Literatura académica sobre el tema "Sisters of the Order of Saint Basil the Great"

The article examines the biography of Sister Tarsykiia Olha Pitulei, 3rd Order of St. Basil the Great (born on October 10, 1931), wife of the priest of Ivano-Frankivsk Diocese of UGCC, Father Marian Orest Pitulei, 3rd Order of St. Basil the Great (May 17, 1936-April 14, 2001). For objective research and coverage of the biography of Sister Tarsykiia Olha, such research methods as historical-critical, chronological, prosographic, microhistorical, interviewing were used. It was analyzed on the basis of archival materials and memories of her childhood, upbringing, studies at the medical school in the town of Kalush, work as a nurse in the urban type settlement of Perehinske and the village of Yasen of Kalush district in Ivano-Frankivsk oblast, marriage, work in the town of Kalush, upbringing of three children, entry to the Third Order of Saint Basil the Great in 1979, activities during the underground period and legalization of the UGCC, at the present time.

The article is intended to acquaint a reader with that important role and place of the Basilian periodical Misionar which it played in the foundation of the Lay Order of Saint Basil the Great in the Ukrainian Greek-Catholic Church by the Righteous Metropolitan Andrey Sheptytsky. The article investigates the initial period of the foundation of the Lay Order of Saint Basil the Great, which was covered in the pages of the periodical Misionar in 1897-1898. The Lay Order of Saint Basil the Great, the earliest name of which is the Brotherhood of Law of Saint Basil the Great, was founded at the Ukrainian Greek-Catholic Church in the time of the Dobromil's reform of the Basilian Order in 1897 by the hegumen of the monastery of Saint Onuphrius in Lviv, father Andrey Sheptytsky, the Order of Saint Basil the Great, the future metropolitan. In the pages of the periodical Misionar, which was also founded by the hegumen and father Andrey Sheptytsky, the Order of Saint Basil the Great, in May in the year of 1897, within June 1897 - December 1898 the materials were published relating to the earliest period of the foundation of the Lay Order of Saint Basil the Great. This is the period when the father A. Sheptytsky, the Order of Saint Basil the Great, fulfilled the duties of the hegumen of Lviv Monastery until August 26, 1898 and later was appointed as a Professor of moral and dogmatic theology at Krystynopol. The first editor of the periodical was the father Platonid Filias, the Order of Saint Basil the Great. By the time the father A. Sheptytsky, the Order of Saint Basil the Great, became the Stanislavsky bishop (1899), he was also the responsible editor of the periodical Misionar. The hegumen and father Andrey Sheptytsky, the Order of Saint Basil the Great, having founded Misionar and having founded the centres of the Brotherhood of Law, used the periodical to popularize the Brotherhood of Law and its development, thus encouraging readers to the perfect Christian life in the world in the community of Brotherhood in order to do good deeds for the benefit of all “Russ community” by joint efforts. The periodical provided information about the formation of centres of the Brotherhood of Law in localities, where the Basilian missions took place. The articles were printed that contributed to the formation of new centres and spiritual formation of community members. In particular, under the heading “The Life of the Saints”, the Basilian fathers, telling about the life of Saint Dalmat, his son Favstva and Saint Isaac, encouraged readers of Misionar to imitate the life of these Saints, the monastic life in the world and the formation of monasteries in villages, like the monastery of St. Isaac. They advised how this could be done. In the heading of the periodical “Misionarski Visti” [Missionary News], it was reported in which localities the centres of the Brotherhood of Law were founded. From May till December 1898, the story “The Christian community” was printed in 12 issues of the periodical that described the life of the law and the Christian life in general. These articles contributed to the spiritual formation of the members of the founded Brotherhood of Law and all readers of the periodical as well as the introduction of the “Rules of St. Father N. Vasyl V. for Mirsky people”, which were concluded by the hegumen and father Andrey Sheptytsky, the Order of Saint Basil the Great for the Brotherhood. Thus, favourable conditions were created for the foundation and development of the Lay Order of Saint Basil the Great, and the periodical Misionar played a special role in this. We can assert that the periodical Misionar occupies an honourable place in the entire now more than 120-year history of the existence and activities of the Lay Order of Saint Basil the Great in the Ukrainian Greek-Catholic Church.

