Verfügbarkeit: Vizantija v kontekste mirovoj kulʹtury

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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Bibliographische Detailangaben
Körperschaft:	Konferencija, posvjaščennaja pamjati A.V. Bank, (1906-1984) Sankt Petersburg (VerfasserIn)
Weitere Verfasser:	Zalesskaja, Vera Nikolaevna ca. 20./21. Jh (HerausgeberIn), Stepanova, Elena Vladimirovna ca. 20./21. Jh (HerausgeberIn)
Format:	Tagungsbericht Buch
Sprache:	Russian
Veröffentlicht:	Sankt-Peterburg Izdatelʹstvo Gosudarstvennogo Ėrmitaža 2017
Schriftenreihe:	Trudy Gosudarstvennogo Ėrmitaža 89
Schlagworte:	Nachbarstaat Kulturaustausch Kunst Byzantinisches Reich Konferenzschrift > 2013 > Sankt Petersburg Festschrift > 2017 > Sankt Petersburg
Online-Zugang:	Inhaltsverzeichnis Inhaltsverzeichnis Abstract
Beschreibung:	543 Seiten, 1 Faltblatt Illustrationen, Pläne (schwarz-weiß), 1 Faltblatt (farbig)
ISBN:	9785935727512
ISSN:	1403480-3

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Datensatz im Suchindex

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adam_text	CONTENTS Byzantine Art Legacy Maria Udova The Image of the Virgin Patricia in Early Christian Iconography. 7 Yulia Matveeva Textile Elements in Byzantine Mandorlas and Depictions of the Firmament. 22 Elisa Gordienko Silver Cases for Twelfth-century Icons: Artisans and Customers. 40 Rafael Minasyan Byzantine Silverware: a Manufacturing Technique. 55 Elnara Khairedinova The Second Half of the Seventh-century Byzantine Necklace from the Eski-Kermen Cemetery. 62 Vera Zalesskaya Mandylion Encolpia in the Collection of the State Hermitage Museum. 76 Tatiana Yasbaeva Reliquary Cross with an Enclosure from the T935 Basilica’ in Chersonesos. 81 Mark Kramarovsky From Khanbaliq to Constantinople: Fourteenth-century Mongolian Filigrees (New Materials). 90 Byzantine Architecture and Urban Construction. New Discoveries Svetlana Adaksina, Victor Myts The Genoese Fortress of Cembalo: Key Stages in the Urban Planning and Infrastructural Development in the Fourteenth and Fifteenth Centuries. 103 Aleksandr Aibabin Early Byzantine Bosporus. 140 Andrey Vinogradov, Denis Jolshin The Medieval Church in Sinkoti (Shavsheti Province): Transcaucasian Domed Basilicas and the Brick Architecture of South-West Georgia. 151 Alexey Zinko, Victor Zinko On the Topography of the Bosporus in the Early Byzantine Period. 164 Vadim Maiko Excavations of the Church of the St George Monastery on Ai-Georgi Mount, Sudak. 177 Uudmila Khrushkova The Early Christian Site in Sebastopolis, Abkhazia: A Domed Octagon and Basilica. 190 541 COAEP KAHHE M. A. MeuicuiKUH IlaHopaMa OraMÓyAa h Bocc\| opa H3 coopahm OHPK TocyAapcrßeHHoro 3pMirra^ca. 223 BH3aHTHH h conpeAeABHwe cTpam i 3. A. Akomh HoBOHBAeHHue oöpa3M h cióme tu apMÄHCKHx paHHecpeAHeBeKOBMx creA . 234 A. Ul. MuKaejLHH M3o6pa)KCHHB bchiiob cAaBM b paHHecpeAHeBeKOBOH CKyABmype ApMeHHn h hx napaAA.eAH b HcxyccTBe BH3aHTHH h CacaHHACKoro Hpam. 254 E. H. MeufepcKOH AereHAa ob Aßrape h aHTHnyAencKaa noAeMUKa b CHpmfCKOM anoKpHcJ e «Hcxoa Mapnn» . . 270 0. B. Ouiapum BiiÔAeHCKHe CHeHw h o6pa3bi Ha KOirrcKHx TKaHsx. 279 O. A. Tjmuhckoh Oopa3M HOBrOpOACKHX IOpOAHBMX B HOBrOpOACKHX IiaMHTHHKaX H3o6pa3HTeABHOrO HCKyccTBa XVI—XIX bb. 292 MapKO Kamm «npocKHHHTapHH» 1786 ro a a b iiepKBH CßHToro rrpopoKa Mabh ropOAKa BycoBan. 306 C. A. 0pant£)/3oe rpeKo-BH3aHTmicKHe peaAHH b 3c\|)HoncKOM TeKcre xpOHHKH HoaHHa HmcHycKoro. 326 E. B. Tycapoea CHCHHHesa AereHAa b 3 \|)hohcichx pyxonncxx CaHKT-ileTepöypra. 331 A- O. BacuAheea rpynna ocMancKHx cepeüpíiHMx cocyAOB aab ÓAaroBomiH iiepBOH hoaobhhu — cepeAHHM XVIII b. H3 coôpaHHH PÎMnepaTopcKoro 3pMHTanca. 338 Bm. C Kyjieutoe CepeBpo 3a Mexa H3 CTpanti Mpaxa: naMaiHHKH BH3aHTHHCKoíí, boctohhoh H 3auaAHOM TOpeBTHKH H HyMH3MaTHKH B CaKpaABHOH 3KOHOMHKC lOI OpCKOrO oBnrecTBa V-XV bb. 363 CcJ pamCTHKa5 HyMH3MaTHKa, nHCbMeHHbie hctohhhkh E. B. Cmenanoea IJepKOBb h rocyAapcTBo b BH3aHTHH: oahh h3 acneicroB b3aHMOachctbhb. 373 B. C. ÍHandpoecKCLX OrpaJKeHHe reHeaAoiHHecKHx CBCAeniiH Ha BH3aHTHHCKnx iienaTsx c MeTpHHecKHMH AcreHAaMH. 380 jB TI. CmenaneuKo HyAeca apxaHreAa MuxaHAa b BH3aHTHHCKOH cniHAAorpac^HH?. 386 B. B. Typyjieea BH3aHTHHCKHe MOHeTH-oBepern c o6pa30M HMneparopa: oBmne HaÖAEOAeHiui B KOHTeKCTe MOHeT CO CAeAaMH BTOpHHHOrO HCn0Ab30BaHM B COOpaHHH rocyAapcTBeHHoro 3pMHTaJKa. 394 T M. Csienoöa MoHeTM rpa(\|)CTBa 3Aeccbr h3 coöpaHHa 3pMirra5Ka. 408 542 CONTENTS Mikhaii Meshalkin The Panorama of Istanbul and the Bopshorus from the Department of the History of Russian Culture, State Hermitage Museum. 223 Byzantium and its Neighbouring Countries Zaruhi Makobian Newly Discovered Subjects and Images on Early Christian Stelae of Armenia. 234 jLHit MikayeZyan Depictions of Glory Wreaths in Early Medieval Armenian Sculpture and their Parallels in the Art of Byzantium and Sasanian Iran. 254 Elena Meshcherskaya The Abgar Legend and anti-Jewish Polemics in the Syrian Apocrypha cTransitus Mariae. 270 Olga Osharina Biblical Scenes and Imagery on Coptic Textiles. 279 Olga Tuminskaya Images of Novgorod Fools-for-Christ in the Monuments of Novgorod Art in the Sixteenth — Nineteenth Centuries. 292 Marko Katie Painted Proskynetarion from 1786 in the Church of the Holy Prophet Elias in the Town of Busovaca (Bosnia and Herzegovina). 306 Serge Erantsou^off Greek-Byzantine Realia in the Ethiopic Text of the Chronicle of John of Nikiu. 326 Ekaterina Gusarova Images of St Sisinnius in St Petersburg’s Ethiopian Manuscripts . 331 Uaria Vasilyeva Early to Mid-eighteenth-century Ottoman Silver Incense Burners and Rosewater Sprinklers from the Imperial Hermitage Collection. 338 Vyacheslav Kuleshov Silver for Furs from the Land of Darkness: Monuments of Byzantine, Oriental and European Metalwork and Numismatics in Sacred Economy of the Yugra Society, 5th to 15th Centuries . 363 Sigillography, Numismatics, Written Sources Elena Stepanova The Church and State in Byzantium: An Aspect of Interaction. 373 Valentina Sandro vskqy a Genealogical Data on Byzantine Seals with Metrical Inscriptions. 380 Valery Stepanenko The Cycle of the Miracles of Archangel Michael in Byzantine Sigillography?. 386 Vera Guruleva Byzantine Amulet Coins with Images of Emperors: General Observations Concerning Coins with Traces of Reuse from the State Hermitage Museum Collection . 394 Tatyana Slepova Edessa Coins in the Collection of the State Hermitage Museum. 408 543 COAEP2KAHME A. r. 0)pacbee rpa4)(\|)irro Ha aMC^ope H3 Komieiirra: TpH Bepcim npOHTeHna oahofo 3Haxa. 415 B. .4. Mutf Moco(\|)aT Bap6apo o noôere Mchtah Fnpea I H3 ocMaHCKoro nAeHa b 1478 r. 426 E. C.Aeemuna CepöcKHe iipaBHTeAii — KTHTOpbi rpenecKHx MonacTwpeH Cb. Fopw A(jx H (no MaTepHaAaM CepOCKHX AapCTBCHHMX IpaMOT BTOpOH nOAOBHHH XIV — cepeAHHM XV b.). 437 ApxHBHbie MaTepHaABi O. B. Baauibeea BocTOHHMe AapM A. B. 3ßeHnropOACKoro MMiieparopckoíí IlybAHHHOH OHOAiioTeKe: K HCTopHH (\|)OpMHpoBaHiiH 4 oHAa xpHCTHaHCKHx pyKomiceir BoCTOKa. 