеисторическом контексте материалы исследований представляют интерес для изучения процессов, сопровождающих превращение удельных городских центров в города Московской Руси. The article presents preliminary results of the first large-scale archaeological research in the lower part of the Nizhniy Novgorod Kremlin. The excavation, laid in the area of the reconstruction of the Church of St. Simeon the Stylite, uncovered cultural layer of two periods - the XIII - early XV centuries and the XVI - mid XVIII centuries. For the first time, the medieval estate development of Nizhniy Novgorod was recorded on such an element of the Volga valley as the coastal slope. The discovery of stratified cultural strata of the XIII - early XV centuries and the break in the active development of urban territory recorded on stratigraphic sections, corresponding to most of the XV century, are of outstanding significance for Nizhniy Novgorod archeology. The reconstruction of the history of development of the excavated site is proposed. It turned out that the little-known Nizhniy Novgorod Simeon monastery associated with the temple hardly existed before the construction of the Nizhniy Novgorod Kremlin. The earliest, presumably, monastic structure that arose after the disappearance of the manor buildings of the XIII -early XV centuries., dated to the end of the XV - mid XVI centuries. This period is associated with the construction of a wooden bridge that provided transport links between the «Nagorny» and riverine districts of the city. The discovery of the remains of this pile structure significantly corrects the well-known reconstruction of the Kremlin territory of the beginning of the XVII century, made according to written sources. The justification for the functioning of the necropolis discovered Simeon monastery in the middle of the XVI century - beginning of the XVIII centuries, the general characteristics of the studied burials. In the general historical context, the research materials are of interest for studying the processes that accompany the transformation of specific urban centers into cities of Muscovite Russia.
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Matsokha, Alina. "LANDSCAPE ARCHITECTURE AS MEANS OF FORMING AN INCLUSIVE URBAN SPACE IN BUFFER ZONES OF CULTURAL HERITAGE OBJECTS." Urban development and spatial planning, no. 83 (April 14, 2023): 184–99. http://dx.doi.org/10.32347/2076-815x.2023.83.184-199.
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The article presents the results of the author's research on the formation of an inclusive urban space by means of landscape architecture; the legal framework is considered; the main principle of creating a network of barrier-free pedestrian routes in the space of the middle city is determined (the principle of "frame on the frame"); methods of implementing barrier-free (delimitation of pedestrian-transport traffic; zoning of pedestrian parts of the street with combinations of different types of paving by texture and color and others). Based on the analysis of world theoretical and practical experience, the means of implementing barrier-free (paving, gardening, decorating, etc.) have been determined and a number of examples in European cities have been provided. An algorithm for the formation of inclusive urban space in buffer zones of the second category of indirect multifunctional use of cultural heritage objects located in Ukraine has been proposed. Recommendations on the adaptation of public spaces to form an inclusive urban space within buffer zones have been provided.
According to the specifics of the architectural and landscape organization, the most difficult is the category of buffer zones "non-direct multifunctional usage" (according to I. Korotun). As this zone covers historical city centers, historical city areas and other areas occupied by residential and non-residential buildings thus, the priority function in this aspect arises the safety and comfort of people, and the Memorial Protection Object Facility acquires a secondary role. In Ukraine, 4 out of 8 World Heritage sites have buffer zones of non-direct multifunctional use ("Kyiv: St. Sophia Cathedral and nearby monastery buildings, Kyiv-Pechersk Lavra, Church of the Savior on Berestov" (1990); "Ensemble of the historical center of Lviv" (1998); "Residence of the Metropolitans of Bukovina and Dalmatia" (2011) and "Historical Center of Odesa" (2023)).
An analysis of world experience in the formation of an inclusive urban environment revealed that the main methods of implementing this approach are the creation of a network of barrier-free pedestrian routes in the space of the city center. Within the buffer zones, this can be done through: the delineation of pedestrian-transport traffic; zoning of pedestrian zones with combinations of different types of landscaping, decoration and types of paving by texture and color; selection of paving and equipment colors in accordance with the scale of buffer zone development; arrangement of unhindered ways of pedestrians movement by leveling surface differences taking into account the security requirements of a particular site.