In every order or monastic congregation a group of ‘favourite’ saints can be selected. The reasons differ. Most often the foremost place goes to the congregation’s founder or founders. It should be emphasized that in a number of orders, monastic congregations, monasteries, or abbeys the cult is given to benefactors and founders not formally canonized by the Church. The other group of saints venerated with a particular cult in congregations are those recognised as patrons or protectors of their congregations and saints and beatified coming from the ranks of their order. In the history of the Congregation o f the Sisters o f Saint Felix o f Cantalice Third Order Regular o f Saint Francis o f Assisi we can clearly see the care of the cult of a number of saints and beatified who in a distinctive way affected the Congregation’s spirituality and activity. First the founders of the Congregation, Blessed Honorat Koźmiński (1826-1916) and Blessed Mother Angela Truszkowska (1825— 1899), should be mentioned. From the beginning of its existence the Congregation was deeply rooted in Franciscan spirituality. The Congregation was established after approval by sisters of the Tertiary Order of Saint Francis of Assisi. It should not come as a surprise that in monasteries of the Felician Sisters the cult of Saint Francis of Assisi (1181-1226) and also of Saint Clare (1194-1253) was cherished with great popularity. The Saint to whom the Felician Sisters owe their name is Saint Felix of Cantalice (1515-1587), while in a special way the Congregation was entrusted to the care of Saint Joseph and Immaculate Heart of Mary.

This article centers around the publication of a unique document titled ‘The Register of Hired Compositors, Pressmen, and Bookbinders’, which records the employment of 74 individuals in the printing house of the Vilnius Basilian Monastery between 1774 and 1818. In addition to lists of employees, it involves detailed contracts signed by printers itself. This document is kept in Central State Historical Archives of Ukraine in Lviv. The publication consists of two parts: the first one presents the preface, both in Lithuanian and in English, the second one contains the text of the document. The preface discusses the origin, structure and content of the document. The document being published is important, above all, to the history of the Basilian printing house. However, it also contains valuable information concerning the activities of all other printing houses in Vilnius in the 18th century. Keywords: printing house of the Vilnius Basilian Monastery; printers’ contracts; Ruthenian Order of Saint Basil the Great; 18th century printing press.

The article highlights the general circumstances of the existence and transformation of the cult of the venerable hermit-ascetic Onufrii the Great in the national territory during the end of the 18th – 19th centuries. This historical period is characterized by the curtailment and certain changes in the forms of veneration of the named saint, and later, almost a century later, by the revitalization of the cult. The process of collapse was conditioned and triggered by both internal and external factors. Among the first, the main role was played by the administrative and organizational measures of the leadership of the national Churches (Orthodox and Union) in the first – third quarters of the 18th century, aimed at streamlining monastic service, as well as at consolidating monasteries in order to support their financial situation. As a result of these measures, a considerable number of small and medium-sized monastic settlements ceased to exist. Among the others are general church reforms introduced by the rulers of the Austro-Hungarian and Russian empires, which included Ukrainian lands; reforms that caused, in particular, the mass closure of such monastic settlements. One of the specific consequences of the reduction of the monastic form of asceticism and veneration of Onufrii the Great (monasticism was the first and for a long time the only, at least the main, medium of veneration of the holy hermit) was the «exit» of the investigated cult outside the monastery walls and its spread among a much larger number of local believers, including the common people. The latter process led, on the one hand, to its stabilization, and on the other, to a certain popularisation (folklorization). The noticeable rise of the cult fell on the last two decades of the 19th century and concerned mainly the western lands of Ukraine. These processes were initiated by the reform of the Order of Saint Basil the Great, initiated by Pope Leo XIII and supported (mainly for political reasons) by the Austrian government of that time.