445 E. K TluompoecKOH O pvKomicH «peAnmo3Ho-HpaBCTBeHHoro coAep5KaHHfl» H3 coôpaHHS H. FL AnxaneBa b ApxHBe Camrr-FieTepôyprcKoro HHcrmyra Hcropira PAH. 463 A. A. HepycajiuMCKOH ÜKOB HBaHOBHH CivaipHOB na KaBKa3e. 473 A. B. CoKoyioe K Bonpocy o «bh3anrunckoh moacah» b3 aHMooTHomeroïH rocyAapcTBa h ixpaBOCAaBHOH nepKBH b Pocchh HaKanyHc 1917 r.: ynpe^CAeime FocyAapcTBeHHbix npHxoACKHx côeperaTeAbHMx Kacc. 490 K)jim HnuapKoea ApxeoAorHHecKHH hiicthtvt um. H. II. KoHAaxoBa b Ilpare b ioaw BTOpon MHpoBoiî BOHHBI. K Bonpocy O 4 OpMHpOBamiH KOAAeKOHH. 499 B. H. 3ajieccKOH, K). A. rhwmuitKuù O p enero HH Kax naymoM »canpe (iieKOTopbre 3aMeHaHM no noBOAy nyOAHKamm A. IO. BHHorpaAOBa b «BroaHTHHCKOM BpeMeHHHKe». 2009. T. 68 (93). C. 243-249). 507 I^BeTHaa BKAeihca. 511 npHHJrme coKp anaemia. 519 Summaries. 522 CONTENTS Alexey Furasyev The Graffito on the Concesti Amphora: Three Interpretations of a Single Sign. 415 Victor Myts Giosafat Barbaro on Mengli Giray Fs Escape from the Ottoman Imprisonment in 1478. 426 Ekatenna Eevshina Serbian Rulers as Ktitors of the Mount Athos Monasteries (Based on Serbian Charters of Donation from the Second Half of the Fourteenth — Mid-Fifteenth Centuries). 437 Archival Materials Olga Vasilyeva Alexander V. Zvenigorodsky’s ‘Oriental Gifts’ to the Imperial Public Library: On the History of the Oriental Christian Manuscript Collection . 445 Elena Piotrovskaya On a Manuscript ‘Concerning Matters Religious and Moral’ from the Nikolay Likhachev Collection in the Archive of the St Petersburg Institute of History, Russian Academy of Sciences . 463 Anna jerusalimskaja Yakov Ivanovich Smirnov in the Caucasus. 473 Arseny Sokolov On the Problem of ‘Byzantine Model’ of Relations between the State and the Orthodox Church in Russia on the Eve of 1917: the State Parish Savings Banks. 490 Yulia Yancharkova The Kondakov Archaeological Institute in Prague during World War II. The Making of the Collections. 499 Vera Zalesskaya and Yury Pyatnitsky About Review as Scientific Subject (Some Remarks on Audrey Vinogradov’s Publication in Vizantiysky Vremennik. 2009. Vol. 68 (93). P. 243-249). 507 Colour plates. 511 Abbreviations. 519 Summaries. 522 COAEP^CAHME XyAo^cecTBeHHoe HacAeAHe Bn3aHTHH M. A. Audoea 06pa3 BoroMaTepH ÍÍarphuhaiikh b paHHexpHcmaHCKOH HKOHorpac^mi. 7 70. r. Mameeeea DaCMCHTM TK2HICH B ÍÍ3 O 6p a KeHJttlX Iie6ec H MaHAOpAM B BH3ÜHTHHCKOM HCKVCCTBe. 22 »9. „¿4. TopdueuKo Macrepa h 3aKa3HHKH cepeopflHbix oka3Aob k HKOHaM XII b. 40 P. C. Muhochh 06 OAHOM H3 cnocoöoB n3roTOBAeHHfi BH3aHTHHCKoii cepeöpHHoii nocyAbi. 55 3. A. XaüpeduHOöa BH3aHTHHCKOe OHCepeAbe BTOpOH nOAOBHHH VII B. H3 iICKpOnOAfl 3cKH-KepMeH. 62 ß. 77. 3ajieccKOH KpeCTM-3HKOAimOHW C H3o6pa5KeHHeM CB. MaHAHABOIia B COÖpaHHH 3pMHTaCa. 76 T. 70. Ktuaeea KpecT-aHKOAimoH c baohcchhcm h3 XepcoHeccKOH 6a3HAHKH 1935 r. 81 M. R KpaMapoecKuü XaHDaAhiK — KoHCTaHTHHOnoAB: Mom oAbCKaa c\|)HAHrpam b XIV b. (iioBbie MaTepHaAbi). 90 BH3aHTHHCKaa apxHTeicrypa h rpaAocTpOHTeAtcTBO. Hoßbie OTKpWTHÄ C. J5. AdaKcum, B. _7. reHV33CKaa KpenocTb HeMÖaAo: ochobhmc 3Tarrhi 4 opMripoBaHHfl ooopOHirreAbHOH CHCTeMbi h nHcJ)pacTpyKTypH[ ropOAa b XTV—XV bb. 103 A. 77. Aü6a6m PaHHeBH3aHTHKCKHH Bocnop. Í40 A. 70. Buuozpado6y A Æ BÍaíuuh IIIaBineTCKHH xpaM b Chhkoth: rrpoÖAeMbr «KyirOAbHoir 6a3HAHKH» b 3aicaBKa3be h KHpnuHHoro 30A^ecTBa b IOro-3anaAHOH rpy3Hn. 151 A. B. 3uubKo, ß. 77. 3uubK0 Bonpocbr Tonorpa(J)Hn ropOAa Bocnopa b paHHeBH3aimmcKoe BpeMH. 164 B. B. MaüKO PacKomcH xpaMa MOHacibipB Cb. leopraa Ha rope Añ-Feopnm 6ah3 CyAaica. 177 A. F. XpytuKoea PaHHexpHcmaHCKHH komhackc b CeôacTOHOAHce b A6xo3hh: KynoAbwnk OKTOrOH H 6a3HAHKa. 190 540 SUMMARIES Byzantine Art Legacy Maria Lidova THE IMAGE OF THE VIRGIN PATRICIA IN EARLY CHRISTIAN ICONOGRAPHY Virgin Patricia is a term introduced by Nikodim Kondakov in the early twentieth century to describe Early Christian images of the Mother of God that portray Mary in rich garments of a noble Roman woman. This type differs from later renderings characterised by the presence of a maphorion covering the head of the Virgin. Picking up on some of Kondakov’s observa- tions, this paper explores the importance of late Antique representations showing Mary wearing a secular costume, which, as a rule, consisted of a girdle, jewelled collar, pearl earrings, diagonal sash similar to loros and a headdress adorned with precious stones. The appearance of this icon- ographic type in the earliest Marian cycles and coexistence of the Virgin Patricia image with other representations of the Mother of God produced an interplay of meanings conveyed through the peculiarities of the attire. Translated by Maria Udova Yulia Matveeva TEXTILE ELEMENTS IN BYZANTINE MANDORLAS AND DEPICTIONS OF THE FIRMAMENT Images of the firmament, represented as a canopy or umbrella, were used as apse decora- tions in numerous Byzantine churches. The tradition emerged in the Early Byzantine period and proved extremely viable, suggesting that textile imagery was both recognisable and popular. This fact makes it important to consider the reasons for the wide use of textiles in iconography and their meaning for the ornamentation of apses. The visual techniques employed for representing the firmament in Byzantine art were grounded in textual and literary tradition from Classical to Biblical, where heaven was recurrently compared to ornate cloth or canopy. The traditions also had an impact on the symbolism, design and décor of real liturgical objects, such as ciboria from Dura-Europos onwards, asterisks placed over the diskos and covered with cloth which initially used to symbolise heaven (the practice emerged in ca. fifth century) or textile ciboria known as ‘heaven’ (obçavoç). The firmament could be represented as an umbrella or a be-starred tent. Textile over a round frame evolved into the most common and best-established iconographie type. The round canopy became part of the iconography of stellar mandorlas (cf. the specimen in Sant’Apollinare Nuovo), with an ornate star pattern and textile fringe reminiscent of umbrel- las. The early mandorlas were round in shape and represented the divinity and supermundanity of One that resides in the zenith of heaven and outshines the stars; later, mandorlas came to be interpreted as the light of divine Glory. The textile theme can be traced in mandorlas of later 522 SUMMARIES origin representing various schools and styles of religious art. Owing to literary tradition, textile motifs also permeated many images and objects symbolically associated with heaven (e. g. the ciborium and asterisk in liturgical practice; mandorlas or depictions of heaven in iconography). Translated by Natalia Magnes Elisa Gordienko SILVER CASES FOR TWELFTH-CENTURY ICONS: ARTISANS AND CUSTOMERS Icons from the Local Feasts Tier in the Cathedral of St Sophia, Novgorod, bear witness to the events of the past driven by individual historical figures or communities. The princely Monomakhovich-Mstislavich dynasty, inspired by the Novgorod archbishop Niphont, played a decisive role in the development of Novgorodian culture in the mid- to late twelfth century. The exquisite silver oklad (case) for the icon of Apostles Peter and Paul crafted by the famous silversmiths Flor-Bratila and Constantine-Kosta provides many keys to understanding the histori- cal reality of the period which