Vizantija v kontekste mirovoj kulʹtury: materialy konferencii, posvjaščennoj pamjati A.V. Bank (1906-1984) = Byzantium within the context of the world culture : proceedings of the conference in memory of Alisa Bank (1906-1984)
Византия в контексте мировой культуры материалы конференции посвящённой памяти А.В. Банк (1906-1984)
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| Format: | Tagungsbericht Buch |
| Sprache: | Russian |
| Veröffentlicht: |
Sankt-Peterburg
Izdatelʹstvo Gosudarstvennogo Ėrmitaža
2015
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| Schriftenreihe: | Trudy Gosudarstvennogo Ėrmitaža
74 |
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | 601, XXII Seiten Illustrationen |
| ISBN: | 9785935726324 |
| ISSN: | 1403480-3 |
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Datensatz im Suchindex
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| adam_text |
SUMMARIES
Artistic Heritage of Byzantium
Svetlana Zaigraykina
THE MOSAIC OF CHRIST AND THE APOSTLES IN THE CHAPEL OF SANT’AQUILINO IN MILAN. IMAGE AND METHOD
It is the unusual attistic features of the mosaic of Christ and the Apostles of c. 400, in the southeastern niche of the Chapel of Sant’Aquilino in the Basilica of San Lorenzo Maggiore in Milan that forms the subject of this article. The composition, the unified fight “watercolour” colour scheme, the cold tone of the gold chosen for the background and the architecture of the semi-circular niche housing the mosaic are all elements which, in the author’s opinion, are brought together to create the specific image and express the scene’s inner meaning.
Translated by Catherine Phillips
Maria lid ova
MONUMENTAL ICONS IN EARLY BYZANTINE ART.
THE VIRGIN ORANT FROM THE ORATORY OF JOHN VII (705-707) IN ROME
The oratory of John VII (705—707) in the Old St Peter’s Cathedral was one of the most spectacular examples of Early Byzantine art in Rome. It was destroyed in the beginning of the seventeenth century when the last surviving part of the Constantinian basilica was demolished to be replaced with the new Baroque façade. All that remains from the early medieval chapel of the Virgin are multiple dismantled elements of mosaic and sculptural decoration. However, drawings and watercolours executed on the eve of the demolition in combination with a detailed description of this part of the basilica by the Vatican archivist Giacomo Grimaldi allow us to develop a clear idea of the original setting of the chapel.
The central place in the vast mosaic cycle dedicated to the fife of Christ was given to a solemn image of the Orant Virgin. Situated above the altar, Theotokos was represented standing on a pedestal with her hands raised in a gesture of prayer, wearing imperial garments and a sumptuous crown with pearl pendida. The Virgin’s unusual attire underscores her imperial status and indicates that the figure belongs to a specific type of representation known as Maria Regina. This fragment once detached from the wall in 1609 was sent to Florence as a gift to the bishop of Arezzo, who placed it above the family altar in the cappella Ricci in the Basilica San Marco in Florence.
In this paper it will be demonstrated that already in its original setting the image of the Virgin Orant acquired specific characteristics such that it was perceived as a monumental icon. The creation of monumental iconic images was a quite popular practice in medieval Byzantine church decorations. Asa rule, though not necessarily, they were placed in subsidiary chapels or within the naos space often oriented in the opposite direction from the main altar. In contrast to theophanic visions in the apse, due to their lateral position within ecclesiastical sacred space, they often permitted a direct contact with the worshiper and could become proper recipients of the personal as well as liturgical prayers.
Inscribed in the sequence and the logic of the monumental decoration, these images were often placed within a niche or a border that clearly separated it from the rest of the paintings and sometimes created an individual space that could have been used for the placement of candles, votive gifts, relics and other sacred objects. In a number of cases it is easy to reconstruct that these monumental icons
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were protagonists of special liturgical services, often not strictly related to the ones performed on the main altar. They regularly bear the iconographic characteristics known from the images on wood or quite suitable for panel painting. Being analysed as monumental icons, these painted or mosaic representations could contribute significantly to widening our knowledge on both the appearance and function of the devotional images in Early Byzantium.
'Translated by Mafia LJdova
Nadezhda Kavrus-Hoffmann, Yuri Pyatnitsky
AN ELEVENTH-CENTURY ILLUMINATED GREEK PSALTER AT THE HERMITAGE MUSEUM (acc. no. BBC3-1309)
A small illuminated Greek Psalter, which is housed in the Byzantine Collection of the Hermitage Museum, was undoubtedly executed in one of the best Constantinopolitan scriptoria in the last quarter of the eleventh century. All aspects of the manuscript’s execution, such as its high quality parchment, superb calligraphy and exquisite decoration, indicate that the Psalter was commissioned by a high-ranking member of Byzantine society. Until 1945 the Psalter was kept in the University Library in Berlin and was known to scholars under the call number 3807. The manuscript was thought to have perished at the end of World War II, but, in fact, it was brought to the Soviet Union as part of extensive reparations. After the war the Psalter was not available to scholars, and a description published in 1933 by George Stuhlfauth was the only source of information about this manuscript. Since Stuhlfauth’s description scholars of Greek paleography, codicology and art history have made significant progress in the study of manuscripts, and our use of contemporary advances has been fruitful in evaluating and supplementing previous findings and conclusions about this remarkable Psalter.
In this article the authors describe and analyze the Hermitage Psalter, applying modem criteria and techniques, such as the Leroy classification of ruling patterns and systems and the identification of the scribe’s handwriting to locate and date the codex. We contend that this Psalter was executed in a Constantinopolitan workshop (ergasteriori) in the last quarter of the eleventh century by anonymous craftsmen, a scribe and an illuminator, who probably executed several other Gospels and Psalters — for example, Athens, National Library of Greece, MS Constantinopolitanus Metochii Sancti Sepulcri 375 and MS 57; St Petersburg, National Library of Russia, gr. 214; and Vatican City, Biblioteca Apostolica Vaticana, Vat. gr. 320 and Vat. gr. 342. Codex Metochii Sancti Sepulcri 375 was executed in 1077-1078 for the renowned historian and patrician Michael Attaliates, and the St Petersburg codex gr. 214 was commissioned by the Byzantine Emperor Michael VTI Dukas (reigned 1071—1078).
The authors plan to publish a detailed description and analysis of the Hermitage Psalter in a monograph dedicated exclusively to this exceptional manuscript and its extraordinary history.
'Translated by Nadezhda Kavrus-Hoffmann
Yulia Matveeva
THRONE CURTAINS IN HAGIA SOPHIA IN CONSTANTINOPLE: ICONOGRAPHY, CONCEPTION, TRADITION
This article is looking at the throne curtains that were hung between the poles of the Throne Ciborium in Hagia Sophia. A gift to the church from Emperor Justinian I (527—565), they were described by Paulus Silenriarius in about 563 AD. We are interpreting the origins of the idea, conception and iconography of the curtains through the analysis of its plots: Traditio Legis situated on the central panel; Benediction of Justinian and Theodora by Christ on the one-side panel and their Benediction by the Mother of God on the other, depiction of Christ’s miracles on one of the borders and architectural structures (charitable institutions built by Justinian) on the other.
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On the basis of the original text we specify the position of Christ's miracles on the top border and the buildings on the lower. In the earlier researches they were misplaced because of an inaccurate translation. We have reconstructed a plan of the three curtain sections placed next to one another and demonstrate that they were inspired by a common idea. We postulate that it was very important to have portraits of Justinian and Theodora in the composition of the curtains. Their figures are positioned alongside with apostles underlying their role as their heirs. They appear also as donors and supreme rulers who represent all people of the Empire, so their portraits complete the idea of representing all Christendom on the curtains. This arrangement demonstrates the basic concept of the Church being the body of Christ and is closely connected with the meaning of katapetasma as the body of Christ.
Translated by Yuka Matveeva
Anna Zakharova
IMAGES OF MARTYRS IN BYZANTINE MONUMENTAL PAINTING OF THE TENTH - ELEVENTH CENTURIES
The author analyses the images of martyrs in mosaics and wall paintings of tenth- and eleventh-century Byzantine churches in the Balkans, Cappadocia and the Greek islands. This analysis shows how during this period Byzantine monumental painting formed certain principles of selecting and grouping the images of saints. These principles were based on dividing the saints according to their ranks, each rank being put into certain space in the church. Martyrs presented the most numerous category among the images of saints. By the eleventh century there formed the practice of dividing martyrs into smaller groups according to their status or profession (soldiers, doctors, priests or deacons) or according to the date of their commemoration. It is remarkable that the painters usually preferred to place in small compartments groups of saints connected with each other by common life and commemoration date (depending on the shape and number of surfaces available, these were usually groups of two to five saints). Occasionally some other individual images could be added to these groups. Thus by the eleventh century the images of saints in Byzantine churches acquired the character of a logical system, which was flexible enough to be adjusted for the churches of different size and shape and for different demands of the commissioners.
Translated by Ylnna Zakharova
Vera Kazarina
THE BYZANTINE TRADITION IN THE ICONOGRAPHY OF THE EPITAPHIOS AND ALTAR CLOTH IN THE LATE TWENTIETH AND EARLY TWENTY-FIRST CENTURIES
This article analyses and classifies contemporary Church embroidery, following the different stages in the development of the iconography of The Entombment on Byzantinizing epitaphioi. Versions of The Dead Christ in the Tomb and The Lamentation made in workshops in Moscow, St Petersburg and Kiev were selected as the object of the study.
Translated by Catherine Phillips Mark Kramarovsky
THE CROSS OF BESSARION (c. 1355). ON THE GENESIS OF BYZANTINE SPIRAL FILIGREE
This article looks at the genesis of a gold filigree cross dated c. 1355. Along with a stauroteca (reliquarr of the True Cross) created in the fifteenth century, it belonged to Cardinal Bessarion of Nicaea (1403? — 1472) and is today in the Museo dell’Accademia in Venice.
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SUMMARIES
This type of filigree, dominated by spiral motifs (with the addition of short cuds), is extremely rare for Palaeologian Byzantium. In the Hermitage collection, Alisa Bank listed only the Cardinal’s gold cross and a small silver cross intended to be worn on the body in this group. Bank saw the roots of filigree of the Palaeologian era as lying in the Near East, more specifically in Christian Syria. Thus her works set out a vector of movement in which spiral filigree passed from the Near East to Byzantium, newly restored after 1261. The question remains open as to when the new kind of filigree that features on the Cross of Bessarion made its appearance.
