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Автор: Grafiati
Опубліковано: 5 березня 2024

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Статті в журналах з теми "Michel (archange) – Culte"

1

Gabelic, Smiljka. "From the painted programme of Saint John (Ayvali Kilise), Cssappadocia." Zograf, no. 33 (2009): 33–41. http://dx.doi.org/10.2298/zog0933033g.

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In the Church of St. John in Cappadocia, also known as Ayvali Kilise or Gulu dere 4, on the frescoes which were painted between 913 and 920, particular devotion was shown for the cult of the archangels. The two archangels Michael and Gabriel, were painted in very large dimensions, with inscriptions describing them as 'great', besides giving their names. In addition to that a unique group of two figures was presented. It depicted the monk Archippos turned toward a colossal figure of the archangel Michael, painted strictly frontally. The iconographical relationship of these two figures, unrecorded in scholarly literature, indicates that this was definitely Archippos, the custodian of the important shrine of the Archangel Michael at Chonai, which still existed in those times. This would not only be a very early, but the only preserved presentation of Archippos, other than his appearance in the well-known composition of the Miracle of the Archangel Michael at Chonai.
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Афиногенова, Ольга Николаевна. "“The Nattation of the Miracles of Archangel Michael” by Pantoleon Deacon as the cultural point of the shapoing of the cult of Archangel Michael in Byzantium." Вестник церковного искусства и археологии, no. 1(1) (June 15, 2019): 12–27. http://dx.doi.org/10.31802/2658-5111-2019-1-12-26.

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Основная цель статьи - проследить историю отождествления Ангела Господня с архангелом Михаилом и выявить основной этап формирования культа архистратига. Методом сопоставления текста Священного Писания, апокрифов и византийских агиографических текстов выявляется чёткая картина влияния апокрифической традиции на византийский культ архангела Михаила. В Ветхом Завете Михаил упомянут по имени всего три раза - в Книге пророка Даниила; в Новом Завете - только однажды в Откровении ап. Иоанна Богослова. Вместе с тем в Священном Писании есть многочисленные упоминания безымянного Ангела Господня. Ориген впервые отождествил князя Михаила из Книги пророка Даниила с архангелом Михаилом, что было воспринято поледующей традицией. В апокрифах, однако, почитание Михаила не всегда наделено теми аспектами, которые будут фигурировать в более позднее время. Возможно, то, что почитание Михаила вобрало в себя функции других архангелов, связано с популярной агиографической традицией, посвящённой архистратигу. Первый текст этой традиции, ставший широко распространённым в Византии, - «Чудо в Хонах» (VIII в.). Но наиболее исчерпывающе традиция почитания архангела отражена в «Повести» Пантолеона Диакона (IX в.). Текст демонстрирует окончательное закрепление отождествления безымянного Ангела Господня из Ветхого и Нового Заветов с Михаилом, а также приводит наиболее полное изложение аспектов почитания архангела в Византии. The main purpose of the paper is to trace the history of the identification of the Angel of the Lord with the Archangel Michael and to identify the main stage in the formation of the cult of the Archangel. By comparing the text of Holy Scripture, apocrypha and Byzantine hagiographic texts, a clear picture of the influence of the apocryphal tradition on the Byzantine cult of Michael the Archangel is revealed. In the Old Testament, Michael is mentioned by name only three times - in the book of Prophet Daniel; in the New Testament - only twice in the Revelation of John the Divine and in Epistle of Jude. However, in the Bible there are numerous references to the nameless Angel of the Lord. For the first time Origen identified Prince Michael from the book of the Prophet Daniel with the archangel Michael, which was accepted by the following tradition. In the apocrypha, however, the worship of Michael is not always endowed with those aspects that will appear later. Perhaps the fact that the worship of Michael has absorbed the functions of other archangels relates to the popular hagiographic tradition devoted to the archestrategos. The first text of this tradition, which became widespread in Byzantium, was the “Miracle in the Chonae” (8th century). But the most exhaustively tradition of worship the archangel is reflected in consolidation of the identification of the nameless Angel of the Lord from the Old and New Testaments with Michael and provides the most complete exposition of the aspects of veneration of the archangel in Byzantium.
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Bulanin, Dmitrii M. "THE CULT OF MICHAEL THE ARCHANGEL IN THE REFLECTION OF MEDIEVAL RUSSIAN LITERATURE: REMARKS ON THE REEDITION OF THE BOOK BY O. A. DOBIASH-ROZHDESTVENSKAIA." Texts and History Journal of Philological Historical and Cultural Texts and History Studies 2 (2022): 7–22. http://dx.doi.org/10.31860/2712-7591-2023-2-7-22.