saw a remarkable flourishing of Novgorod culture. A priceless contribution to art growth was made by Prince Rostislav Mstislavich, who is known to have commissioned an admirable case for the icon of the Virgin Hodegetria from Smolensk artisans. By the end of the twelfth century the Suzdal princes defending the western borders of Rus had left a major trace in the history of Novgorodian culture. The silver cover for the icon of Our Saviour (surviving in fragments) is a fine specimen of the exquisite and recognisable style devel- oped by the Vladimir-Suzdal artisans. Translated by Natalia Magnes Rafael Minasyan BYZANTINE SILVERWARE: A MANUFACTURING TECHNIQUE Byzantine silverware from the Hermitage collection has been the object of numerous his- torical studies. However, along with detailed descriptions of the silverware forms and décor, the available published sources contain some misleading or incorrect technological data. Our ar- ticle focuses on a technique used in the manufacturing of three Byzantine silver dishes. The well- developed metal industry in the Byzantine Empire showed marked regional differences both in technology and style. Translated by Natalia Magnes Elzara Khairedinova THE SECOND HALF OF THE SEVENTH-CENTURY BYZANTINE NECKLACE FROM THE ESKI-KERMEN CEMETERY The article describes a set of decorations composed of a cross, several leaf-shaped pendants and medallions recovered in 1980 from the second half of the seventh-century female burial on the early medieval cemetery located on the south-east slope of the Eski-Kermen plateau (Burial 6, Vault 257). The thinly gilded bronze set is probably a cheap mass-produced imitation of gold 523 SUMMARIES accessories commonly worn by Byzantine nobility. The necklace in the picture belonged to a fe- male resident of the Eski-Kermen citadel and was worn as part of the traditional Gothic costume together with a large buckle depicting the head of an eagle and two matching palmate fibulae. Translated by Natalia Magnes Vera Zalesskaya MANDYLION ENCOLPIA IN THE COLLECTION OF THE STATE HERMITAGE MUSEUM The arrival of the Mandylion with the face of Jesus Christ from Edessa to Constantinople in 944 AD inspired Byzantine artists to show this holy image on encolpia, or pectoral reliquary crosses. All currently known encolpia of artistic merit date from the twelfth to thirteenth century. However, our analysis of archaeological data shows that mass-produced engraved or enamel encolpia depicting the Holy Image were already in use in the eleventh century. This suggests that the Mandylion iconography was a gradual development which commenced shortly after the Edessa Image was delivered to the Byzantine capital. Translated by Natalia Magnes Tatiana Yashaeva RELIQUARY CROSS WITH AN ENCLOSURE FROM THE ‘1935 BASILICA IN CHERSONESOS This paper addresses a bronze reliquary cross with an enclosure from the ‘1935 Basilica’ in Chersonesos, discovered in the course of Grigory Belov’s excavations. Fragments of images and an inscription that has survived on the outer surface and the form of the cross give reasons to attribute this artefact to the type of reliquary crosses with engraved images of the Crucifixion and Mother of God Orans and to date it from the late tenth or eleventh century. Thus the reli- quary cross introduced into the scholarly domain both adds to the total number of the artefacts of the type and provides an example of enclosure in the form of a miniature cross made of dif- ferent kinds of wood material. The display of this reliquary cross with the enclosure in a room within the church complex testifies to the understanding of it as especially venerated relic and uncovers some traditions of religious life of the Christian population of Chersonesos in the Middle Byzantine Period. Translated by Nlkzta Khrapunov Mark Kramarovs ky FROM KHANBALIQ TO CONSTANTINOPLE: FOURTEENTH-CENTURY MONGOLIAN FILIGREES (New Materials) The article presents a study of filigrees primarily used as adornments to the thirteenth — four- teenth-century female Mongolian costume. Held in a private collection in Ulan-Bator, the objects provide an important addition to the known archaeological artefacts of this type. They also help to establish the place of filigrees, including the mid-fourteenth-century gold cross formerly 524 SUMMARIES owned by Cardinal Basilios Bessarion, among other materials from manufacturing centres across Eurasia. The several filigree decorations found in Mongolia date from the thirteenth century. Our study focuses on four sets of artefacts, all made of gold. The first set (Inv. No. NRG-00.23) is composed of fourteen sew-on bokka adornments. The second one (Inv. No. NRG-99.231) also comprises fourteen sew-on decorations, pos- sibly used for the same purpose. The third set (Inv. No. NRG-97.244) is a pair of woman’s earrings accidentally found in Xilingol Aimag in Inner Mongolia, PRC. Finally, the fourth set (Inv. No. NRG-98.220) includes twenty-nine male belt accessories recovered in Khentii Aimag, north-east of Ulan-Bator. The new materials with gold filigree retrieved in the Mongolian People’s Republic and Inner Mongolia confirm our observations regarding the emergence and evolution of the spiral filigree style in the east of the Chingissid Empire. With the development of globalisation, this type of fil- igree, along with the then fashionable Tatar style’, was adopted in the fourteenth — fifteenth cen- turies by manufacturing centres from the East Mediterranean and Anatolia to the Middle East. The décor of the cross inscribed with the name Irene from the Gallerie dell’Accademia in Venice shows that the spiral filigree style became known to Byzantine artisans in ca. fourteenth century. Translated by Natalia Magnes Byzantine Architecture and Urban Construction. New Discoveries Svetlana Adaksina, Victor Myts THE GENOESE FORTRESS OF CEMBALO: KEY STAGES IN THE URBAN PLANNING AND INFRASTRUCTURAL DEVELOPMENT IN THE FOURTEENTH AND FIFTEENTH CENTURIES Between 2002 and 2016 the South Crimean Archaeological Expedition of the State Hermitage Museum conducted exploratory activities in the Genoese fortress of Cembalo with a focus on the fortress’s key architectural landmarks: the Barnabo Grillo Tower; the external and internal defence lines on the east; the main gates to the fortress; the citadel on top of Castron Mount; four Orthodox churches and part of the historical urban buildings. Archaeological investigation of the Cembalo fortification and urban infrastructure in the Middle Ages has provided some insights into the historical topography of the city and yielded reliable data on the construction chronology. The excavations has helped to establish that the city’s defence system and infra- structure formed between 1345 and 1475. The development of the Ligurian city, which can be divided into seven stages, followed a traditional pattern. First, in 1345 suburb (antiburg) was sepa- rated from the fortified territory (burg) by a moat and an embankment with a timber palisade. The early fortifications (dating from 1345—1357) protected an area of 5 ha and reduced to 3.4 ha in 1425—1432. Over 1345—1475 Cembalo consuls initiated