Our analysis of several groups of early “Mongol filigree” allows us to propose a new working model, in which finds of feminine jewellery adorned with filigree in this spiral style — created in Northern China and in the eastern territories of Desht-i Qipchaq — are studied in the context of nomadic cultures in Eurasia in the tenth to fourteenth centuries, from the Khitan and Jurchen peoples to the Cingisid Mongols. Around the mid-fourteenth century a new type of filigree (Kramarovsky 2013, 404-^4-12) appeared in the Near East from where, as proposed by Bank, it became known to craftsmen in Palaeologian Byzantium. The loop in the chain linking the achievements of jewellers in Central Asia and China with the Near East has been shown by archaeological material to he in the crafts centres of the towns of the Golden Horde.
Translated by Catherine Phillips
Vera Zalesskaya
A BYZANTINE CROSS FROM THE MED IKI ON MONASTERY
This article looks at the attribution of a bronze processional cross, on one side of which is an engraved image of Saint Niketas Orans and on the other of Saint Nikephoros, to right of whom is a half-length figure of a man with the inscription “Ioann”. These orans images of saints praise their namesakes, the hegumenoi of the Medikion Monastery in Bithynia, Niketas and Nikephoros, who lived at the turn of the eighth and ninth centuries. It is possible that the schematic rendering of “Ioann” should be interpreted as a depiction of the hegumenos of the Chalcedonian Monastery, where hegumenos Nikephoros lived and died. Stylistic features and the palaeography of the inscriptions allow us to date the cross to the eleventh century and place it in the workshops of Asia Minor.
Translated by Catherine Phillips
Stanislav Ryzhov, Tatiana Yashaeva
TWO SEALS WITH CHRISTIAN SCENES FROM BYZANTINE CHERSON
This publication analyses two rare artefacts excavated in ancient Chersonese (medieval Cherson) in different years, pendant seal matrices for making impression in soft materials like beeswax or wax compound. These seal matrices are made of different materials, metal and stone, showing engraved images of saints on their flat bottom surface. Although the image of a female saint on the bronze seal matrix was earlier interpreted as an unknown woman saint, now the authors suggest the new reading as the “Madonna Assunta”. The second pendant seal matrix of blue lapis lazuli depicts Christ Pantocrator, with cross nimbus. The authors date both seal matrices from the late tenth to the eady eleventh century. The find of pendant seal matrices in Cherson not only supplies new examples of Byzantine metalwork and glyptics, but also provides evidence that, apart from official correspondence and similarly to other Byzantine centres, they sealed private letters and various locking devices, from doors to jewel boxes, thus contributing to our notion of the private life of the city dwellers of various social statuses.
Translated by Catherine Phillips
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SUMMARIES
Byzantium and the Christian Orient
Zaruhi Hakobyan
THE IMAGE OF ST CHRISTOPHER IN EARLY MEDIEVAL ARMENIAN SCULPTURE
(SEVENTH CENTURY)
There is an interesting animal-headed figure in the series of early medieval Armenian sculpture. Today nine images of this type are known. There is only one saint with this appearance in Christian iconography and that is St Christopher Cynocephali. Surprisingly, researchers of mediaeval art are not familiar with this figure in Armenian sculpture and the main reason is that it has been interpreted as a boar-headed Trdat, According to the “History” by Agatangeghos, King Trdat who was reluctant to adopt the new faith used to torture Christians. He imprisoned Gregory the Illuminator in Khor Virap and was punished for this being turned into a boar-headed figure. He recovered only after converting to his true belief.
F. Ter-Martirosov was the first to express the viewpoint that the animal-headed figure that we encounter on the four-sided Armenian monuments is St Christopher and we totally agree with him. Among the significant details of the animal-headed figure are the halo and the cross in his hand which is the sign of martyrdom. Besides, the figure is long-haired which is connected with his martyrology. One of the main mistakes of the image examination is that the animal-headed figure is connected with the “History” of Agatangeghos, the period of creation of which is under dispute and the contents is abundant with legends.
Taking all these characteristics into consideration we should state that not Trdat but St Christopher is depicted on the Armenian stela. These animal-headed images present in Armenian sculpture are significantly important as they represent the earliest versions of St Christophers iconography and they come to fill the gap that exists in East Christian art relating to the absence of earliest images of this saint.
Translated by Zaruki Hakobyan
Yuri Pyatnitsky
A PRECIOUS BOOK COVER OF THE FOUR GOSPELS FROM THE VARDZIA MONASTERY
Rare art objects of medieval Georgia attracted attention not only of scholars and art lovers but selfish antiquarians and collectors as well. There are known cases when in the nineteenth and early twentieth centuries the treasuries in Georgian monasteries were plundered. Especially attractive for robbers were cloisonné enamels that decorated revetments of many celebrated icons. For personal gain antiquarians did not even spare the famous Virgin of Khakhuli from the Gelati Monastery. Another famous and precious relic of Georgian kings was also kept in Gelati — the Four Gospels from the Vardzia Cave Monastery. It once belonged to Queen Tamar, but in the sixteenth century the forces of a Persian ruler seized it during the destruction of Vardzia and the Four Gospels was taken to Iran. The pages’ margins bear historical inscriptions made in different centuries that reflect the history of the creation and existence of this manuscript. No less valuable was also the cover of this manuscript decorated with gold repousse plaques and two cloisonné enamels. In the 1880s, this precious cover was taken off the manuscript and later came to the collection of Ivan Balashev, a Kamerger of the Imperial Court. Balashev dismantled the enamels of St Demetrios Orant and The Enthroned Virgin with Archangels; and a number of times lent them to exhibitions and publications. The enamels were studied by the art historians Nikodim Kondakov and Nikolai Makarov, among others. Ivan Balashov bequeathed his collection of enamels to the Hermitage. Despite this, in the 1920s both enamels from the cover of the Vardzia Four Gospels happened to be on auction in Germany. The plaque with St Demetrios Orant, that is considered one of the best Byzantine cloisonne enamels of the eleventh century, was bought by the Kunstgewerbemuseum Museum in Berlin, where it is still kept. The second plaque, with the image of the enthroned Virgin (produced in
the twelfth century in a Georgian workshop) ended up in the
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collection of Alfred Stokle in Brussels, and disappeared after his death; it is most likely in the possession of Stokle’s descendants, in Switzerland.
The fate of the Four Gospels’ cover with gold repoussé plaques remained unknown, and for years it was believed that it had been lost forever. In 2001,1 discovered this rare object in the collection of the Hermitage Research Library, and now it is among the best exemplars of Byzantine art collection in the Museum. The article discusses in detail the many turns of fate in the story of the Vardyia Gospels; provides information on the cave monastery itself; suggests a new attribution of the Gospels. The author also discusses in detail the repoussé gold plaques that he dates to the end of the eleventh — first years of the twelfth century, and attributes the work to the court jewellers of Queen Tamar. No less attention is paid to the two enamels — the Byzantine and the Georgian one. Thus, the study shines a light on the fate of the Vardzia Gospels and its cover, from the moment of its creation till the present. Also, the article offers an analysis of the artistic elements of all components comprising this precious cover.
Translated by Yuri Pyatnitsky
Vasily Putsko
TWO MINIATURES FROM THE FOUR GOSPELS OF LARGVISSI:
AN EXPERIMENT OF IDENTIFICATION
The name of Aleksandr Zvenigorodsky is well known to art historians due to his famous collection of cloisonné enamels, and especially because of a luxuriously published book where this collection was described by the renowned Russian art historian Nikodim Kondakov. However, as early as the beginning of the twentieth century, specifically Russian scholars raised the issue regarding a criminal origin of the majority of the enamels in Zvenigorodsky’s collection. The enamels were stolen from monastery sacristies in Georgia. From time to time, articles citing some new facts and sources were published. Meanwhile, it was scarcely mentioned that besides the enamels, medieval Georgian illuminated manuscripts were also taken away. In this article, the author discusses two miniatures, St Matthew and The Transfiguration, which in 1886, Aleksandr Zvenigorodsky donated to the Imperial Public Library in St Petersburg. During the acquisition of the miniatures, it was decided that they came from the Gelati Monastery located near Tbilisi. Despite the fact that in 1922 the Soviet Government returned to Georgia a greater part of the Georgian historical and art heritage kept in libraries and museums, the two miniatures, by agreement with Georgian colleagues, were left in the Public library. Today they are registered under no. 173 in the “new list of Georgian objects”.
These two miniatures, of course, attracted scholars’ attention, primarily the Georgian ones, Rene Shmerling one of them. However, the “Gelati provenance” prevented scholars from associating the miniatures with the Gospels of Largvissi that is now kept in Tbilisi (inv. no. A-26). Such identification and a detailed analysis of the miniatures were made by the author of this article back in 1984 in his monograph about the Gospels of Largvissi, which unfortunately has not been published (the text of the monograph was sent by the author to Tbilisi for publication). This article is an abridged version of one of the chapters from the book. The author dates the miniatures and the Gospels of Largvissi to the turn of the twelfth — thirteenth century and associates their creation with the flourishing of Georgian art in the reign of Queen Tamar.
Translated by Yuri Pyatnitsky
Alexander Kakovkin |
ON THE ROLE OF THE VIRGIN MARY IN WALL PAINTINGS IN SEVERAL CHAPELS AT BAWIT
On the basis of wall paintings on the eastern wall of five chapels at the Bawit Monastery, this article looks at theologians’ symbolic interpretation of different iconographical types in representations of the Virgin Mary.
Translated by Catherine Phillips
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SUMMARIES
Olga Osharina
A HEAVENLY IMAGE OF THE INCORRUPTIBILITY OF FLESH (ON THE SYMBOLISM OF THE PEACOCK ON COPTIC ARTEFACTS IN THE HERMITAGE COLLECTION)
The author looks at the sources for the appearance of the image of the peacock within Late Antique culture and its incredible flourishing in the fifth and sixth centuries, undoubtedly linked with the numerous theological disputes that unfolded with such intensity from as early as the fourth century. The depiction of the peacock became one of the first symbols of the garden of Paradise. This is one of those rare cases in which symbolic interpretation was based on written sources and works of art. The legend of the incorruptibility of the peacock’s flesh and the increasingly sound position and wealth of the Early Christian Church were the reasons why Christian writers and theologians chose this superb heavenly bird as a symbol.