The initial scenes of the hagiographic cycle of St. Demetrius on the north wall of the naos of the eponymous church in the complex of the Patriarchate of Peć, created in 1322-24, thanks to the atelier of the Greek painter Ioannes, are followed by frescoes painted during the restoration of 1619/20 by Georgije Mitrofanović, one of the most talented painters of his time. The episodes with Saint Nestor who kills the gladiator Lyaeus in a duel and the martyrdom of Saint Demetrius, preserved legends, have a source in the texts of the Passions of Saint Demetrius. They are separated from the other scenes by red separation frames and belong entirely to the painting from a later period. Certain formal elements reinforce the previously expressed opinion that Mitrofanović used older paintings as a model, although certain changes could have been made. The composition St. Nestor Kills Lyaeus exhibits several peculiarities. Compared to other scenes from the hagiographic cycle, this theme is presented in several iconographic variations, used at the same time. Scholars have expressed an opinion that there are two traditions in portraying the young Christian Nestor who kills the pagan gladiator Lyaeus. The scene with Lyaeus pierced by a spear is considered to be the older iconography, and the younger one, created in the art of the Palaeologus, shows the gladiator killed by throwing him on the mangana. As previously unknown monuments have been published in the meantime, it is possible to suggest a somewhat different typology. Moreover, the presentation of the emperor, as one of the protagonists of the event, must be taken into account in the analysis. Chronologically, the representation of the already ended battle is older, with Nestor over Lyaeus's body, regardless of whether the gladiator is killed by a spear (the miniature in Theodore Psalter from 1066) or by a spear and on the mangana, while the emperor is watching the spectacle behind the parapet of the lodge (the fresco in the church in Mistras from 1270-85 and on the reliquary from Vatopedi, from the 14th century). In the later version, Lyaeus is lying on the mangana (the damaged fresco in the church of Our Lady of Ljeviš in Prizren from 1309-1313, in Kosovo and Metohija, and in the church of Marko's Monastery from 1376/77, the Republic of North Macedonia), and the emperor is sitting in an open lodge, alone or accompanied by soldiers and guards. In the miniature of the Menologion of Despot Demetrius Palaiologos (1330-1335), the gladiator is pierced by mangana, but due to the uniqueness of the iconographic solution, it is possible that it presents a special artistic tradition. The extensive damage done to the frescoes in the churches in Kitti (1286) and in Thalames (the end of the 13th century or around 1300) makes the identification of this theme uncertain. The younger and much rarer is the illustration of the moment before Lyaeus falls on the mangana (the fresco in the Visoki Dečani Monastery, Kosovo and Metohija, from around 1337-47/48 and silver tiles from London, 14th century). The fight takes place on a high platform, at the foot of which there are deadly blades, while the bust of the emperor can be seen in a high lodge. A special variant is represented by the scene on silver tiles from London (14th century), which differs from the Dečani fresco by a sword buried in the gladiator's chest, while the ruling couple is situated in the high lodge. The ruling couple is painted on an icon from Sofia (14th century), but the composition with the duel is lost. On the fresco in the Peć cycle a part of the motif originates from the older tradition, but it has the most similarities with later iconographies in the treatment of Lyaeus (the fresco in Dečani and on London tiles), and the appearance of the high arena with mangana at the foot (the frescoes in Dečani and in Marko's Monastery, as well as on London tiles). There are no analogies in the preserved scenes for the movement of Nestor, who is holding a long spear with both hands, thrusting it into the body of the enemy, and the broken weapon in Lyaeus's hand. The same goes for a three-story wooden arena. Although this iconography may be the intervention of Mitrofanović himself, it is more likely that it was created by copying an older fresco by a previous artist - yet it must be emphasized that Maximian's representation in the lodge with the suite was copied from the scene of Demetrius before Maximian - supported by Ioannes's inventiveness shown in painting a church in the Patriarchate of Peć. The Martyrdom of St. Demetrius marks the end of a frieze of scenes on the north wall of the naos. When considering the iconography of this theme, in addition to hagiographic cycles, independent depictions must also be taken into account, most often created as illustrations of the martyrdom of saints in menologion for the date of October 26. According to the accepted opinion for the development of the martyrdom of St. Demetrius, it is believed that the original model with the saint raising his hands in prayer while standing replaced the sitting type, with a transitional variant with hands in prayer, and then with a raised right hand. At the beginning of the 14th century, a new form appeared with the introduction of the representations of the saint's servant Lupus and the angel bringing the martyr's crown to Demetrius. However, the views expressed must be reconsidered. There is no doubt that the oldest known iconography depicting a standing figure of the saint (the miniature in the Menologion of Basil II, from around 1000), which was used later with some alterations (the miniature in the cycle of the church calendar in the Menologion from Oxford and the Vatopedi reliquary). The iconography with Demetrius sitting with his right hand raised high appeared earlier than stated by scholars. It is witnessed on a Sinai icon depicting a menologion from the second half of the 11th century. The damage to the frescoes in the Peloponnesian churches in Kitti and in Thalames makes it impossible to iconographical analysis the scene of martyrdom. Preserved examples show that there was a parallel type with Demetrius sitting in two versions, raising his right hand or in a prayer gesture (the fresco in the church in Mistras and the miniature from Demetrius's life cycle in Menologion in Oxford), or high above his head (the fresco in the Church of Our Lady Ljeviška and as a part of the menologion on the frescoes in the church in Stari Nagoričin from 1315-1317/18, the Republic of North Macedonia; in the narthexes in the church of the Dečani Monastery and the Vlach monastery in Cozia, from around 1391; also on the icon from Sofia and on the money of John V Palaiologos, between 1365-1376). The developed type, with the figures of Lupus and angels, is illustrated in the Thessaloniki Church of the Holy Apostles around 1314, and then on the frescoes (in the church of the Gračanica Monastery in Kosovo and Metohija as a part of the menologion 1318-21 and in the Dečani church as a part of the hagiographic cycle of a saint; also, the remains of the fresco in the parecclesion of St. Demetrius in the monastery Xenophontos on Athos, a second-third quarter of the 14th century) and an icon (from the monastery Great Lavra on Athos, the end of the 14th and early 15th century). Other elements of iconography, such as the number of soldiers carrying out the emperor's order, which is thought to increase over time, are treated more freely. The building in the background is interpreted as the saint's basilica in Thessaloniki or the chamber of the public bath, where the event took place. In fact, it is a generally accepted way of marking the area where the martyrdom occurred, in this case copied from an older scene in which St. Demetrius blesses St. Nestor in prison. It can be concluded that the iconographic types did not substitute one another, yet were used simultaneously, although in the final phase of development the sitting type prevailed. The solution found in Peć was well-known in late Byzantine art from where it was taken over by the ateliers of post-Byzantine painters. That Ioannes used the same pattern we see on the wall of the church in Peć today is indirectly evidenced by the illustration of the same theme, created as a part of the menologion in the narthex of the Patriarchate of Peć complex in 1565. These artists often used the frescoes they encountered as inspiration for their own pictures which is most probably the case with this scene, as well, copied from the original composition from the Church of St. Demetrius in Peć.