numerous modifications to the de- fence structures, which consisted of the external defence line, port arsenal and two castles (castra). The fortress had seventeen stone towers (including two keeps) and thirty-four curtain walls. Only a few names of historical figures credited with the construction of Cembalo’s defence facilities have survived in epigraphic and narrative sources, including six consuls (Simone del Orto, 1357; Argono di Savignone, Giorgio Spinola, Giovanni di Podio, 1386—1388; Barnabo Grillo, 1463; and Baptista de Oliva, 1467) and architect Antonio de Bonino (1473—1474). Translated by Natalia Magnes 525 SUMMARIES Aleksandr Aibabin EARLY BYZANTINE BOSPORUS There is no unanimity among experts on the medieval history of Crimea as to the question whether the Bosporan Kingdom and its capital ever constituted part of Byzantium. The dis- agreements largely result from different interpretations of the evidence contained in written and epigraphical sources. Having suppressed the Hun rebellion against Justinian Fs appointee, Constantinople es- tablished imperial administration in Bosporus as well as in the ports on the Asian side of the Bosphorus Strait. In 576 AD the Bosporus was captured by Turkic invaders and their allies, who burnt down and ruined the city quarters on Mitridat Hill and along the seashore. The excava- tion pits in Kooperativny Pereulok and near the local museum exposed a layer of burnt soil containing pottery materials synchronous with the attack. The invaders abandoned the Bosporus in 581 AD following the death of Heshana Khagan. Byzantium used this advantageous situation to reclaim dominance over both sides of the Bosphorus Strait. Constantinople appointed the duke of Cherson to govern the territories be- longing to the Byzantine Empire both on the Crimean Peninsula (Cherson, South-West Crimea and cities in the European Bosphorus) and on the Asian side of the Bosphorus Strait. The early Byzantine period in the history of the Bosporus came to a close in about 665 AD, when most of the city was destroyed by the Khazars. Translated by Natalia Magnes Andrey Vinogradov, Denis Jolshin THE MEDIEVAL CHURCH IN SINKOTI (SHAVSHETI PROVINCE): TRANSCAUCASIAN DOMED BASILICAS AND THE BRICK ARCHITECTURE OF SOUTH-WEST GEORGIA The litde-known church in Sinkoti (Shavsheti Province, north-east Turkey), currendy fac- ing complete destruction, is one of the very few medieval domed basilicas in the region. In our opinion, the church is a unique combination of traditions resulting from contacts between local and Byzantine (Minor Asian) architects and vaguely traceable in some architectural sites in the neighbouring parts of Transcaucasia. The article specifically focuses on the construction meth- ods as well as the technological type and functions of brickwork used in the Sinkoti church as compared to other Transcaucasian monuments. Translated by Natalia Magnes Alexey Zinko, Victor Zinko ON THE TOPOGRAPHY OF THE BOSPORUS IN THE EARLY BYZANTINE PERIOD The article presents new data on the topography of the Bosporus challenging the belief shared by many researchers that the town measured 250 m from east to west during the Early Byzantine period and the whole of the Middle Ages, occupying the area of what now is Lenin Square (central Kerch). The concept has required serious corrections since it was based on insufficient 526 SUMMARIES archaeological evidence and some historical assumptions. With the increasing availability of ar- chaeological materials, the flaws of this theory became especially evident as most of the Early Byzantine finds made in the past decades were recovered far beyond the territory allegedly taken up by the Bosporus. Apart from underestimating the size of the Bosporus during the Early Byzantine period, historians have often unjustifiably ignored other issues related to the city’s urban planning and landscape reconstruction. The problem is made more difficult by the scar- city of written sources and lack of evidence in them on the city’s topography, which places particular emphasis on archaeological sources. However, it is clear that in the nineteenth century the territory formerly occupied by the Bosporus was completely absorbed by the city of Kerch. Excavations conducted so far provide fairly limited information on the historical dynam- ics of urban construction in the Bosporus as well as on the location and structure of the city’s key functional components. Nevertheless, one may confidently suggest that the sixth-century Bosporus occupied a large part of ancient Panticapaeum, extending at least 500 m north of the foot of Mitridat Hill. Later, in the seventh century, the city was confined to an area of 25—30 ha in the valley bounded by the fortress walls, whereas the former Upper City came to be used as a cemetery Translated by Natalia Magnes Vadim Maiko EXCAVATIONS OF THE CHURCH OF THE ST GEORGE MONASTERY ON AI-GEORGI MOUNT, SUDAK The article follows the archaeological activities undertaken on the Byzantine church on St George Mount (Ai-Georgi) near Sudak, East Crimea, with a focus on excavations per- formed by Nikolay Protasov in 1928. The materials recovered from the site by Protasov’s ex- pedition were never published and were ignored by the academic community despite their high relevance to the structural features and chronology of the church. The study contains a brief overview of adjacent archaeological sites dating from the same period, including a gravesite and a settlement. The gravesite may be linked with the monastery; however, the connection be- tween the monastery and the settlement seems unlikely. According to our hypothesis, St George Mount was a site of great religious importance for the whole of South-East Crimea during the Late Byzantine period (thirteenth and fourteenth centuries). The two churches located in close proximity to the St George Monastery seem to confirm this suggestion. The first was discovered as a result of the 1999 survey excavations; the second was fully unearthed in 2016 and is unique both in terms of size and excellent state of preservation. Translated by Natalia Magnes Liudmila Khrushkova THE EARLY CHRISTIAN SITE IN SEBASTOPOLIS, ABKHAZIA: A DOMED OCTAGON AND BASILICA The early Christian complex in Sebastopolis (now Sukhum, Abkhazia) on the east Black Sea coast is an exceptional architectural monument for the Caucasus and Black Sea Region. Discovered in 1989—1990, the site is still under excavation, with many of the materials remaining unpublished. The central building is an octagon to which structures were added on four sides 527 SUMMARIES forming a cross plan; a small basilica was later constructed south-east of the central building. The octagonal structure had an exedra in the centre with seats for the clergy — a liturgical fea- ture not commonly found in the area. Another rare find was a collection of tiles inscribed with LEG; 10]XL4P;01J[JNARISj; remarkably, no written sources of XV Legio Apollinaris to be deployed in the region have been found so far. The article focuses on the architecture of the ar- chaeological complex and the materials recovered from the pit in the centre