Translated by Catherine Phillips
Nikita Semenov
A RELIEF FROM HERACLEOPOLIS MAGNA IN THE HERMITAGE’S COPTIC COLLECTION
Taking as an example a relief from the Coptic collection in the State Hermitage Museum, the author looks at the formation of style in Coptic sculpture during the Late Antique and Early Byzantine periods. Detailed study is made of the link between Coptic sculpture and the art of Rome and Constantinople during this time. As comparative material the author cites reliefs and architectural decoration from Heracleopolis Magna and several other Egyptian centres, while analogies are cited from among architectural monuments and sculptures from Alexandria, Rome and Constantinople, as well as items of ivory and wood and textiles made in Egyptian workshops. The attribution and dating of the relief from the Hermitage’s Coptic collection is corrected on the basis of archaeological evidence and research published in recent decades, and by comparison with Coptic sculptures that are close in their manner of execution.
Translated by Catherine Phillips
Ekaterina Gusarova
BYZANTINE INFLUENCE IN ETHIOPIAN MINIATURES (ON THE MATERIALS FROM THE RUSSIAN NATIONAL LIBRARY AND THE INSTITUTE OF ORIENTAL MANUSCRIPTS COLLECTIONS)
This article analyses the history of formation of artistic decoration of Ethiopian manuscripts’ illumination and puts in evidence particular features that prove its Byzantine origin. Christian tradition played the crucial role in Ethiopian history, literature and art. In spite of the almost absolute isolation of the country from the rest of the world during the Middle Ages, members of its religious and political elite were quite aware of Byzantium as a great empire of the Christian world. Different artistic forms and plots came to Ethiopia as a result of the Christianization of the country in the mid-fourth century
and were borrowed together with the new religion, being re-elaborated and adopted to local cultural environment.
Translated by Ekaterina Gusarova
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Mikhail Butyrsky
RELIEFS FROM AN EARLY BYZANTINE CAVE TOMB IN ANASTASIOPOLIS (DARA)
The Early Byzantine fortress at Dara was founded by Emperor Anastasius in around 505—507 near the town of Mardin and remained until the seventh century the key outpost of the Empire on the eastern (Persian) border. The main construction at Dara took place over the course of the sixth century, first under Anastasius and then under Justinian, as we are told by Procopius of Caesarea. Between 573 and 591 and 604 and 628 Dara was occupied by Persians and in 639 it was taken by Arabs, after which it was never to return to the control of Christian Byzantium.
The fortress was a small town built according to a regular plan and with many functional and vital structures, some of which are preserved today.
To west of the urban fortifications is a cave necropolis created out of the quarries that provided a source of stone for building. One cave tomb is notable for its monumental façade with an arched opening, a rectangular window above it and reliefs on either side, and for the size of the internal space (totally cleaned in 2007) with its abundance of burial chambers.
Three compositions in high relief frame the entrance to the tomb. Different interpretations of how they should be read were put forward by M. MundelLMango (“A Sixth Century Funerary Relief at Dara in Mesopotamia” / / JOB 24, 209—227) and O. Nicholson (“Two Notes on Dara” // ^American Journal of Archaeology, V. 89, No. 4 (Oct. 1985), 663-671).
The left scene is best preserved; it shows Ezekiel’s vision of the valley of dry bones (Ezekiel xxxvnil—10). The other two are much damaged and can only be hypothetically interpreted: the central relief is thought to show the fiery furnace of Nebuchadnezzar (Mundell-Mango) or the burning bush (Nicholson), but that of the right composition has not been established, although it is also thought to be on an Old Testament subject. The reliefs are dated to after 591 (when Dara returned to Byzantine control).
Both the unique nature of the sculptural ensemble and the degree of damage make it difficult to reconstruct its original concept. We can be certain only of the one scene, Ezekiel’s vision of the valley of dry bones, which is read by Christian theologians as prophesying the liberation of the Jews from the captivity of Babylon (St Jerome, St Ephrem the Syrian) and more widely as a prototype for the general resurrection from the dead (St Irenaeus and St Gregory of Nyssa). The choice of this subject, one rare in Early Christian art, for the decoration of the façade of a tomb has been variously explained: by the realisation of the hopes of Dara’s inhabitants for an end to Babylonian (Sassanid) captivity and their return home in 591 after eighteen years of exile, perhaps bearing the remains of those compatriots who had died in alien lands (Mundell-Mango), or by the burial — also after 591 — of those who had fallen during the defence of Dara in 573 but who had been deprived of Christian burial by the Zoroastrian Persians (Nicholson). These readings are based on an identification of the Old Testament subject with Dara’s real history and with specific events that might have prompted the construction of so extensive a burial complex.
If this principle of a conceptual link between contemporary life and the Old Testament is expanded to cover the whole ensemble, the relief to right might perhaps be a scene of Ezekiel’s vision of God m Majesty, descending from the Heavens in the form of a vertical cloud and filling the house with His glory (Ezekiel xliii:2—5). This subject, rare in Byzantine art, rounds off the idea partially formulated by the vision of the valley of dry bones: the return of mankind to God and of God to mankind and, in the final analysis, the restoration of the alliance between God and the human race.
Thus the decoration of the façade of the cave tomb at Dara proclaims in symbolic form the return from forced exile of both the town and its inhabitants to the fold of the Christian Church.
Translated by Catherine Phillips
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Maxim Fionin
A GREEK LECTIONARY IN THE COLLECTION OF THE INSTITUTE OF ORIENTAL STUDIES OF THE RUSSIAN ACADEMY OF SCIENCES
This article looks at the arrival in St Petersburg of a collection of manuscripts formed by Gregory IV, Patriarch of Antioch, using archive materials and works by contemporary authors. In the second section the article provides codicological and archaeographical analysis of Greek lectionary D-227, which forms part of the collection of manuscripts of Patriarch Gregory IV.
Translated by Catherine Phillips
Serge A. Frantsouzoff
THE LIFE OF ST GERASIMUS OF EMESSA:
THE UNIQUE TALE OF SYRO-BYZANTTNE FIAGIOGRAPHY IN AN ARABIC RECENSION
The present article contains a general description of the life of St Gerasimus of Emessa included in the manuscript, dated from 1786, kept in the Library of the Academia Romana in Bucharest under the shelf-mark B. A. R. Mss orientale 365 and identified for the first time some years ago by Serge A. Frantsouzoff with an Arab Orthodox collection of hagiographic tales. In contrast to the other tales of that collection the life under consideration appears to be the unique work. At least no mention of its hero, St Gerasimus, the first bishop of Emessa, has been found in available catalogues of Arab Christian manuscripts or compendia on Byzantine hagiography. In any case he has nothing in common with his namesake, the popular Orthodox holy man St Gerasimus of Lycia (also known as St. Gerasimus of Jordan).
The main elements of the life’s plot, some ideas on its origin and its transmission in Arab Christian tradition, several linguistic peculiarities proper to its Arabic text, such as the disappearance of the interdentals and the hypercorrection, are examined in their outlines. A special attention is paid to two Koranic expressions attested in the life of St Gerasimus of Emessa. Their use by its anonymous author(s) gives a clear evidence of the influence of the Islamic culture upon the Arab Christian one.
The article also includes the first edition of the Arabic text of the first two parts of the life and their translation into Russian.
Translated by Serge A. Frantsouzoff
Byzantium and Russia
Elizabeth .Arkhipova
SMALL STONE ICONS WITH WARRIOR SAINTS:
THE BYZANTINE HERITAGE AND THE SOUTHERN RUSSIAN TRADITION
This article analyses Byzantine and small icons, stones and glass casts of the pre-Mongol period in Ancient Rus now in museums in Ukraine and Russia. As well as the small icons included in T. V. Nikolaeva s catalogue, it looks at new images of warrior saints from excavations and chance finds and from among unpublished examples in Ukrainian museums. Today this category consists of twenty-five small icons of the late eleventh century to the first half of the thirteenth century showing different iconographical types. Early images of martyrs are almost unknown and the most popular images were of warrior saints in armour and bearing weapons, presented standing frontally and full- or bust-length. On icons of Sts Boris and Gleb, the pan-Russian veneration of whom commenced in the late eleventh century, these iconographical types are combined and they are depicted as martyr warriors with both
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crosses and swords in their hands. Stylistic analysis of a small icon of St Gleb, thought to be the earliest example of local production, allows us to date it to no earlier than the late twelfth or first half of the thirteenth century, the period from which come the majority of small icons of Southern Russian origin. Mounted warrior saints appeared on Byzantine and Southern Russian small icons, as on other forms of applied art and sphragistics, from the twelfth century and became the most popular of all subjects in the post-Mongol period.
Translated by Catherine Phillips Elisa Gordienko
AN ICON OF THE APOSTEES PETER AND PAUL IN THE COLLECTION OF THE NOVGOROD MUSEUM RESERVE
In the late eleventh and early twelfth century Novgorod was remarkable for the incredible expansion of religious life. The foundations of the Christian faith that had taken firm root in Russia by this time led to a revival of church construction, architecture being the key that underpinned the path taken by all other art forms. The driving force behind the spiritual development of Novgorod society was the princely court of Mstislav Vladimirovich, which united the ancient architectural traditions of the Cathedral of St Sophia and its original murals with the miniatures of the Ostromir Gospel and their strong Kievan influence that reflected the purest Byzantine canons. Painted by a Greek artist, the icon of The Apostles Peter and Paul from the Cathedral of St Sophia fully represents the monumental and varied picture of Novgorod culture that had taken shape by the early twelfth century.
Translated by Catherine Phillips
Anatoly Ostapchuk, Leonid Kolodnitsky
THE REMOVAL OF A TWELFTH-CENTURY FRESCO AND ITS TRANSFER
TO A NEW SUPPORT, THE DISCOVERY OF AN ELEVENTH-CENTURY FRESCO AND WINDOW FRAME BEHIND THE ALTAR OF THE CHAPEL OF STS ANTONIUS AND THEODOSIUS IN THE CATHEDRAL OF ST SOPHIA IN KIEV
The original eleventh-century window, blocked up back in the twelfth century, was discovered in 1961.
As a result of conservation in 2010-2011 the twelfth-century fresco painted over the blocked-up window was removed, transferred to a new support and put on display on the southern wall where no old painting has survived. Restorers also removed the brick infill and restored the older window, with fragments of a preserved eleventh-century fresco. As a result the northern wall now has its original eleventh-century window with remains of the window frame, glass and mastic, and in the window jambs the remains of ribbon and vegetable ornament. One area was also left unrestored to reveal the technique of the ancient masonry.