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Datsiuk, Natalia. "TRADITION AND MODERNISM IN THE SACRED ART OF IGOR ZILINKO." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 140–48. http://dx.doi.org/10.25128/2411-3271.19.2.19.
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The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. The main directions of stylistic orientation in the formation of modern sacral art, the evolution of paintings from realistic tendencies of Ukrainian sacral painting of the seventeenth century to experiments with stylization of iconic figures in search of greater spirituality of the face, the introduction of our own modern iconography, based on tradition. The article explores the directions of contemporary Ukrainian sacral art in the work of the painter I. Zilinkо, his contribution to the development of sacred art of the temples of Ternopil region. Sacred art is the object of study of many scientists, historians, archivists, art historians, local historians, journalists. Among them, in particular, D. Stepovyk, M. Golubets, K. Moskalets, V. Sventsitska. However, the issue of the development of the modern sacred art of Ternopil region (1990–2018) requires additional study. The purpose of the article is to highlight the main directions in the work of Igor Zilinka, to specify the formation of the sacral and artistic environment of the churches of the city of Ternopil, to study the temples with modern interiors, to analyze the observance of traditions in icon painting and the search for modern aesthetic forms. After the revival of the Ukrainian Church, the construction of new temples began. The construction of churches led to the search for masters who could carry out their interior decoration. Famous Ternopil painter Igor Zilinko has become a “sacred” artist who has been successfully working in this field for many years. One of the first works of Igor Ivanovich was the decoration of the church of the Sacred Heart of Christ in the village of Veluky Gai, Ternopil district (1920). The murals of the church are classic paintings that date back to the works of the famous master of Ukrainian icon painting of the seventeenth century Ivan Rutkovych. It is the only church that reflects the realistic trends of Ukrainian sacral painting of the seventeenth century. Here the traditions of folk art are combined with creative bold search for new content and form. Next was the work on painting the temples in the villages of Petrykiv, Pronyatin, Kupchintsy, in the Ternopil region. On the initiative of Fr. Pavel Repely, the parish priest of the church of the village of Petrykiv, the painter was oriented to the heritage of Byzantine-Ukrainian icon painting. It is the first church in the Ternopil region that depicts the Eastern traditions of icon painting. Igor Zilіnko later managed to form his own style in the contemporary Ukrainian icon, following the Byzantine iconographic tradition. Particularly noteworthy is the iconostasis created by Igor Ivanovich for the Cathedral of the Archangel Michael in Ternopil in 2007. The artist very responsibly approached the choice of plots, taking as a basis the traditional composition of Ukrainian iconostases. The author has preserved the foundations of Ukrainian church traditions and has reflected the saints of the Ukrainian Church. An interesting development in the decoration of the spatial environment of the temple is the Church of St. Sophia of the Wisdom of God in Ternopil. For the decoration of the church, the parish priest Fr. dr. Vitaliy Kozak invited the already known master of sacral painting Igor Ivanovich Zilinko, who at that time developed his own iconographic style. The figures of the saints are exaggerated, unnatural in height, reflecting the idea of an invisible celestial world, without a realistic image. Creativity of Igor Zilinko is one of the most striking pages of contemporary Ukrainian art culture, evokes joyful aesthetic experiences, encourages contemporaries to creative pursuits to create monumental images that combine tradition with the actual spiritual needs of modern society.
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Khaletskyj, O. V. "The Second Jerusalem: the birth of one unspoken idea." Scientific Messenger of LNU of Veterinary Medicine and Biotechnologies 21, no. 93 (November 16, 2019): 81–85. http://dx.doi.org/10.32718/nvlvet-e9316.