of the octagon, both of which are crucial to understanding the chronology7 of the site. The octagon was constructed in the first decades of the fifth century, nearly half a century earlier than the basilica; the complex was ruined in 542 AD during the Byzantine-Persian war. Translated by Natalia Magnes Mikhail Meshalkin THE PANORAMA OF ISTANBUL AND THE BOPSHORUS FROM THE DEPARTMENT OF THE HISTORY OF RUSSIAN CULTURE, STATE HERMITAGE MUSEUM The panorama with a view of Istanbul, currendy held in the Department of the History of Russian Culture, State Hermitage Museum, was transferred to the Hermitage in 1923 from the library of the Konstantinovsky Palace in Strelna, St Petersburg. The five-meter scroll originated before 1S20, judging by the quarantine marks on the reverse side, and represents the panorama of the Bosphorus and the historical centre of Istanbul with its famous architectural landmarks, notably Hagia Sophia, the Blue Mosque, Yeni Cami (the New Mosque), the Topkapi Palace, Constantinople’s defence walls and two fortresses, Anadoluhisari and Rumelihisari, both locat- ed on the Bosphorus. The panorama also shows two lighthouses, Anadolu Kavak and Rumeli Kavak, controlling the sea traffic from the Black Sea. The monochrome panorama is a remark- able sample of graphic art from the times of Alexander I. Translated by Natalia Magnes Byzantium and its Neighbouring Countries Zaruhi Hakobian NEWLY DISCOVERED SUBJECTS AND IMAGES ON EARLY CHRISTIAN STELAE OF ARMENIA The free-standing monuments - tetrahedral stelae - dating back to the seventh century are preserved on the territory of historical Armenia. Stelae were erected in the open air, near church- es, covered with reliefs and crowned by stone crosses. There are images of Christ, the Virgin, Aposries, saints, archangels, donators, as well as scenes from the Old and the New Testaments. Nevertheless, some of those sculptures can hardly be identified because of their bad state or un- common composition. One of such depictions is the personification of the Holy Church (Holy Zion), presented as a woman holding a church model in her hands (stele of Agarak). Another one is a figure with a dog head; it is the image of St Christopher Cynocephalus, the only Christian saint with bestial appearance. Nowadays nine such images are known on Armenian stelae (ste- lae from Talin, Ujan and Odzun, etc). The next image that requires explanation is a tower-like 528 SUMMARIES structure with a ladder put against it on the stele of Odzun. According to Eastern Christian ico- nography it is the symbolic image of Holy Zion. The composition of an orant between two lions, which can often be seen on tetrahedral stelae of Armenia, has two different interpretations. This composition, well known in Eastern Christian art, is usually interpreted as the Biblical scene of ‘Daniel in the den of lions’. Nevertheless, in a series of scenes we observe that the orant has a female appearance, which can be seen in such compositions as ‘St Thecla between two lions’ (stele from Kechror, relief from Erzynka). It corresponds to one of the iconographie versions of the image of St Thecla and is found on some early Byzantine monuments. The composition depicting winged horses and a pair of wheels, known on two stelae, repre- sents the Old Testament scene of Prophet Elias’ ascension (stelae from Talin and Agarak), which is a rare example of that composition in the art of Transcaucasus. Even though the sculptures are pardy damaged, their composition is easy to understand as it matches the canonic scheme and has its early Byzantine parallels. The abovementioned subjects and images on tetrahedral stelae of Armenia considerably en- large our knowledge of the early iconographie tradition in Armenian medieval art and, more widely, in the art of Transcaucasus. Besides, the iconographie compositions and images based on early Christian and early Byzantine prototypes pardy fill up early iconographie versions not preserved until our days, which makes tetrahedral stelae of Armenia particularly important in the context of Eastern Christian studies. Translated by Zaruhi Hakobian Lilit Mikayelyan DEPICTIONS OF GLORY WREATHS IN EARLY MEDIEVAL ARMENIAN SCULPTURE AND THEIR PARALLELS IN THE ART OF BYZANTIUM AND SASANIAN IRAN The symbolism of the wreath offered as a sign of victor)7 and glory is well known in Antique culture, from which it was transferred to Christian art. In Christianity the wreath became symbol of an award given to righteous men who had reached the Heavenly Kingdom, symbol of martyr- dom and victor)7 over sin. Numerous pictures of wreaths are known on early Christian sarcopha- guses, ivory bindings, mosaics, architectural decor and so on. In the Armenian art of the fifth — seventh centuries they can be seen in the relief sculptures of churches and tetrahedral stelae, mostly in the scenes of Baptism or Praising of the Virgin and Christ. On Armenian monuments wreaths have several iconographic variants, some of which go back to late Antique and early Byzantine samples, representing stylised pictures of laurel wreaths or wreaths-crowns as attributes of martyrdom and glory. Remaining samples are done as simple rings, without such details as leaves, flowers, ribbons, pearls, etc. So, the latter show some com- monness with the depictions of rings of power in ancient Eastern and later also in Sasanian art, in which they symbolised the divine power and glory, and were depicted mostly in the scenes of investiture. In the art of the fourth — seventh centuries in Sasanian Iran representations of wreaths of glory were widely spread; it was one of the symbols of the particularly worshipped in Iran di- vinity Khvarno (later Farn) who was the incarnation of being chosen by God, charisma and glory. There are also three main variants of the iconography of Sasanian wreaths of glory: wreaths in the form of rings, wreaths with pearls and wreaths with laurels and flowers. If in the third — fifth 529 SUMMARIES centuries they mostly had the form of rings going back to ancient Eastern samples, later, in the sixth — seventh centuries, when Iran underwent noticeable influence of Byzantine culture, wreaths were pictured like crowns, more resembling Western samples. But, as a rule, either early or late samples were pictured with typical Sasanian wide ribbons which were also insignia of power. It must be mentioned that some Armenian samples of wreaths also have flying ribbons, un- doubtedly associated with the influence of Sasanian art. The iconography of wreaths in the form of rings on Armenian monuments has evident commonness with the same forms on Sasanian monuments. So, both in Armenian and in Sasanian art one can observe three iconographie sourc- es in the picturing of glory wreaths: I — Ancient Eastern rings as symbols of power in investiture scenes; II — Antique laurel wreaths; III — Wreaths in the form of crowns as symbols of royal predestination and glory. The similarity of symbolism in all the three varieties of wreaths led to a certain contamina- tion of their meaning, which found its brilliant expression namely in the early medieval cultures of Armenia and