Translated by Catherine Phillips
Olga Tuminskaya
THE IMAGE OF ANDREW' THE FOOL-FOR-CHRIST IN THE BYZANTINE AND
RUSSIAN FINE ARTS TRADITIONS
The article is devoted to the study of the image of Andrew the Fool-for-Christ — the most popular Byzantine and old Russian saint. Information about him came to Russia in connection with spreading literacy and thanks to legendary stories told by travellers and traders who regularly visited Constantinople.
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Love to this “madman” became part of Russian culture and was expressed in writing his hagiographies and painting his icons. This was typical of Russian art in the Middle Ages (12th — 17th centuries). Basic material for the research is a handwritten manuscript of the life of Andrew the Fool-forChrist, from the Russian North (The Russian National library (OAATL Q. 58)), 17th century (?).
Translated by Olga Tuminskaya
Valery Stepanenko
THE IMPERIAL STEMMATA AND THE PRINCELY CAP. BYZANTINE REGALIA IN RUS IN THE ELEVENTH AND EARLY TWELFTH CENTURIES
It is well known that according to the Russian historical tradition Kiev is the Second Constantinople, while Moscow is the Third Rome. One might think that the coronation of Ivan IV with the barmy (shoulder mantie) and Cap of Monomachus were intended to further emphasise Moscow's role as heir to the Second Rome — Constantinople. Suffice it to say that this in fact had nothing to do with the true Byzantium. Neither Byzantine nor Russian chronicles support the idea that Byzantine regalia were presented to Vladimir Svyatoslavich, or Yaroslav the Wise or Vladimir Monomachus. Nor have examples been found on Russian territory. The question thus naturally arises as to just how far Rus was, in this area, the heir to Byzantium? Did contemporaries indeed have any idea of what Byzantine regalia were? Yes. Suffice it to recall depictions of Constantine and Helen in the Cathedral of St Sophia in Novgorod or indeed that of David and Solomon in the same building.
A group of seals, mostly eleventh-century, with portraits of the princes who owned them, lead us to conclude that Byzantine regalia — the cklamys and loros, the stemmata with pendants, the sceptre and orb crowned with crosses — did not take root in Kievan Rus. The heads of members of the Rurikovich dynasty were crowned with a cap with a fur trim, while the korgno cloak, thought to have been made from Byzantine silk, was a good substitute for the chlamys. This would seem to hark back to the pre-Christian Russian tradition, since the first known use of this kind of headwear is on the ninth-century Zbruch Idol. Nonetheless there was some direct borrowing of imperial ornament and likening of princes of Rus to the Basileus of the Romans. But the adoption of Byzantine models for the creation of matrices for princely seals (and coins) and of details of the imperial costume — with a complete lack of understanding of the symbolic meaning of those details — at times led to the appearance of strange hybrids of a kind that would have been impossible in Byzantium, with its extremely strict regulation of the iconography of official imagery, including on sphragistics.
The coronation of Ivan IV with the Cap and barmy of Monomachus and his claim to be successor to the imperial rulers of Byzantium, of which Rus was declared the heir (Moscow as the Third Rome), were ideologically reinforced by The Tales of the Princes of Vladimir Nonetheless, it cannot be asserted that the Tsar truly saw the so-called Cap of Monomachus as part of Byzantine regalia, passed on by Constantine IX Monomachos to his grandson Vladimir when the latter became Prince of Kiev. Wherever it was made, the cap we have today is based on the Rurikovich caps of the eleventh and twelfth centuries and has no connection, direct or otherwise, with the Byzantine tradition.
Translated by Catherine Phillips
Elena Piotrovskaya
WHY IS THE OLD RUSSIAN VERSION OF THE FAMER’S LAW PRESERVED AS PART OF THE COMPILATION OF “KNIGI ZAKONNIE”?
This article looks at the history of the Slavonic-Russian version of the Famer’s Law. This translated text is preserved within the written tradition of Ancient Rus as part of the compilation of ‘TCnigi Zakonme . One of the key questions in studying it is the date of the translation into Slavonic. In our
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efforts to resolve this question we should apply not only lexicological, comparative historical and source analysis, as well as other methods of analysis of the text, but an analysis of the composition of all the content of the “Knigi Zakonnie” compilation.
Translated by Catherine Phillips
Crimean Archaeology
Alexander Aybabin, Elzara Khayredinova
BYZANTINE AGRICULTURAL TOOLS FROM EXCAVATIONS AT ESKI KERMEN
During excavations of estates in district 1 at Eski Kermen between 2003 and 2008 numerous items of iron and bronze were found in a fire layer, items which tell us much of the urban inhabitants’ everyday life. The tools found there allow us to posit the important roles played by grain-production, grape-growing, cultivation and animal husbandry in urban life. On the Eski Kermen plateau, as in other provincial Byzantine towns, agriculture and livestock formed the bedrock of the economy. Many urban inhabitants were tied to the land they worked. Vineyards, gardens and vegetable plots were laid out on the plateau slopes and in neighbouring valleys. The material published here is also of value in that it came from closed complexes reliably dated to the second half of the thirteenth century.
Translated by Catherine Phillips
Aleksey Zinko
ON THE FISHING INDUSTRY IN EARLY BYZANTINE TYRITAKE
In the first centuries AD the town of Tyritake was one of the leading centres in the Bosporan Kingdom for the catching and processing of fish. Excavations in different parts of the town have discovered nine groups of fish-salting cisterns which could salt up to a thousand tonnes of fish at a time. In the second half of the third century, however, most of the fish-salting cisterns were abandoned and only a few were later rebuilt and used. To judge by the fish-salting complexes already studied, by the start of the fourth century about 30 of 52 previously functioning cisterns had ceased to be used. The Bosporan town’s output of salted fish had thus been reduced by two thirds. Over the course of the fourth century another twelve cisterns ceased functioning and in the fifth century there were just three complexes of eleven cisterns, with a volume of just over 100 cubic metres. Thus, to judge by the excavated fish-salting cisterns, over the course of two hundred years the volume of output had been reduced to no more than a fifth of its previous scale. In the late fifth to sixth centuries the volume of salted fish decreased even further and we know of not a single cistern in Tyritake that dates from this period. The vast reduction in the processing of fish took place despite the spread of Christianity and the introduction of religious fasts (lent) in the Bosporus, which should theoretically have increased the demand for fish of all kinds. It seems likely, however, that demand on the internal market was satisfied by only very modest quantities of fish in comparison with earlier periods and there was for some reason no longer any demand for salted Bosporan fish on the external market. Thus the need for large specialised fish-processing complexes in the Bosporus disappeared in the Early Byzantine period.
Translated by Catherine Phillips
Elena Zinko, Victor Zinko
THE PROCESS OF CHRISTIANISATION OF THE BOSPORAN TOWN OF TYRITAKE
Excavations have shown that in the fourth to sixth centuries Tyritake was an important centre in the southern part of the European shore of the Cimmerian Bosporus (what is today the Strait of Kerch). Districts uncovered by V. F. Gaydukevich on the southern and eastern edges of the town reveal a regular
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layout to the main streets and of the buildings. In the central part of the upper town, where the authors of this article have conducted investigations over the course of last ten years, houses and streets have been uncovered that largely repeat the layout of the town as established back in the Archaic period. Buildings occupied the whole of the urban territory, covering an overall area of nearly ten hectares, surrounded by fortified walls that were entirely rebuilt in some places back in the first century. The main occupations of the inhabitants of this small Bosporan town were fishing and agriculture, and some crafts were also practised. The Chnstianisation of the population of Tyritake was a relatively slow process. Archaeological artefacts tell us that for a long period of time the main body of inhabitants were pagan. To judge by archaeological and epigraphical sources, the vast majority were at this time, as before, Bosporan Greeks, and Christian teachings started to penetrate this circle only at a relatively late date. It was in the last third of the fifth century, after the official adoption of Christianity as the state religion of the Bosporan Kingdom, that the Church started to play a leading role in urban life. Pagan sanctuaries were neglected and at the turn of the fifth and sixth centuries a large basilica was constructed. A leading role in this process was played by the Byzantine Empire. The continued gradual Christianisation of the population was, however, broken off in 576 by the incursion of barbarian hordes, which subjugated and devastated Bosporan towns and rural settlements.
Translated by Catherine Phillips
Victor Myts
ON THE DATING OF AND REASONS FOR THE DESTRUCTION OF BYZANTINE TAURIS IN THE THIRTEENTH CENTURY (HISTORIOGRAPHY)
During archaeological excavation of Byzantine monuments in the Crimea in the late nineteenth and early twentieth centuries, layers of fire and destruction in the thirteenth century were discovered in seven urban centres on the peninsula: Kherson (Chersonesos), Sougdaea, Eski Kermen, Syren, Bakla and Alushta. On the territory of six medieval towns — Mangup, Kytk-Er, Simbolon (Chembalo), Partenit, Solkhat (Staryy Krym) and Vosporo (Kerch) - there were discoveries largely of disturbed thirteenth-century material with signs of secondary scorching from fire.
Scholars have paid considerable attention to the question of why the largest Byzantine towns of Chersonesos and Sougdaea were destroyed in the thirteenth century: these were the peninsula’s most important centres in economic, cultural, religious and political terms. Priority has always been given to Chersonesos, archaeological study of which commenced back in 1827. Scholars have subsequently based their dating of when the other Byzantine monuments on Tauris were destroyed on the date they establish for the fire layers at Chersonesos.
Today we are faced with a curious situation in this area, for different authors have put forward seven different dates and interpretations for the destruction of Chersonesos in the thirteenth century: 1) 1223 (N. V Bogdanova, A. Rabinovits, L. V. Sedikova, R. Henneberg); 2) 1239 (E. Yu. Goncharov);
3) 1250s - 1260s (A. V. Sazanov); 4) 1260s (N. A. .Alekseenko); 5) 1270s (Yu. P. Kalashnik, S. G. Ryzhov, L. A. Golofast, V. L. Myts); 6) 1270s - 1290s (A. I. Aybabin); 7) late 1290s (1292 or 1299 - 1300) (A. I. Romanchuk).
Each of the proposed dates has its deficiencies: 1) use is made only of accessible archaeological material from a particular section of the excavations; 2) most of the artefacts are not stratified (or stratification is not given in the publications); 3) only a limited number (mainly just one or two) of selected pieces of evidence from written sources is cited, none of them subjected to critical analysis;
4) parallel archaeological material from other monuments in the Crimea is rarely cited, if at all; 5) most importantly, not once has any of the scholars of Chersonesos published the full body of material relating to the thirteenth-century closed complex.