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This article was prompted by the newest reedition of O. A. Dobiash-Rozhdestvenskaia’s well-known book about the cult of Michael the Archangel in the Latin Middle Ages. Based on this exemplary book and medieval Russian literary texts, the author of this article raises the question of the dialectic between the typical and the peculiar in the veneration of Michael the Archangel in the Russian Orthodox tradition. The typical features, i. e. the ones that resemble the features that Dobiash-Rozhdestvenskaia found in the European material, prove to be by far more numerous than the peculiar features. As in other religious traditions, the image of Archangel Michael in Rus’ seems to have been the most abstract one when compared with the images of all the saints. This phenomenon contributed to the fact that in different parts of the Christian world, an identical set of functions was ascribed to this archangel. In principle, from the Christian point of view, Michael is undoubtedly the chief of the angels. But the natural desire of a medieval person to create a more specific image of this object of his pious thoughts and feelings by separating the chief angel from the entire army of angels did not achieve any significant results. It is indicative that Archangel Michael is not referred to by his name in texts that describe situations when he interferes in the lives of people. Taking the text of the Bible as a model, the writers preferred to use just the generic designation — “an angel.” In contrast, in the cases when Michael the Archangel is clearly individualized, he is invariably portrayed as severe and often even as cruel. In this respect, the tradition of medieval Rus’ contains exact parallels to O. A. Dobiash-Rozhdestvenskaia’s findings regarding the confessional history of Western Europe.
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4

Zaganas, Dimitrios. "Le De Trinitate du Pseudo-Didyme et le culte des archanges : un élément méconnu de datation." Vigiliae Christianae 76, no. 5 (September 19, 2022): 559–67. http://dx.doi.org/10.1163/15700720-bja10054.

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Abstract Pseudo-Didymus’ De Trinitate mentions many sanctuaries of the archangels Michael and Gabriel, finely adorned, some of which were quite famous to attract people from very far in the hope of a miracle. Although this testimony was usually considered as an ancient evidence because of its purported attribution to Didymus the Blind, it does not actually reflect the state of the archangels’ cult in the fourth century. However, it proves to be an important element for the dating of the De Trinitate itself, since it refers to a time when the cult of the archangels was developed in the East. The documentary and literary evidence shows that the churches dedicated to them, especially to Saint Michael, significantly multiply in the sixth century, and that their cult is being established under the reign of Justinian (527-565). It is from this period that the composition of Pseudo-Didymus’ De Trinitate is likely to date.
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Leontakianakou, Irini. "A post-Byzantine creation: The archangel Michael triumphant and psychopomp." Zograf, no. 33 (2009): 145–58. http://dx.doi.org/10.2298/zog0933143l.

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This paper deals with a specific iconographic type of Archangel Michael: he is shown bearing a soul in the form of a swaddled infant, while subduing an old man who is wearing only a loincloth. Who is Michael subduing? Three possible answers are considered: 1) the figure can be identified with Satan the fallen angel who, like Michael, has an immaterial nature and is commonly considered as his enemy par excellence; 2) he can also be an anonymous sinner, whose soul is depicted in Michael's hand; 3) finally, one could identify him with Hades, the god of the Underworld and personification of death, because he is depicted as an old man, semi-nude with a pronounced musculature, as well as because of the assimilation of Michael to God. Rather than making a single choice, the author proposes a combined interpretation of the image, which allows for the integration of all the aspects of Michael's cult (military, triumph over Satan, psychopomp, archangel of the Last Judgment) and unifies the past (the fall of Satan), the present (death of a sinner) and the future (Last Judgment).
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Bozhko, Archimandrite Mitrophan (Oleksii). "Veneration of the Archangel Michael in pre-Mongolian Time in Kyiv in the Context of the Idea of Kyiv as New Jerusalem." Kyiv Historical Studies 16, no. 1 (2023): 137–43. http://dx.doi.org/10.28925/2524-0757.2023.116.