Sasanian Iran, based on the equally strong ancient Eastern and late Antique tra- ditions which had also active reciprocal contacts. Adherence to one or another pictorial tradition can indicate in each case a concrete cultural influence in a certain historical period. Translated by Ulit Mikayelyan Elena Meshcherskaya THE ABGAR LEGEND AND ANTI-JEWISH POLEMICS IN THE SYRIAN APOCRYPHA 'TRANSITUS MARIAE’ The article analyses the use of the Syriac literary text 'The Teaching of Addai the Apostle’, which offered a literary adaptation of the cycle of legends about King Abgar of Edessa, in the Syrian apocrypha Transitus Mariae’ (the first half of the fifth century). Based on 'The Teaching of Addai the Apostle’, the author of 'Transitus Mariae’, first of all, proposed a new version of the legend about finding the Cross, telling the background of this event, in which the Jews of Jerusalem were accused of concealing and secretly using several Christian relics. Secondly, he borrowed and incorporated into his work the legend of King Abgar’s correspondence with Roman Emperor Tiberius. The inclusion in the 'Transitus Mariae’ of the legend of King Abgar’s correspondence with Tiberius and the story of Jews hiding Christian relics reinforces the anti- Jewish aspect of the narrative, which was originally present in it. The anti-Jewish theme rises to a new level, because the Jews charged with the murder of God are persecuted now by persons in authority at the state level. 'Transitus Mariae’ is one of the first of Christian literature texts, using the image of the Virgin in opposition to Judaism. Translated by Elena Meshcherskaya Olga Osharina BIBLICAL SCENES AND IMAGERY ON COPTIC TEXTILES Stories from the life of prophets, who preached salvation and the advent of Messiah and set an example of piety and sanctity, were common in early Coptic art. Generally, artisans would create new visual narratives by introducing slight modifications to widely known iconographie 530 SUMMARIES compositions. The fourth- and fifth-century Coptic weavers borrowed ideas for their designs from famous mosaics. Later, in the sixth century, they drew their inspiration from toreutics and ivory carvings, before shifting to eulogies from the Holy Land in the seventh century and icons or paintings in the eighth and ninth centuries. In terms of artistic rendition, Coptic craftsmen were influenced by Hellenistic and Syrian traditions; however, the rich Coptic iconography de- pended on the variety of detail rather than theme selection. Biblical scenes became highly preva- lent in Coptic art in the seventh and eighth centuries owing to the spread of eulogies from the Holy Land, as confirmed by both chronological and thematic evidence. Translated by Natalia Magnes Olga Tuminskaya IMAGES OF NOVGOROD FOOLS-FOR-CHRIST IN THE MONUMENTS OF NOVGOROD ART IN THE SIXTEENTH - NINETEENTH CENTURIES The first fools-for-Christ appeared in Russia’s Central lands: Kiev, Smolensk (twelfth — thir- teenth centuries). In Novgorod, from the fourteenth to the sixteenth centuries, there were known only five fools. The love for Byzantine St Andrew Fool-for-Christ became widespread in Novgorod culture and resulted in the construction of a church in his name on the river Sitecke, as well as a cathedral dedicated to him. By analogy with the image of St Andrew the Fool, in the sixteenth — seventeenth centuries there was established the iconography of Novgorod fools, some of the monuments dating back to the nineteenth century. Translated by Olga Tuminskaya Marko Katie PAINTED PROSKYNETARION FROM 1786 IN THE CHURCH OF THE HOLY PROPHET ELIAS IN THE TOWN OF BUSOVACA (BOSNIA AND HERZEGOVINA) In the Serbian Orthodox Church of St Elias in the town of Busovaca there is preserved among other icons a painted proskynetation of Jerusalem from the year 1786. The proskyne- tarion icons used to be brought by Orthodox pilgrims who were in habit of performing pilgrim- ages to Jerusalem especially in the period from the seventeenth to the early twentieth centuries. The small town of Busovaca had no Orthodox population until the second half of the nine- teenth century, and the church was built and consecrated after the Austro-Hungarian occupation, precisely in 1882. This means that the proskynetation and other icons are earlier than the church. Presumably they were a gift from Sarajevo for the church. This proskynetation is a typical ex- ample of such icons dating from the eighteenth century, with many analogies among other surviving examples. Its colours are strong, with red predominating. Representation of the city of Jerusalem is the central one on the icon, around which are arranged representations of the Biblical events situated approximately in the places where they are believed to have happened. Within the walls of Jerusalem the most important is the Church of the Holy Sepulchre in the cross-section. Within it are represented the Anointment, Crucifixion and Resurrection of Christ. The Holy Sepulchre was the main goal of pilgrimage. Outside the walls there are representations of the Church of Nativity in Bethlehem, scenes from the Legend of the Holy Cross and separate 531 SUMMARIES representations of the Virgin Mary and Christ. The icon is remarkable for its artistic qualities, as well as for various iconographic sources of its representations. They indicate iconographic sources of different origins. It remains an open question whether these icons were the products of monastic or family workshops. It is clear that they were keepsakes of a pilgrimage, but they pardy had also a didactic function. Perhaps unexpectedly, they were also the propaganda pieces of the Jerusalem Patriarchate. Translated by Marko Katie Serge Frantsouzoff GREEK-BYZANTINE REALIA IN THE ETHIOPIC TEXT OF THE CHRONICLE OF JOHN OF NIKIU The Chronicle of John of Nikiu is a very interesting work of early Byzantine historiogra- phy, originally compiled in Greek, then translated into Arabic and in 1601 from Arabic into Ga'az. Only its latest, Ethiopic, version has come down to us. A thorough analysis of the colo- phon of that version reveals a parallel with a short account of the Seventy Two interpreters of the Bible included in the Chronicle. Besides that, various types of distortion of Greek proper nouns (anthroponyms, theonyms and toponyms) and tides are examined in the present article. It is demonstrated that the names of the Byzantine circus parties were rendered in the Chronicle in different ways: that of the Blue was merely transliterated (sometimes with inaccuracy), while that of the Green was incorrectiy translated as 'laborers’ or 'traders’. Translated by Serge Frantsouzoff Ekaterina Gusarova IMAGES OF ST SISINNIUS IN ST PETERSBURG’S ETHIOPIAN MANUSCRIPTS The article studies the medieval Ethiopian iconography of St Sisinnius, a so-called Varrior saint’ who suffered martyrdom in Antioch under Diocletian. The veneration of the saint in the Ethiopian tradition is linked to the legend of the witch Versilia. According to the Vita of the saint, Sisinnius’ sister was possessed by the devil. Having killed her infant daughter immediately after birth she gave birth to a monstrous