Translated by Catherine Philips
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Sphragistics and Numismatics
Valentina Sandrovskaya
BYZANTINE SEALS WITH METRICAL INSCRIPTIONS
The presence of legends or inscriptions on Byzantine sphragisdc objects is of key importance in identifying the purpose of individual seals.
This article looks at two groups of seals (mostly in the Hermitage collection) with metrical inscriptions: a group with anonymous legends and a group of seals whose owners were representatives of noble Byzantine families under the Komnenoi (eleventh to twelfth centuries).
Particular attention is paid to the historiography of Byzantine metrical inscriptions (key publications, questions of dating and new material).
Seals with metrical texts are extremely informative, allowing us to penetrate the world of their creators, demonstrating the richness of the Greek language and the level of education of Byzantine society.
Translated by Catherine Phillips Elena Stepanova
THE CHURCH OF THE VIRGIN CHALKOPRATEIA IN CONSTANTINOPLE:
SPHRAGISTICS AS EVIDENCE
The article looks at an extremely rare artefact in the Hermitage collection, an eighth-century lead tessera with the inscription TAc 7zawvx-. .doc ziv ^Kahco7tgar(£). .cov. Tesserae were direcdy connected to charitable works of the kind that reached considerable proportions in Byzantium. One form of charity included the distribution of tesserae to the poor, often as part of different ceremonies. These jetons could then be exchanged for bread or other necessaries. The Hermitage tessera is linked to the activities of the Church of the Virgin Chalkoprateia, one of the most venerated churches dedicated to the Virgin in Constantinople; the church’s greatest treasure was the Virgin’s girdle. H Kawuxlc (genetive — 7zawi)xi5o£) can be translated from the Greek as “all-night vigil”. The Hermitage tessera was probably connected to charitable activities during the night processions honouring the Virgin that were established in the middle of the fifth century under the Empress Pulcheria, thought to have founded the church, and which may have continued into the eighth century.
Translated by Catherine Phillips Nikolay Alekseenko
BYZANTINE TAURICA WITHIN THE IMPERIAL SYSTEM OF FINANCIAL
AND ECONOMIC COMMUNICATIONS ACCORDING TO THE SEALS OF FISCAL
AND CUSTOMS SERVICE
Analysis of the data of the Byzantine lead seals demonstrates that Byzantine Taurica was not ignored by various central and provincial administrative services and clearly played a notable role in the Black Sea Region’s international trade.
Finds of seals of the officials of the Byzantine customs administration provide evidence that there was state control of goods from foreign merchants here as eady as the seventh century.
Finds of seals of kommerkiarioi in the Crimea establish a clear range of contacts between local civil servants and their colleagues and thus indicate quite specific links between Taurica and the regions of the Empire from where goods came for export and to which northern imports were delivered (Constantinople, the ports of the Hellespont and the Southern Black Sea Region).
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Evidence of close contacts between Taurica and the fiscal administration of the maritime regions of the Southern Pontus and the Hellespont is provided by molybdoboulloi of the genikoi logothetai and their subordinates, the dioiketai of Chaldia, Mytilene and Amastris.
Analysis of the data from these seals shows that in the Early Byzantine period but also much later the two main ports of Taurica, Cherson and Sougdaia, were the subject of considerable attention from the various central and provincial imperial offices and continued to play a notable role in international trade throughout the Black Sea Region as transit centres for goods of all kinds, not only facilitating the supply of Byzantine exports to the north but serving as the entrance point for imported goods to reach Byzantium and other Mediterranean lands. This led to their transformation into major trading and economic centres and in turn brought the imperial fiscal administration a stable source of taxes and customs duties.
Translated by Catherine Phillips Tatiana Slepova
LOMBARDIAN SILVER COINS OF THE REIGN OF PERCTARIT (671-686)
IN THE HERMITAGE COLLECTION
The article analyses Lombardian coins apparently issued in the reign of King Perctarit (671—687), the main material consisting of fifteen silver one-sided coins with Latin lettering forming the syllable “PER’5 on the obverse, all dated to the seventh century. These coins arrived in the Hermitage from the collection of the Princes Stroganov in 1918. Scholars have traditionally said the coins were produced under Perctarit, an opinion not shared by the author. Close study of the coins in X-ray fluorescence informs us that their alloys contain different amounts of silver, from 38 to 90 per cent. Detailed descriptions of the coins and the composition of the alloys from which they are made are given in a catalogue at the end of the article. The form of the letters in the syllable “PER” is different on each coin. The author concludes that the coins were in fact issued by three different Lombard rulers, Perctarit, Cunincpert and Aripert, particularly since the syllable ‘TER” appears in each of their names. The author also proposes a relatively broad date for their issue, from the 670s to the 710s.
Translated by Catherine Phillips
Archive Materials. Historiography, Memoirs
Anna Aponasenko
BYZANTINE WORKS OF ART AMONGST THE HERMITAGE’S “TROPHY” COLLECTIONS (THE HISTORY OF THEIR ARRIVAL FROM GERMANY IN 1945^-1946)
This article seeks to explain the reasons behind the removal of works of art from post-war Germany to the USSR, and how that removal was effected, on the basis of the Byzantine works amongst the “trophy” collections in the Hermitage.
Since 1943 the USSR had been drawing up lists of works of art intended for removal from museum reserves in Germany as reparation for Soviet cultural valuables lost during the war. The list of Byzantine equivalents compiled by Academician V. N. Lazarev consisted of sixteen of the most important works of art in Dresden museums and the Kaiser-Friedrich-Museum in Berlin.
In the spring and summer of 1945 parts of the collection of Byzantine art were discovered in Germany and moved to the USSR. Works from Dresden were sent to Moscow, to the Pushkin State Museum of Fine Arts, while objects from the Kaiser-Friedrich-Museum made their way to the Hermitage in Leningrad. The latter objects had been found in the burned-out Friedrichshein flak tower in Berlin and in the buildings on Museum Island.
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Initially the removal of Byzantine art from Germany was intended as reparation for the USSR’s losses during the war. It was planned to remove no more than sixteen items of Byzantine art of the highest quality. Ultimately only the State Hermitage received more than 1,200 items, the larger amount of the removal was explained by the need for urgent conservation. After the completion of conservation undertaken at the Hermitage works of Byzantine art from the Kaiser-Fnedhch-Museum were returned to Germany in 1958.
Translated by Catherine Phillips Irina Kyzlasova
FROM A HISTORIOGRAPHER’S NOTEBOOK: TWO SKETCHES
The first sketch looks at a unique document, a photograph taken between 9 and 11 October 1916 in Novgorod. It shows Academician Nikodim Kondakov (the last known photograph of him in his native land), Archbishop Arsenios (Arseny) (Stadnitsky) of Novgorod and a number of others. Previous publications of the photograph provided an imprecise identification of those other individuals. Only K. K. Romanov and G. I. Kotov were, in this author’s opinion, correctly identified. We see also P. I. Neradovsky and N. A. Okolovich. This allows us to propose that the photograph shows most of the members of the Commission for the Development of Measures to Preserve Novgorod’s Ancient Monuments, set up by the Imperial Academy of Arts to deal with the consequences of the laying of the nearby railway. The Commission might well be named in honour of its chairman: the Kondakov Commission. Its actual significance was to be far greater than originally thought thanks above all to the involvement of Nikodim Kondakov, who was the first to truly discover the paintings in the Church of the Saviour on the Nereditsa (1198), which in the 1890s was in desperate need of conservation.
The second sketch clarifies certain aspects of the illustrations in the two most famous pre-war books on the Russian icon, published by Russian scholars abroad: P. P. Muratov’s Les icons russes (Paris, 1927) and N. P. Kondakov’s The Russian Icon (Prague, 1928, vol. 1). It becomes clear that Muratov, who lacked photographs of icons discovered after his departure from Russia in 1922, nonetheless managed to get some information from the USSR, perhaps from A. I. Anisimov. It was only from the second volume of the magnificent four-volume The Russian Icon (1928—1933) that the Seminarium Kondakovianum made use of some of the illustrations removed from Russia with huge difficulty by the author. The first volume or album was compiled of 65 coloured plates, of which 62 were produced by the Prague company Union in 1913. They had been commissioned by the Moscow publisher Knoebel for a proposed luxury album of icons from the Moscow collections of I. S. Ostroukhov, S. P. Ryabushinsky and others — although publication did not take place the plates remained in Prague. Muratov was clearly aware of the publication, but left no comment on it. In their lifetime, Kondakov and Muratov were in many ways antagonists but their last works on icon painting played an important role in propagandising this important art form in the West.
Translated by Catherine Phillips
Arseny Sokolov
THE DECREE FROM THE 20TH OF JANUARY 1918 “ON THE SEPARATION OF CHURCH AND STATE, AND EDUCATION .AND CHURCH”:
TO THE HISTORY OF THE HOLY GOVERNING SYNOD
The article is dedicated to the events connected with the abolition of the Holy Governing Synod in Russia in early 1918. It is concluded that the Soviet Government did not issue any special regulations in this regard; Bolsheviks only ordered confiscation of the Synod property on the basis of the Decree “On the Separation of Church and State”. The Holy Synod was abolished by the ecclesiastical authority.
Translated by sîrseny Sokolov
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Ludmila Khrushkova
NIKODIM PAVLOVICH KONDAKOV (1844-1925): A NEW MONOGRAPH
The extensive Russian-language literature on Nikodim Pavlovich Kondakov that has appeared in recent years has now been complemented by publications in foreign languages. Among the most important is the work of Ivan Foletti (Brno-Lausanne), Da Bisan^io alia Santa Russia. Nikodim Kondakov (f844-1925) e la nas cita della storia dell’arte in Russia, Roma: Viella, 2011 (Études lausannoises d'histoire de Tart, 12). This is not a detailed scholarly biography of the Russian scholar, the author limiting himself to analysis of Kondakov’s work on iconography in the second half of his life. Foletti sets out to create an “intellectual portrait” of the scholar, to understand how Kondakov’s academic work reflected the question of Russian identity, how the question of “dialogue between the history of art, nationalism and theology” became a matter of acute interest in Russia in the early twentieth century. Most importantly, the book looks at the relationship between East and West, a question that goes far beyond the limits of art history.