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The article examines the veneration of the Archangel Michael in Kyiv in the context of the idea of the capital of Rus' as New Jerusalem. This concept was influenced by the adoption of Christianity and was reflected in a number of written and architectural monuments. In them, the people of Rus' recognized themselves in a new way in world history and organized their living space accordingly. The author tries to show that the emergence of the Archangel Michael’s cult was one of the elements supporting this idea. His veneration was not only princely and military, which was typical for the Christian ecumene, but had its own local characteristics. In the people’s mind, St Michael fought with the devil and helped them to get rid of his authority during their Baptism. These ideas were reflected in the building of churches dedicated to the archangel: one — near the place where the idol of Perun stood, and the second — outside of Kyiv, where the idol was washed ashore and finally destroyed. The episodes associated with the victory over paganism with St Michael’s help had their parallels in biblical and church history. Folk tradition, literary works, frescoes in St Sophia Cathedral and the specifics of the dedication of the churches recorded them. All this gave rise to an analogy between Rus' and Israel, Kyiv and Jerusalem.
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Danciu, Petru Adrian. "Motivul Avestiței în demonologia populară românească / The motif of Avestiția in popular Romanian demonology." Swedish Journal of Romanian Studies 1, no. 1 (January 23, 2018): 146–68. http://dx.doi.org/10.35824/sjrs.v1i1.16805.

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Our research follows the demonic perspective on Avestiția′s activity and life. Considered today as a demonic character, she is highlighted by an activity defined almost exclusively against the killing of a pregnant woman or a baby, through appearances that cause fright (the disease called samcă) and the disfigurement of the "touched" by the demon. Because her history is unknown, the recent popular tradition has made one, Avestiția being the sister of Saint Sisoe, a murderer of children, and hence the generation of his witchcraft activity, which is why she is punished by her brother and by Archangel Michael. Newer theories claim a Semite origin (Lamashtu and Lilith), but we come with another, a totemic one, generated by the demon's descriptions. Thus, by systematizing the researched elements, we affirm that, starting from a totem (of the bear), dethroned by the masculine cults of Dacia, deity turns into a demon and encounters the demonological Semite elements, prior to Christianity in our country. Subsequent intervention of Christianity "corrects" the history of the character, turning her into a legend, when Sisoe and Archangel Michael appear. This final formula is known by Romanian ethnologists. Christian syncretism almost immediately generates the incantations of samcă and the "Book of Avestiția," a charm that reveals the name and the real history of the demon, which aroused the attention of Christian syncretism when attempting to kill baby Jesus, defrauded by Michael. Sacred folk literature describes her as an extremely dangerous being, Satan's right wing.
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Duffy, Eamon. "Holy Maydens, Holy Wyfes: the Cult of Women Saints in Fifteenth- and Sixteenth-century England." Studies in Church History 27 (1990): 175–96. http://dx.doi.org/10.1017/s0424208400012079.

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The cult of the saints, according to Emile Male, ‘sheds over all the centuries of the middle ages its poetic enchantment’, but ‘it may well be that the saints were never better loved than during the fifteenth and sixteenth centuries’ Certainly their images and shrines were everywhere in late medieval England. They filled the churches, gazing down in polychrome glory from altar-piece and bracket, from windows and tilt-tabernacles. In 1488 the little Norfolk church of Stratton Strawless had lamps burning not only before the Rood with Mary and John, and an image of the Trinity, but before a separate statue of the Virgin, and images of Saints Margaret, Anne, Nicholas, John the Baptist, Thomas à Becket, Christopher, Erasmus, James the Great, Katherine, Petronilla, Sitha, and Michael the Archangel.
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Minczew, Georgi, and Marek Majer. "John Chrysostom’s Tale on How Michael Vanquished Satanael – a Bogomil text?" Studia Ceranea 1 (December 30, 2011): 23–54. http://dx.doi.org/10.18778/2084-140x.01.03.