child. Versilia was able to turn into a bird or snake and murder newly-born children. St Sisinnius chased his sister and pierced her with a lance, after which Versilia promised not to kill children if their mothers were under the protection of the saint. This scene became highly popular in Ethiopian medieval art and was sometimes depicted on magic scrolls used as amulets for parturient women and young mothers. Other surviving images of St Sisinnius include miniatures in Ethiopian codices. The arti- cle provides a detailed overview of several images found in St Petersburg collections (Institute of Oriental Manuscripts, Russian National Library and Museum of Anthropology and Ethnography) as well as a number of other libraries containing Ethiopian manuscripts which include the legend and related images. Translated by Natalia Magnes 532 SUMMARIES Daria Vasilyeva EARLY TO MID-EIGHTEENTH-CENTURY OTTOMAN SILVER INCENSE BURNERS AND ROSEWATER SPRINKLERS FROM THE IMPERIAL HERMITAGE COLLECTION The Hermitage collection of Turkish art comprises a group of precious incense burners and perfume containers similar in terms of technique, design and style. The group includes three silver filigree sets, each composed of an incense burner and a rose- water sprinkler. The first set decorated with lapis-lazuli insets was transferred to the Imperial Museum from Catherine the Great's Mezzanine and recorded in ‘The Inventory of Miscellaneous Articles Contributed to Her Imperial Majesty's Hermitage, Included herein under Diverse Letters and Numbers' (1789). The four vessels forming the other two sets of matching items appear to have been received from the same source. One of the vessels featured in the Museum's mid-nineteenth-century re- cords as a gift presented to Catherine the Great by Prince Grigory Potemkin in 1782. The record may have been based on litde more than a legend. It seems more plausible to suggest that the sets were a diplomatic gift, although they may have been presented to the Empress by Russian state dignitaries or courtiers. Mentioned in the 1789 Inventory among the exhibits from Catherine the Great’s Mezzanine was an unusual vessel combining elements of a censer and a writing set, also belonging to this group. A similar piece in the Moscow Kremlin Museums was probably made in the same work- shop or even by the same silversmith. The silver incense burners and perfume flasks were manufactured for the Turkish market in the early to mid-eighteenth century, possibly by Armenian jewellers residing in the Ottoman Empire. Another rosewater sprinkler, less closely connected with this group, was produced in a differ- ent workshop by jewellers working for Muslim commissioners in the Middle East. Translated by Natalia Magnes Vyacheslav Kuleshov SILVER FOR FURS FROM THE LAND OF DARKNESS: MONUMENTS OF BYZANTINE, ORIENTAL AND EUROPEAN METALWORK AND NUMISMATICS IN SACRED ECONOMY OF THE YUGRA SOCIETY, 5TH TO 15TH CENTURIES Drawing on contemporary views on the religious tradition and practices of the Ob-Ugrians, the article revisits the use of objects made from precious metals (including many samples of Byzantine, Oriental and Western metalwork held in the State Hermitage Museum) from the mediaeval Kama-Urals culture. The survey examines the ‘silver for furs' model of sacred economy of medieval Yugra society as applied to archaeological material from the Kama-Urals region. 533 Translated by Natalia Magnes, Vyacheslav Kuleshov and Nick Evans SUMMARIES Sigillography, Numismatics, Written Sources Elena Stepanova THE CHURCH AND STATE IN BYZANTIUM: AN ASPECT OF INTERACTION It is well known that the relation between the Church and the State in Byzantium was one of close partnership in all walks of life. Thus, emperors could appoint not only ecclesiastical officials but secular ones as well for the top positions in the Church so as to be able to control the Church’s wealth. It was not until 1057 that Isaakios Komnenos conferred upon the patriarch the right to grant church offices and gave up any interference in church property management. Apart from written sources, rich information on this subject is available from Byzantine seals, some of which are held in the State Hermitage Museum. The seals bear the names of oikono- moi, chartoularioi and other church officials serving in the Hagia Sophia, the New Church and the Church of Christ Antiphonitis. Judging by the titles and posts, the seals were commissioned by secular clients. The available sigillographic materials show that secular officials commonly held important positions in the church from the tenth until the late eleventh centuries — a practice reaching its height in the eleventh century. Translated by Natalia Magnes V Valentina Sandrovskaya GENEALOGICAL DATA ON BYZANTINE SEALS WITH METRICAL INSCRIPTIONS The study focuses on two groups of eleventh- and twelfth-century seals providing data on the ancestry of members of several Byzantine families. The first group of seals specify both the maternal and paternal lineage; the second group provides information on the maternal lineage only. The inscriptions contain personal and family names, tides and, for most part, connections with the imperial house of the Komnenoi. In a number of cases, the author analyses peculiarities of the language used in the inscriptions and the etymology of the surnames. One striking feature is the variety of linguistic forms of the imperial family name (Komnenoi\ Komnenikou Komnenidoi). The findings have shown that the seals with inscriptions containing information on the own- ers’ family lineages are of particular historical value. Translated by Natalia Magnes Valery Stepanenko THE CYCLE OF THE MIRACLES OF ARCHANGEL MICHAEL IN BYZANTINE SIGILLOGRAPHY? The veneration of Archangel Michael in Byzantium almost reached the level of popularity held by the most highly revered saints. The Miracles of Archangel Michael were found in monuments dating from between the eleventh to fifteenth centuries in Byzantium. In Byzantine sigillography, there are no known representations of The Miracles. In this connection, I want to draw attention to two seals from the collections of the State Hermitage and the Sheremetiev family museum in Kiev. In The Miracles of Archangel Michael this iconographic image can be found in the scenes ‘The Miracle at Chonae’ and ‘The Appearance of Archangel Michael to Joshua before Jericho’. The representation on the Hermitage seal may be either one of these scenes. 