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In our opinion, the spiritual purpose of Ancient Rus in the middle of the ІХ–ХІV centuries was the spread of Christianity to the vast expanses of Eastern Europe, its contribution to the spiritual transformation of the world. Overcoming the insurmountable obstacles of nomadic destruction, Ukraine-Rus own strife and betrayal step by step goes to self-determination as the Second Jerusalem – the spiritual center of Orthodoxy and of all Eastern Christianity through the choice of faith, through the three christening of Rus Askoldov, Olzhine and Volodymyrove, through the disregard for Christianity, through the creation of the glorious Kiev variant of Orthodoxy, through the acquisition of holiness in the temples of St. Sophia, the Kyiv-Pechersk Lavra, and the exploits of its monasticism, etc., through the acquisition of apostolic origin in the legend of Andrew, through overcoming all temptations, preservation and rebirth, through the enrichment of world experience of Christianity, because of the fostering of mystical Eastern Christian foundations in Paisii Velychkovsky's Little Rus monasteries, in Skovoroda, in Gogol, in Bulatovych's nameword, etc., through the Metropolitan of Kyiv Petro Mogyla of the Orthodox Center – New Jerusalem already reached and finally, overcoming all the insurmountable obstacles in the creation of our own Orthodox Church of Rus-Ukraine in recognition of patriarchy and in unity with world orthodoxy and modern religious revival. Let Moscow want to be a political center and it proves very consistently, and Ukraine-Russia, the blasphemous city of Kyiv, emerge as a spiritual center – the New Jerusalem, which is evidenced by all its historical development, already demonstrated by the fact that the “priesthood is higher than the kingdom”, which could be its contribution to the spiritual transformation of the world. Thus, the very reason that Kyiv could become the spiritual center of Eastern Christianity could be that it 1) overcame all temptations, first and foremost 2) the loss of gain, 3) consistently pursues the unity of Christianity, for example, Kyiv is also the center of the UGCC, 4) Kyiv with its shrines concentrates the fullness of the holiness of Christianity, 5) it develops its specifically Eastern Christian mystical foundations and is 6) open to the positive world (Kyiv – Mohylyanska Academy and its theology, etc.) of mutual influence. Let's form Ukraine-Rus as the New Jerusalem – the spiritual center.
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Vdovichenko, Marina. "Medieval Churches in Novgorod: Aspects of archaeological investigations and museum presentation." Internet Archaeology, February 28, 2020. http://dx.doi.org/10.11141/ia.54.10.
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Veliky Novgorod is an ancient Russian medieval metropolis that formed part of the system of European trade and cultural relations. Many important monuments central to the history of the city were damaged during the first half of the 20th century. Three sites that have been the focus of recent conservation and presentation projects are discussed here; the medieval Church of the Assumption in Volotovo, St Panteleimon's Cathedral, and the Church of the Annunciation on Gorodische, a 12th-century church of great significance in medieval Russia. Archaeological excavations informed the conservation and presentation phase of each project, and the completed works have become an important element in Novgorod's tourism branding.
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Stepanova, Elena. "Constantinople Seals in the Collection of the State Hermitage Museum." Russian Foundation for Basic Research Journal. Humanities and social sciences, December 30, 2020, 9–20. http://dx.doi.org/10.22204/2587-8956-2020-098-01-9-20.
Full textAbstract:
The collection of Byzantine seals of the State Hermitage Museum includes over 12.5 thousand pieces. For the purpose of the paper the author distinguished seals, which legend indicates a toponym related to the capital of the Byzantine Empire, Constantinople. As a result, 122 seals, the majority of which were never made public before, were selected. Most of them date back to the 6–12th centuries and include the seals of Patriarchs of Constantinople, Hagia Sophia (Church of the Holy Wisdom), churches and monasteries of Constantinople: monasteries of Panagia Acheiropoietos, Panagia Peribleptos, Chalcoprateiois, Didim, Kosmidion, Lips Monastery, Myrelaion, the New Church, Monastery of Christ Philanthropos and others, as well as diaconica (St. Athansius, Dexiokratous, Eusebius), St. Zotikos Brotherhood, St. Sampson Hospital. However, the majority of the selected seals belong to civil servants: eparchs of the city, commerciarioi, curator of the Pigi Palace and Eleutheria. The discoveries made significantly added to the scientific understanding of historical and, above all, ecclesial geography of Constantinople between the 6th and the 11th centuries, as well as listed the names of the civil and ecclesial servants. The paper discovered several specifics of church-state relations in the
Byzantine Empire, exemplified by the churches of the capital city. The findings made allow to trace the historical changes in seals of Constantinople patriarchs.