Foletti’s book contains many new and interesting observations. Some of the methods of analysis however, and some of the author’s conclusions, give rise to question or must be refuted. His description of Russia’s public and intellectual life purely within the context of the “Westemisers — Slavophiles” debate seems to represent a considerable simplification, even — in the first decades of the twentieth century — an anachronism. In truth both Russian life and Kondakov’s outlook on the world were far more complex. Nor do documents support Foletti’s assertion that Kondakov “declared himself an atheist” or that at one point he was prepared to collaborate with the Soviet regime. The description of the relationship with the academic schools of Europe is politicised and schematic.
This article looks at some of the sources used by Foletti and at the circumstances surrounding the Vatican’s acquisition of the manuscript of the third volume of Kondakov’s book The Iconography of the Virgin. Foletti’s achievement lies in his discovery of this volume in the archive and its publication in French, and his own translation into Italian of the first volume of this monograph of Kondakov. Ivan Foletti has undoubtedly contributed much to the study of the great Russian scholar.
Translated by Catherine Phillips
Sergey Pevzner
MILENA DUSHANOVNA SEMIZ
These reminiscences bring back memories of a now forgotten employee of the State Hermitage Museum, M. D. Semiz (1909—1984), who entered the Museum in 1933 and with whom the author was personally acquainted. Her family was of aristocratic origins but also a working family: her father, a Serbian by birth, was a historian and lawyer, her mother was one of the first female doctors in Russia. Semiz inherited the noble culture of her family background, combining a broad education with an insistence on always preserving one’s personal honour and integrity, and these qualities continually attracted young people who gathered around her.
The essay follows the main stages in Semiz’s later life. First the terrible winter of the siege of Leningrad, then evacuation to the small town of Myshkin on the Volga, where she ran all sorts of clubs in the local House of Culture. Semiz remained in Myshkin for many years after the end of die war, since her father, who had spent time in the camps, was forbidden from living in large towns. After the death of her parents Semiz moved to Moscow, but suffered considerably, initially from the loss of her husband and secondly from the lack of work according to her profession and qualifications. At last — with the aid of her old friends A. V. Bank and V. I. Antonova — she found a new post in the Library of
the Andrey Rublev Museum, her animated and charming character helping her to build up a new circle
of friends.
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SUMMARIES
In conclusion the article describes the marvellous doll’s palace that Semiz created, inhabited by a multitude of figures dressed in the attire of different people of all classes and all ages. The doll’s palace is now in the museum in Myshkin.
Detailed footnotes include information on all the individuals mentioned in the text.
Translated by Catherine Phillips
Yun Savelyev
M. V. KRASOVSKY AND HIS JOURNEY TO CONSTANTINOPLE AND ATHENS
The concepts underlying Byzantine art became a matter of acute relevance in Russian architectural circles with the start of a new stage in the evolution of “Byzantine style”, the fashion for which reached unheard-of heights in the late nineteenth and, most particularly, early twentieth century, mostly in the Institute of Civil Engineers where the architect worked, and in the more narrow circle in which he moved. It is indicative of the mood that during these years several professors of the Institute — first N. V. Sultanov and V. A. Kosyakov, then Count S. D. Sheremetev and, a little later, M. V. Krasovsky — all visited Constantinople and the towns of long-lost Byzantium. The young architect’s academic preferences were much influenced by the creative ideas so heatedly discussed in the architectural world of St Petersburg.
The architect was born on the 7th (20 New Style) of February 1874 in Odessa, the son of a military engineer, Captain V. A. Krasovsky. His grandfather, Apollinary Kaetanovich (1817—1875), was a tutor at the Institute of Railway Engineers and the Construction College, author of the course Civil Architecture (1851). The future historian was educated in Moscow, at the First Gymnasium (1885—1894). In September 1894 he entered the Nicholas I Institute of Civil Engineers with which the following 36 years of his life were to be connected. Tellingly, Krasovsky’s choice of subject for his diploma project was “The Design of a Monastery Church in Neo-Byzantine Style” (1898). After graduating from the Institute in May 1899 he spent eighteenth months on military service and on 15 September 1900 was appointed Junior Assistant to the Inspector of the Institute of Civil Engineers. On 1 September 1903 he was appointed part-time tutor of architectural drawing (until 1 October 1920) and later — after giving a trial lecture — tutor in the history of architecture, architectural forms and Orders; on 1 January 1905 he was appointed secretary to the Council of the Institute for a term of three years.
A major role in the young architect’s career was played by his tutor and mentor N. V. Sultanov (1850—1908), who in 1904 introduced Krasovsky to Count S. D. Sheremetev, under whom he served until the eve of the revolution of 1917. That same year, 1904, the Institute sent him to study Etruscan architecture in Italy and in 1908 to Turkey and Greece. The academic purpose of these trips was to compare the plans of Byzantine churches with those of pre-Petrine Russian churches; the results were published in the scholarly monograph Plans of Old Russian Churches. The Study of Pre-Petrine Russian Church Architecture in its Connection with Byzantine Church Architecture (1915). The unique nature of Krasovsky’s study of medieval Byzantine monuments lay in the application of a purely architectural, typological approach. Moreover, he put together a unique collection of his own photographs and measurements of churches.
Translated by Catherine Phillips
Mich ail Krasovsky
DIARY OF A JOURNEY TO CONSTANTINOPLE AND ATHENS. 1908
The published diary of architect Mikhail Vitoldovich Krasovsky covers a journey to Constantinople, Athens, and other towns in Turkey and Greece that he undertook in 1908. It was written in draft form during the trip, with a clean copy made later in Petrograd in the winter of 1921—1922; the author himself
597
SUMMARIES
dated the completion of the manuscript as 13 April 1922. Stuck into the three handwritten notebooks are photographs taken by Krasovsky during his trip, along with postcards of towns and architectural monuments mentioned in the diary Unfortunately, the limited space made it possible to publish only selected illustrations here. The original diary is now in the archive of Yuri Savelyev, to whom it was entrusted specifically for the purpose of scholarly study and publication by the architect’s son Yuri Krasovsky.
Mikhail Krasovsky began his journey on 8 April, 1908, when the train from St Petersburg set off to take him to the shores of the Black Sea. On 10 April the architect arrived in Odessa, the city of his childhood, though the first pages of the diary are filled with early reminiscences. On 11 April he took ship from Odessa to Constantinople, which Krasovsky frequendy referred to in the diary by the Old Russian name of Tsargrad. Early on the morning of 13 April the architect was happy to see the shores of the Bosporus: that day he came ashore and started looking around Constantinople. Krasovsky’s main scholarly and practical purpose during his trip was to study medieval churches, to take their dimensions and make their plan views. Of course, he was also interested in architectural monuments from other periods, whether Classical Antiquity or Islamic
On 14 April Krasovsky crossed to the Asian shore and went up Mount Bulgudu, from which eight years previously Count Sergey Dmitrievich Sheremetev delightedly observed the city and the panorama across the Sea of Marmara and the Black Sea. Krasovsky was no less struck by the sight and recorded in his diary that the horizon opened up in front of him at the top of the hill was such as he had never seen before: the Bosporus, Constantinople, the Prince Islands — everything clearly laid out as if on a map. Krasovsky could hardly drag himself away from the glorious panorama before which, he asserted, even the view of Florence from Fiesole paled in comparison.
The following days were spent getting to know the city and its many sights, and here we should stress that Mikhail Krasovsky manifested no less interest in mosque architecture than in the monuments of medieval Byzantium. On 16 April he was received by the Russian ambassador, Ivan Alexeevich Zinovyev, and the diary includes an interesting description of the embassy building and its interiors. Then, on 17 April, Krasovsky set off for Athens on the ship Imperator Nikolay II. The observant architect even recorded his interesting and perceptive impressions of the ships of the Russian Society for Shipping and Trade.
Passing the Dardanelles - the ancient Hellespont - on 18 April the ship stopped at Smyrna. Krasovsky’s visit to the ancient city and to its many monuments — amongst which the architect particularly noted a Greek church — made a lasting impression on him. On 19 April he arrived at his ultimate destination, Athens, where he stayed in the Hotel Alexander the Great. The first thing he did was to visit to the Acropolis, spending several hours studying the complex.
With no time to be lost, on 20 April the conscientious architect set out to fulfil his grand plan, taking measurements of the medieval Greek churches of Athens, a task to which he devoted the following two weeks. He was particularly interested in the architecture of the Church of St Nicodemus at the Russian embassy Krasovsky took measurements and photographed some of Athens’ best-known churches — the eleventh-century Church of the Presentation of the Virgin in the Temple (the Church of Panagia Kapnikarea), the tenth-century Church of the Holy Apostles, Eumorfiecclesia, the Daphni Monastery with its Church of the Dormition of the Virgin, and the Church of St Catherine.
As a great admirer of classical civilization Krasovsky visited the most famous centres of Ancient Greece, including Eleusis, Mycenae, Tiryns, and Nafjplio. But after a short tour, he returned in the last days of April to measuring medieval churches, often working till the point of exhaustion. He usually took measurements in the mornings, after lunch putting his notes in order — by no means a simple task, requiring considerable intellectual effort. In his diary for 30 April 1908 the architect recorded that if he be able to arrange the results of his work in systematic order and put in writing the ideas that were already taking shape in his head then no one would say he had wasted the government’s money on this trip. On 3 May he completed his work in Athens, taking the measurements of St Catherine’s Church, the
598
SUMMARIES
last of the churches on his list, and then sorting out all his sketches, plan drawings and cross-sections. After a short trip around Greece, he spent two more days in Athens, 7 and 8 May, and on 9 May took ship for Salonika. In this, the second city of ancient Byzantium, he studied the main medieval churches — the Rotunda of St George, the Basilica of St Demetrius of Thessaloniki, the Cathedral of St Sophia, the Church of St Elijah and the Twelve Apostles — and took photographs of them.
The return trip to Constantinople took four days. On the morning of 16 May the architect had a chance once again to enjoy the panoramic view of the Byzantine capital. He spent almost the whole day looking at mosques, and on 17 May, with the aid of the Russian Embassy and accompanied by Roman Khristianovich Leper from the Russian Archaeological Institute in Constantinople, Krasovsky visited for the first time the famous Hagia Sophia — the Cathedral of St Sophia, then still a working mosque. His impressions were in keeping with the admiring responses of Professor Nikolay Sultanov and Count Sergey Sheremetyev. In his diary Krasovsky noted that the Hagia Sophia was not to be judged by its exterior. If it seemed to him from a first glance at the facade that it was not worthy of the enthusiastic praise he had heard or read, once inside even that praise seemed faint, not conveying even a tenth of the impression that this superlative work of architecture made upon him. He proclaimed that one needed the talent of Leo Tolstoy to be able to describe the church, but what architect had such skill with the pen? In a similarly ecstatic vein he wrote that though he had seen many cathedrals, not St Peter’s in Rome, nor St Stephen’s in Vienna, nor the Milan Cathedral had so amazed him as the work of Anthemius of Tralles and Isidore of Miletus — the Hagia Sophia. He recalled a tale from Russian chronicles about the envoys of Prince Vladimir, and felt that they might indeed have thought they had gone to heaven when they entered the Cathedral of St Sophia.