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The study is an attempt at a comparative analysis of two pseudo-canonical texts: the Slavic Homily of John Chrysostom on How Michael Vanquished Satanael (in two versions) and the Greek Λόγος τοῠ ἀρχηστρατήγου Μιχαήλ, ὃταν ἐπῆρεν τήν στολήν (BHG 1288n). Both texts, very close to each other in terms of the plot, relate an ancient angelomachia between a heavenly emissary and a demiurge expelled from the angelic hierarchy. When examined against the background of dualistic heterodox doctrines on the one hand, and compared to other medieval cultural texts (be they liturgical, iconographical or folkloric) on the other, these works enable insight into how heterodox and pseudo-canonical texts functioned and were disseminated in the medieval Byzantine-Slavic cultural sphere. The Slavic Homily… is not genetically related to its Greek counterpart, which is only preserved in a lat, 16th century copy. Rather, it was composed before the 13th century on the basis of another, non-extant model with a content similar to the pseudo-canonical Greek Homily… It is probable to a certain degree that the emergence of the Slavic work is connected with the growing interest in the cult of Archangel Michael in the First Bulgarian Empire, especially in the Diocese of Ohrid. Certain Gnostic ideas related to dualistic cosmology, as well as cosmogony, angelology and anthropology spread from the Judeo-Christian world to Byzantine literature and culture. Having undergone a number of transformations in the neo-Manichean communities of the Byzantine Empire and Bulgaria, they formed the basis for medieval dualistic cosmogony, as well as angelology and anthropology. Circulated both orally and in written form, beliefs concerning the invisible God, Archangel Michael as a ‘second God’ and the soul’s journey to Paradise became so widespread that they are not only found in heretic texts, but also cited almost verbatim in anti-heretic treatises. The content and later textual modifications of the Slavic Homily… cast a doubt on the hypothesis concerning its Bogomil origin. Furthermore, it cannot be determined to what extent works such as the Homily… were made use of by (moderate?) Bogomil communities. Even before the 14th century, the text underwent the processes of liturgization and folklorization, as proven by the presence of liturgical quotations (absent from the Greek text), the visualization of the story in sacred space as well as the aetiological legends about Archangel Michael’s fight against the Devil. The existence of ancient Gnostic ideas in the beliefs propagated by neo-Manichean Balkan heretic teachings, as well as their widespread presence in “high” and “low” texts originating in medieval communities call for a more cautious evaluation of the mutual antagonisms between them. This raises the problem of a wider look at medieval culture, in fact a syncretic phenomenon, where the distinction between the canonical, the pseudo-canonical, the heretic and the folkloric is not always clear-cut.
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Goff, Matthew. "The Archangel Michael in Africa: History, Cult, and Persona, edited by Gilhus, Ingvild Sælid, Alexandros Tsakos, and Marta Camilla Wright." Journal of Religion in Africa 50, no. 1-2 (August 10, 2021): 186–88. http://dx.doi.org/10.1163/15700666-12340186.

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Дисертації з теми "Michel (archange) – Culte"

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Doucet, Romain. "Sous les ailes de l’archange. Saint Michel à l’épreuve de l’histoire (France, XVe XVIIe siècle)." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL116.

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Cette thèse étudie la destinée de saint Michel dans la France du début de l’époque moderne. Dans le contexte d’une spiritualité multipliant les pratiques dévotionnelles, l’archange, par la place qu’il occupe dans le culte, la croyance et la société, est en effet une figure essentielle de la sainteté à la fin du Moyen Âge. Par ailleurs, il bénéficie du choix des Capétiens de faire de lui, au XVe siècle, le véritable défenseur et l’ange tutélaire du roi et de la monarchie française. De ce fait, il n’est pas épargné par la remise en question du culte des saints par les idées réformatrices puis, lors des troubles de religion, par les actes iconoclastes visant les symboles catholiques et royaux. Mais son ancrage ancien et l’idéal victorieux qu’il porte le placent en première ligne dans la reconquête catholique au plus fort des guerres de Religion. Toutefois, cette utilisation politique n’est pas sans effet sur le saint archange qui perd de son éclat au XVIIe siècle. Prenant appui sur un vaste corpus de sources textuelles et iconographiques, envisagées dans leur grande variété de forme et de thématique, cette recherche entend faire de l’archange un acteur de l’histoire du royaume de France en cette période de bouleversements et ainsi révéler la figure emblématique du providentialisme royal et français qu’est saint Michel
This thesis focuses on the destiny of saint Michael in France in early modern times. In the context of a spirituality multiplying devotional practices, the archangel, by his place in the liturgy, the belief and the society, is indeed a key figure of the cult of the saints in the late middle ages. Elsewhere, thanks to the Capetians, in the 15th century, he moreover becomes the true defender and the guardian angel of both the king and the French monarchy. Therefore, he is not spared by the reformists who questioned the cult of the saints and who, by iconoclastic acts targeted Catholic and royal symbols, during the French troubles of religion. But his ancient importance and the victorious ideal he carries place him first in the Catholic reconquest, at the height of the Wars of Religion. However, this political use had an impact on the archangel, who lost his lustre in the 17th century. Drawing on a vast corpus of textual and iconographic sources, taken from a wide variety of forms and themes, this study aims to make the archangel a actor of the history of the French kingdom in a time of upheavels and to reveal Michael as the emblematic figure of the royal and French providentialism
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Piazza, Simone. "Peinture rupestre médiévale : Latium et Campanie septentrionale (VIe - XIIIe siècles)." Paris 1, 2002. http://www.theses.fr/2002PA010575.