The replication of architectural and spatial design of the Order of Saint Basil the Great monasteries in Western Ukraine cannot be addressed within a single scientific hypothesis focused on the unity of imagery, planning, and function. The architectural and spatial arrangement of the Basilian monasteries in Western Ukraine emerges as a non-homogenous fragmented phenomenon, which should be investigated with regard to chronological distinctions. The purpose of the study is to develop a methodology for the examination of the OSBM monastic complexes considering a variety of factors that have influenced the appearance, dissemination, growth, and disappearance of the Basilian centres. The general methodological approaches of the study are historical, morphological, culturological, and systemic. In addition, the following general scientific methods of inquiry were used: an examination of literature and documents, corpus, description, statistical method, analysis and synthesis, comparison, abstractisation, concretization, generalisation, and systematisation (classification and typology). Thus, five territorial and chronological scenarios have been highlighted within the Basilian architectural legacy in Western Ukraine. A relatively small number of papers dedicated to the design and planning aspects of the development of the Order of Saint Basil the Great monasteries are retroactive. Upon analysing the Basilian legacy in Western Ukraine, the material has been divided into three historical waves related to the development of monastic complexes. The authors of the paper have outlined the commonality of morphological features, dominant stylistics, and layout plans to examine the Order of Saint Basil the Great monasteries as an architectural and historical phenomenon. One important aspect of the subject is an interpretation of monastic complexes that factors modern conditions like the comfort of living, economic activities, organisation of mass prayers, the development of tourist infrastructure, etc. Therefore, a study of similar theoretical approaches to the functioning and interpretation of monastic complexes helped to outline three types of their interpretation in the modern context