In the course of several days the architect looked at the Church of Saints Sergius and Bacchus, the Palace of Bukoleon, the Church of Theotokos, the Monastery of the Pantocrator, the Valens Aqueduct, the Church of Christ Pantocrator in the Chora Monastery (Kariye Camii), the Palace of the Porphyrogenitus, and the Church of Saint Thekla. Some of them he was even able to photograph. It should be noted that in those days an interest in old Orthodox sites in Constantinople was far more dangerous than it is today.
From 20 to 22 May Kraskovsky travelled with Robert Beker, a colleague from the St Petersburg Institute of Civil Engineers who had joined him, to Bursa, capital of the Ottoman state in the fourteenth century. There the two architects enjoyed magnificent examples of Islamic art, admiring the ceramic and marble decoration of local mosques and civil structures.
On their return to the capital on 23 May it remained only to thank the hospitable staff of the Russian Archaeological Institute in Constantinople —Roman Leper and director Fyodor Ivanovich Uspensky, who may have looked severe and self-important but who, to judge by what was said of him, was a good and kind man. On 25 May, Mikhail Krasovsky sailed from Constantinople for Odessa, accompanied by Ivan Zinovyev, the Russian ambassador and his relative. It was in Odessa where the architect’s extremely productive research trip came to an end, a detailed and emotional description of which Krasovsky left in his diary.
It was there in Odessa that the architect’s extremely productive research trip came to an end, but it lives on in the detailed and emotional description he left us in his diary.
Translated by Catherine Phillips
coaep kahhe
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H3 BH3aHTHHCKoro XepcoHa.
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h PÏHCTHTyTa boctohhhx pyKonHceii PAH).
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BpeMeHH b AHacTacHonoAe (Aape).
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paHiy306 C. A. ^Kirrae cb. FepacHMa H3 Bmcccn: yHHKaAbHWH naMBTHHK
cHpo-BH3aHTHHCKoil arnorpa(|)HH b apaöcKOH nepeAane.
BH3aHTHH e PyCK
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H IO)KHOpyCCKaH TpaAHmiH.
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HoBropoACKoro My3ea-3anoBeAHHKa
KaKoemnA. Ä.
7
14
35
53
63
81
101
108
114
119
133
180
190
199
212
225
235
241
260
271
290
600
I
CONTENTS
Artistic Heritage of Byzantium
Zaigraykina Svetlana. The Mosaic of Christ and the Apostles in the Chapel
of Sant’Aquilino in Milan. Image and Method. 7
Lidova Maria. Monumental Icons in Early Byzantine Art.
The Virgin Orant from the Oratory of John VII (705—707) in Rome. 14
Kavrus-Hoffmann Nade^hda, Pyatnitsky Yuri. An Eleventh-Century Illuminated
Greek Psalter at the Hermitage Museum (acc. no. BBc3-l309). 35
Matveeva Yulia. Throne Curtains in Hagia Sophia in Constantinople: Iconography,
Conception, Tradition . 53
Zakharova Anna. Images of Martyrs in Byzantine Monumental Painting
of the Tenth — Eleventh Centuries. 63
Katarina Vera. The Byzantine Tradition in the Iconography of the Epitaphios
and Altar Cloth in the Late Twentieth and Early Twenty-First Centuries. 81
Kramarovsky Mark. The Cross of Bessarion (c. 1355). On the Genesis
of Byzantine Spiral Filigree. 101
Zalesskaya Vera. A Byzantine Cross from the Medikion Monastery. 108
Ry%hov Stanislav, Yashaeva Tatiana. Two Seals with Christian Scenes from Byzantine Cherson. 114
Byzantium and the Christian Orient
Hakobyan Zaruhi. The Image of St Christopher in Early Medieval
Armenian Sculpture (Seventh Century). 119
Pyatnitsky Yuri. A Precious Book Cover of the Four Gospels from the Vardzia Monastery. 133
Putsko Vasily. Two Miniatures horn the Four Gospels of Largvissi:
an Experiment of Identification. 180
I Kakovkin Alexander . On the Role of the Virgin Mary in Wall Paintings
in Several Chapels at Bawit . 190
Osharina Olga. A Heavenly Image of the Incorruptibility of Flesh (On the Symbolism
of the Peacock on Coptic Artefacts in the Hermitage Collection). 199
Semenov Nikita. A Relief from Heracleopolis Magna in the Hermitage’s Coptic Collection. 212
Gusarova Ekaterina. Byzantine Influence in Ethiopian Miniatures (on the Materials
from the Russian National Library and the Institute of Oriental Manuscripts Collections). 225
Butyrsky Mikhail Reliefs from an Early Byzantine Cave Tomb in Anastasiopolis (Dara) . 235
Fionin Maxim. A Greek Lectionary in the Collection of the Institute of Oriental Studies
of the Russian Academy of Sciences. 241
Frantsougojf Serge A. The Life of St Gerasimus of Emessa: the Unique Tale
of Syro-Byzantine Hagiography in an Arabic Recension . 260
Byzantium and Russia
Arkhipova Elizabeth. Small Stone Icons with Warrior Saints:
the Byzantine Heritage and the Southern Russian Tradition .
Gordienko Elisa. An Icon of The Apostles Peter and Paul in the Collection of the Novgorod Museum Reserve .
601
COAEP^CAHHE
OcmamynA. H., KoAodmifmü A. E. Cmrrae h nepeHecemie 4 pecKH XII Bexa Ha HOBoe ocHOBaHHe, oncpfirrae 4 pecKH h ApeBHen OKOHHHUbi XI Bexa
B aATape npHAeAa Ahtohhh h OeoAOCHH CotJmKCKoro coGopa b KneBe. 308
Tj/MUHCKOH O. A. 06pa3 AnApe« lOpOAHBOrO B BH3aHTHHCKOH H pyCCKOH
H3o6pa3HTeABHOH TpaAfïIÎHH. 316
CmenamuKO B. IJ. ÜMnepaTopcKaH cTeMMa h KHÆKeecKaH mamca.
BH3aHTHHCKHe peraAHH Ha pycH XI — HanaAa XII BeKa. 332
IluompoecKOH E. K IToneMy ApeBHepyccxaH Bepcna 3eMAeAeAbnecKoro 3aKOHa
coxpaHHAacb b cocTaBe komhhmiîhh «KHHrn 3aKOHHhie»?. 342
ApxeoAorHH KpMMa
Aü6a6un A. HXaüpeduuoea 3. A. Bn3aHTHHCKHH ceAtcKoxo3HHCTBeHHWH HHBeHTapb
H3 pacKonoK Ha 3cKH-KepMeHe . 352
3uHbK0 A. B. K Bonpocy o pmGoaobiiom rrpoMbrcAe b paHhcbk3aHThhckoh TupHTaxe. 369
3uHbK0 E. A., 3üHhK0 B. H. Hpoijecc XpPïCTHaHH3aiIH h HÜCeAeHHH
ôocnopcKoro ropOAa TupHTaxa. 377
Mbîif B. A. BpeMH h npHHHHH m6eAH b XIII Bexa ropoAOB b H3aHTHhckoh TaspHKH (HcropHorpa4)HHecKHH acneicr npoÔAeMbt). 389
CcJjparHCTHKa h hvmh3 MaTHKa
UlandpoecKOH B. C. BH3aHTHÍícKHe nenaTH c MeTpHnecKHMH HaAnncaMH. 401
Cmenamea E. B. XpaM BoroMaTepH XaAKonpaxMHCKOH b KoHcraHTHHonoAe:
c(|)parHCTHHecKoe cbhAereAbCTBo. 409
AneKceeuKo H. A. BH3aHTHHCKaH TaBpHxa b CHcreMe HMnepcKHx c|)HHaHcoBMx
h 3KOHOMHHecKHX KOMMyHHKanHH no AaHHMM nenaTeH HHHOBHHKOB c})HCKa
H TOprOBO-TaMO^eHHOH CApKÔbl. 415
Cjienoea T. H. CepeôpÆHbie AaHroôapAocue mohcth BpeMeHH IlepKTapHAa (671—686)
H3 coôpaHna 3pMHTasca . 425
ApXHBHue MaTepnaAM, HCTOpHorpa(J)BLa, MeMyapw
AnouaceuKo A. H. npoH3Beachhh Bn3aHTHHCKoro HCxycciBa b cocxaBe «Tpo J eHHMx»
4 ohaob 3pMHTa»ca (ncTopnH nocrynAeHHH h3 lepMannH b 1945-1946 roAax). 435
Ku iacoea H. A. M3 3anncHoñ khkhckh HcropHorpac^a: Aßa onepxa. 444
CoKOAoe A. B. AeKpeT ot 20 HHBapa 1918 roAa «06 otacachhh nepKBH ot rocyAapcraa h iiikoam ot ixepKBH». K HCTopHH CsHTeHinero Chhoas. 457
XpyuiKoeaA. 17 Hhkoahm riaBaobhm KoHAaxoB: HOBaa MOHorpac| HJi . 466
neesnep C. E. MuAeHa AymaHOBHa CeMH3. 488
CaeeAbee JO. P. M. B. KpacoBCKHH h ero nyTemecTBHe b KoHcraHTHHonoAb h A^hhbî. 497
Kpacoecfcuü M. B. Àhcbhhk noe3AKH b KoHcraHTHHonoAb h AcJjhhw b 1908 roAy. 312
npHHBTbie coKpam;eHHB. 577
Summaries . 5gp
CONTENTS
Ostapchuk Anatoly, Kolodnitsky Leonid. The Removal of a Twelfth-century Fresco and its Transfer to a New Support, the Discovery of an Eleventh-century Fresco and Window Frame behind the Altar of the Chapel of Sts Antonius
and Theodosius in the Cathedral of St Sophia in Kiev . 308
Tuminskaya Olga. The Image of Andrew the Fool-For-Christ in the Byzantine
and Russian Fine Arts Traditions. 316
Stepanenko Valery. The Imperial Stemmata and the Princely Cap. Byzantine Regalia
in Rus in the Eleventh and Early Twelfth Centuries. 332
Piotrovskaya Elena. Why is the Old Russian Version of the Famer’s Law Preserved
as Part of the Compilation of “Knigi Zakonnie”?. 342
Crimean Archaeology
Aybabin Alexander, Kbayredinova Elnara. Byzantine Agricultural Tools
from Excavations at Eski Kermen. 352
Zinko Aleksey. On the Fishing Industry in Early Byzantine Tyritake. 369
Zinko Elena, Zinko Victor. The Process of Christianisation
of the Bosporan Town of Tyritake. 377
Myts Victor. On the Dating of and Reasons for the Destruction
of Byzantine Tautis in the Thirteenth Century (Historiography). 389
Sphragistics and Numismatics
Sandro vs kay a Valentina. Byzantine Seals with Metrical Inscriptions. 401
Stepanova Elena. The Church of the Virgin Chalkoprateia in Constantinople:
Sphragistics as Evidence. 409
Alekseenko Nikolay. Byzantine Taurica within the Imperial System of Financial
and Economic Communications according to the Seals of Fiscal and Customs Service. 415
Slepova Tatiana. Lombardian Silver Coins of the Reign of Perctarit (671—686)
in the Hermitage Collection . 425
Archive Materials, Historiography, Memoirs
Aponasenko Anna. Byzantine Works of Art amongst the Hermitage’s
“Trophy” Collections (the History of their Arrival from Germany in 1945—1946). 435
Ky spas ova Irina. From a Historiographer’s Notebook: Two Sketches. 444
Sokolov Arseny. The Decree from the 20th of January 1918 “On the Separation of Church
and State, and Education and Church”: to the History of the Holy Governing Synod. 457
Khrushkova Eudmila. Nikodim Pavlovich Kondakov (1844—1925): A New Monograph. 466
Pevsner Sergey. Milena Dushanovna Semiz. 488
Savelyev Yuri. M. V Krasovsky and his Journey to Constantinople and Athens . 497
Krasovsky MichaiL Diary of a Journey to Constantinople and Athens. 1908 . 512
Abbreviations. 577
Summaries .-. 580 |
| any_adam_object | 1 |
| author2 | Zalesskaja, Vera Nikolaevna ca. 20./21. Jh Stepanova, Elena V. |
| author2_role | edt edt |
| author2_variant | v n z vn vnz e v s ev evs |
| author_GND | (DE-588)143051997 (DE-588)139624066 |
| author_corporate | Konferencija, posvjaščennaja pamjati A.V. Bank, (1906-1984) Sankt Petersburg |
| author_corporate_role | aut |
| author_facet | Zalesskaja, Vera Nikolaevna ca. 20./21. Jh Stepanova, Elena V. Konferencija, posvjaščennaja pamjati A.V. Bank, (1906-1984) Sankt Petersburg |
| author_sort | Konferencija, posvjaščennaja pamjati A.V. Bank, (1906-1984) Sankt Petersburg |
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| bvnumber | BV043512669 |
| ctrlnum | (OCoLC)957724870 (DE-599)BVBBV043512669 |
| format | Conference Proceeding Book |
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| genre | (DE-588)1071861417 Konferenzschrift 2013 Sankt Petersburg gnd-content |
| genre_facet | Konferenzschrift 2013 Sankt Petersburg |
| geographic | Byzantinisches Reich (DE-588)4009256-2 gnd |
| geographic_facet | Byzantinisches Reich |
| id | DE-604.BV043512669 |
| illustrated | Illustrated |
| indexdate | 2024-11-19T13:04:29Z |
| institution | BVB |
| institution_GND | (DE-588)1096529998 (DE-588)2124053-X |
| isbn | 9785935726324 |
| issn | 1403480-3 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028928813 |
| oclc_num | 957724870 |
| open_access_boolean | |
| owner | DE-12 DE-255 DE-Y2 |
| owner_facet | DE-12 DE-255 DE-Y2 |
| physical | 601, XXII Seiten Illustrationen |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | Izdatelʹstvo Gosudarstvennogo Ėrmitaža |
| record_format | marc |
| series | Trudy Gosudarstvennogo Ėrmitaža |
| series2 | Trudy Gosudarstvennogo Ėrmitaža |
| spelling | 880-04 Konferencija, posvjaščennaja pamjati A.V. Bank, (1906-1984) 2013 Sankt Petersburg Verfasser (DE-588)1096529998 aut 880-06 Vizantija v kontekste mirovoj kulʹtury materialy konferencii, posvjaščennoj pamjati A.V. Bank (1906-1984) = Byzantium within the context of the world culture : proceedings of the conference in memory of Alisa Bank (1906-1984) Gosudarstvennyj Ėrmitaž ; redakcionnaja kollegija: V.N. Zalesskaja, E.V. Stepanova (naučnye redaktory) [und vier weitere] Byzantium within the context of the world culture 880-07 Sankt-Peterburg Izdatelʹstvo Gosudarstvennogo Ėrmitaža 2015 601, XXII Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier 880-08 Trudy Gosudarstvennogo Ėrmitaža 74 1403480-3 Text russisch, Zusammenfassungen und Inhaltsverzeichnis in englischer Sprache Kyrillische Schrift Nachbarstaat (DE-588)4170996-2 gnd rswk-swf Kulturaustausch (DE-588)4165964-8 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Byzantinisches Reich (DE-588)4009256-2 gnd rswk-swf (DE-588)1071861417 Konferenzschrift 2013 Sankt Petersburg gnd-content Byzantinisches Reich (DE-588)4009256-2 g Kunst (DE-588)4114333-4 s Kulturaustausch (DE-588)4165964-8 s Nachbarstaat (DE-588)4170996-2 s DE-604 880-01 Zalesskaja, Vera Nikolaevna ca. 20./21. Jh. (DE-588)143051997 edt 880-02 Stepanova, Elena V. edt 880-03 Bank, Alisa Vladimirovna 1906-1984 (DE-588)139624066 hnr 880-05 Gosudarstvennyj Ėrmitaž (DE-588)2124053-X isb Trudy Gosudarstvennogo Ėrmitaža 74 (DE-604)BV011847213 74 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928813&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928813&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 700-01/(N Залесская, Вера Н. edt 700-02/(N Степанова, Елена В. edt 700-03/(N Банк, Алиса В. hnr 111-04/(N Конференция, посвящённая памяти А.В. Банк, (1906-1984) aut 710-05/(N Государственный Эрмитаж 4isb 245-06/(N Византия в контексте мировой культуры материалы конференции посвящённой памяти А.В. Банк (1906-1984) Государственный Эрмитаж ; редакционная коллегия: В.Н. Залесская, Е.В. Сепанова (научные редакторы) 264-07/(N Санкт-Петербург Издательство Государственного Эрмитажа 2015 490-08/(N Труды Государственного Эрмитажа 74 |
| spellingShingle | Vizantija v kontekste mirovoj kulʹtury materialy konferencii, posvjaščennoj pamjati A.V. Bank (1906-1984) = Byzantium within the context of the world culture : proceedings of the conference in memory of Alisa Bank (1906-1984) Trudy Gosudarstvennogo Ėrmitaža Nachbarstaat (DE-588)4170996-2 gnd Kulturaustausch (DE-588)4165964-8 gnd Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)4170996-2 (DE-588)4165964-8 (DE-588)4114333-4 (DE-588)4009256-2 (DE-588)1071861417 |
| title | Vizantija v kontekste mirovoj kulʹtury materialy konferencii, posvjaščennoj pamjati A.V. Bank (1906-1984) = Byzantium within the context of the world culture : proceedings of the conference in memory of Alisa Bank (1906-1984) |
| title_alt | Byzantium within the context of the world culture |
| title_auth | Vizantija v kontekste mirovoj kulʹtury materialy konferencii, posvjaščennoj pamjati A.V. Bank (1906-1984) = Byzantium within the context of the world culture : proceedings of the conference in memory of Alisa Bank (1906-1984) |
| title_exact_search | Vizantija v kontekste mirovoj kulʹtury materialy konferencii, posvjaščennoj pamjati A.V. Bank (1906-1984) = Byzantium within the context of the world culture : proceedings of the conference in memory of Alisa Bank (1906-1984) |
| title_full | Vizantija v kontekste mirovoj kulʹtury materialy konferencii, posvjaščennoj pamjati A.V. Bank (1906-1984) = Byzantium within the context of the world culture : proceedings of the conference in memory of Alisa Bank (1906-1984) Gosudarstvennyj Ėrmitaž ; redakcionnaja kollegija: V.N. Zalesskaja, E.V. Stepanova (naučnye redaktory) [und vier weitere] |
| title_fullStr | Vizantija v kontekste mirovoj kulʹtury materialy konferencii, posvjaščennoj pamjati A.V. Bank (1906-1984) = Byzantium within the context of the world culture : proceedings of the conference in memory of Alisa Bank (1906-1984) Gosudarstvennyj Ėrmitaž ; redakcionnaja kollegija: V.N. Zalesskaja, E.V. Stepanova (naučnye redaktory) [und vier weitere] |
| title_full_unstemmed | Vizantija v kontekste mirovoj kulʹtury materialy konferencii, posvjaščennoj pamjati A.V. Bank (1906-1984) = Byzantium within the context of the world culture : proceedings of the conference in memory of Alisa Bank (1906-1984) Gosudarstvennyj Ėrmitaž ; redakcionnaja kollegija: V.N. Zalesskaja, E.V. Stepanova (naučnye redaktory) [und vier weitere] |
| title_short | Vizantija v kontekste mirovoj kulʹtury |
| title_sort | vizantija v kontekste mirovoj kulʹtury materialy konferencii posvjascennoj pamjati a v bank 1906 1984 byzantium within the context of the world culture proceedings of the conference in memory of alisa bank 1906 1984 |
| title_sub | materialy konferencii, posvjaščennoj pamjati A.V. Bank (1906-1984) = Byzantium within the context of the world culture : proceedings of the conference in memory of Alisa Bank (1906-1984) |
| topic | Nachbarstaat (DE-588)4170996-2 gnd Kulturaustausch (DE-588)4165964-8 gnd Kunst (DE-588)4114333-4 gnd |
| topic_facet | Nachbarstaat Kulturaustausch Kunst Byzantinisches Reich Konferenzschrift 2013 Sankt Petersburg |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928813&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028928813&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV011847213 |
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