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Au Moyen âge, les raisons pour lesquelles un espace rupestre est choisi pour servir de lieu de culte chrétien sont de deux types: l'utilisation du cadre naturel pour des motifs fonctionnels et l'impulsion irrationnelle qui préside au choix de la grotte comme lieu sacré. Il y a trois facteurs cultuels qui ont contribué à investir de sacralité les grottes du centre sud de l'Italie : le culte de Saint Michel archange, le phénomène de l' érémitisme, et le culte pour les reliques des martyrs. Entre le Latium et la Campanie du Nord, la distribution des établissements rupestres qui conservent une trace picturale est éparse et hétérogène. Néanmoins, il est possible de faire une distinction entre les grottes d'origine naturelle et les milieux rupestres artificiels Du point de vue des contextes artistiques, le catalogue des témoignages picturaux pris en examen a fourni la possibilité de mettre en lumière l' expression de certains milieux culturels qui se sont succédé ou entrecroisé au cours du Moyen âge. On peut se demander si la peinture rupestre a un caractère spécifique ou si au contraire elle n' a de différence par rapport à la peinture monumentale que le contexte particulier dans lequel elle se trouve. En évaluant l'ensemble des témoignages picturaux qui font l'objet de cette recherche, on trouve confirmation des deux termes de l' alternative. Il y a des cas ou la peinture sur roche imite une décoration d'un édifice monumental et des autres ou la roche interfère avec le programme décoratif. . .
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Peers, Glenn Alan. "The iconography of the archangel Michael on Byzantine icons /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66084.

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Книги з теми "Michel (archange) – Culte"

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Marucci, Gabriella. L'arcangelo. Roma: Bulzoni, 2003.

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2

Centre culturel international de Cerisy-la-Salle, ed. Rappresentazioni del monte e dell'arcangelo san Michele nella letteratura e nelle arti =: Représentations du mont et de l'archange saint Michel dans la littérature et dans les arts : atti del terzo convegno internazionale dedicato all'arcangelo Michele, Centre culturel de Cerisy-la-Salle 29 settembre-3 ottobre 2008. Bari: Edipuglia, 2011.

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3

Caruso, John. Lightbearer. Valley Falls, NY: Bold Strokes Books, 2009.

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4

Convegno, Sacrense (16th 2007 Sant'Ambrogio di Torino Italy). Pellegrinaggi e santuari di San Michele nell'Occidente medievale =: Pèlerinages et sanctuaires de Saint-Michel dans l'Occident médiéval : atti del secondo convegno internazionale dedicato all'Arcangelo Michele, atti del XVI Convegno Sacrense (Sacra di San Michele, 26-29 settembre 2007). Bari: Edipuglia, 2009.

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5

Pierre, Bouet, Otranto Giorgio, and Vauchez André, eds. Culte et pèlerinages à Saint Michel en Occident: Les trois monts dédiés à l'archange. Rome: Ecole française de Rome, 2003.

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Pierre, Bouet, Otranto Giorgio, and Vauchez André, eds. Culte et pèlerinages à Saint Michel en Occident: Les trois monts dédiés à l'archange. Rome: Ecole française de Rome, 2003.

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7

Pierre, Bouet, Otranto Giorgio, and Vauchez André, eds. Culto e santuari di san Michele nell'Europa medievale =: Culte et sanctuaires de saint Michel dans l'Europe médiévale : atti del Congresso internazionale di studi, Bari, Monte Sant'Angelo, 5-8 aprile 2006. Bari: Edipuglia, 2007.

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8

Il culto di San Michele in Campania: Antonino e Catello. Bari: Edipuglia, 2007.

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9

Saint Michael the Archangel in Medieval English Legend. Woodbridge, Suffolk, UK: Boydell Press, 2005.

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10

Sánchez, Miguel A. Martín. Miguel, el arcángel de Dios en Canarios: Aspectos socio-culturales y artísticos. [Santa Cruz de Tenerife]: Aula de Cultura de Tenerife, Cabildo de Tenerife, 1991.

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Частини книг з теми "Michel (archange) – Culte"

1

Sinisi, Lucia. "Beyond Rome: The Cult of the Archangel Michael and the Pilgrimage to Apulia." In Studies in the Early Middle Ages, 43–68. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.sem-eb.1.102290.

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Wright, Marta Camilla. "Michael: Persona and Cult among African Christians." In The Archangel Michael in Africa. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350084742.ch-003.

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Łaptaś, Magdalena. "The Position of the Archangel Michael within the Celestial Hierarchy: Some Aspects of the Manifestation of His Cult in Nubian Painting." In The Archangel Michael in Africa. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350084742.ch-008.

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Callahan, Daniel F. "The Cult of St. Michael the Archangel and the “Terrors of the Year 1000”." In The Apocalyptic Year 1000, 181–93. Oxford University Press, 2003. http://dx.doi.org/10.1093/acprof:oso/9780195161625.003.0010.

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