534 SUMMARIES The scene ‘The Miracle at Chonae’ was quite common in Byzantine art. In the traditional rendition of this scene, the archangel is represented on the right side and the priest on the left, as on the Hermitage seal. The second possible scene is ‘The Appearance of Archangel Michael to Joshua before Jericho’. Traditionally Michael is on the right-hand side in front of Joshua, who either kneels or prostrates himself before him on the left. However, on the Hermitage seal, the archangel is represented in profile. In consequence, I cannot determine which scene from The Miracles is represented on the Hermitage seal. The second seal, it is possible, belonged to the Russian Prince Oleg (Mikhail), the ruler of Tmutarakan. On one side of the seal is the image of Archangel Michael as a warrior: before him, someone is engaged in 7ipocmt.vsaig (proscinesis = to lie on the abdomen). There are two possible interpretations of the scene on the seal. It may either be a scene of the prince worshipping his heavenly patron Archangel Michael or a representation of ‘The Appearance of Archangel Michael to Joshua before Jericho*. Both interpretations may be correct. In conclusion, I repeat the following: 1. The scenes ‘The Appearance of Archangel Michael to Joshua before Jericho’ and ‘The Miracle at Chonae’ from The Miracles of Archangel Michael are unknown in Byzantine sigillography. With the publication of new seals in the future, it will be possible to come to a conclusion concerning the scenes on our seals. 2. It is necessary to draw attention to the rarity of a scene wherein the seal’s owner is engaged in proscinesis. Translated by Valery Stepanenko Vera Guruleva BYZANTINE AMULET COINS WITH IMAGES OF EMPERORS: GENERAL OBSERVATIONS CONCERNING COINS WITH TRACES OF REUSE FROM THE STATE HERMITAGE MUSEUM COLLECTION Coins in Byzantium were frequently used for magic purposes as talismans, phylacteries or am- ulets, including Christian. Coins with Christian symbols and images also served as icon pendants. In other ethnic cultures, Byzantine coins also performed symbolic functions as marks of distinc- tion, adornments for clothes and horse gear, amulets or objects of personal worship. Our article is an analysis of coins with traces of reuse held in the State Hermitage Museum, most of which are disconnected from the cultural context. The number of gold coins exceeds that of silver and copper coins by two and three times, respectively. Twenty-nine percent of the coins originated in the fifth to early eighth centuries; coins minted under iconoclast emperors represent another three percent, while the remaining sixty-eight per- cent date from the mid-ninth to thirteenth centuries. The distribution of the pierced gold coins from the Dumbarton Oaks Collection (Washington, D.C.), Bibliothèque Nationale (Paris) and State Hermitage Museum by historical period shows the Russian collections to be markedly dif- ferent from both the Western European and American collections. The location of apertures or riveted orifices and the degree of abrasion of either side indi- cate the owners’ preferences with regard to coins performing symbolic functions. Most Early Byzantine coins carried portraits of the emperor, whereas the majority of Middle and Late Byzantine coins are specific Christian amulets, the so-called Konstantinates, which depict two persons mistakenly interpreted as St Constantine and St Helena. However, amulets with images of the emperor as an object of veneration remained fairly prevalent during the Middle and Late Byzantine periods. Translated by Natalia Magnes 535 SUMMARIES Tatyana Slepova EDESSA COINS IN THE COLLECTION OF THE STATE HERMITAGE MUSEUM The article is the first-ever study of the Edessa coins held by the State Hermitage Museum. Minted in the first state to be founded by crusaders, Edessa coins are a rarity in museum collec- tions. Our iconographie analysis of coins issued under Baldwin I (1097—1100) and Baldwin II (1100—1118) is based on the table developed by Gustave-Léon Schlumberger, a world-known expert on crusader coinage. It is concluded that nearly all Edessa coins were minted on earlier coins circulating in the area. The manufacturing technique was strongly influenced by Byzantine and Neapolitan Norman minting from the time of Ruggiero I (1072—1101). Written records dating from the time of the Crusades are analysed to illustrate the economic and political context in which Edessa coins circulated. A catalogue of the Edessa coins is provided. Translated by Natalia Magnes Alexey Furasyev THE GRAFFITO ON THE CONCESTI AMPHORA: THREE INTERPRETATIONS OF A SINGLE SIGN The article considers several possible interpretations of the graffito on the bottom of a silver amphora retrieved from a late fourth-century princely burial in Concesti. The sign X was discov- ered by the author in 2015 and is being published here for the first time. The sign may have three different meanings. First, the sign may stand for the Latin letter ‘X’ denoting the weight of the amphora (ten Roman pounds) minus the massive weld-on handles in the shape of centaurs. As a Greek letter, X may have indicated the market value of the object, in which case it should mean ‘600’ (solids?). Finally, one may read the X sign as the Germanic rune ‘gebu’, possibly in- scribed to perform magic functions. The three interpretations are equally possible, with none of them having preference over the others. The burial from which the amphora was recovered had originated in the cultural and historical context of close interaction between the East Germanic and Roman traditions which most experts associate with the active inclusion of barbarians in the Roman army over the 360s — 380s AD. Translated by Natalia Magnes Victor Myts GIOSAFAT BARBARO ON MENGLI GIRAY I’S ESCAPE FROM THE OTTOMAN IMPRISONMENT IN 1478 Most modern historiographers appear to support the obviously biased theory that the Crimean khan Mengli Giray I (1468—1475; 1478—1515) was captured in June 1475 during the Ottoman invasion of Caffa (Kefe), then released and returned to the throne of Crimea in exchange for be- coming Sultan Mehmed IPs vassal. However, Turkish archives fail to provide any records or trea- ties confirming the time and conditions (recognition of Ottoman suzerainty over the Crimean 536 SUMMARIES Khanate) for Mengli Giray I’s return to the throne; at least, no documents to this effect have been found so far. One piece of relevant historical evidence overlooked by researchers was the testimonial by the well-known Venetian diplomat Giosafat Barbara. Following his trip to Persia in 1473—1478, Barbara was serving as a Venetian ambassador in Tabriz, where he met Andreolo and Pietro, sons of the late Caffa dignitary Antonio di Guasco. Quoting Andreolo (?) di Guasco, Barbara recounts the story of the young Crimean khan Mengli Giray. On request of the Shirtn Beg Eminek, at the beginning of 1478 Mengli Giray, who had spent three years in Istanbul, was brought by Turks to Caffa as a prisoner although he was given freedom of movement within the city walls. Soon, however, Mengli Giray escaped during an archery competition held outside of Caffa (possibly on 21—22 March 1478). Immediately after that, Mengli Giray and his follow- ers captured Solkhat (Crimea), where he killed his principal political opponent Eminek, allowed his brothers Nut Devlet and Hayder to flee to Lithuania and proclaimed himself khan. In view of the above, there are no grounds to believe that he came to the throne as a vassal of Sultan Mehmed II since Mengli Giray regained control of the Crimean Khanate by force with the help of his supporters, having deposed the Ottoman appointee Nur Devlet and killed the Sultan’s trusted subject Eminek. Translated by Natalia Magnes Ekaterina Levshina SERBIAN RULERS AS KTITORS OF THE MOUNT ATHOS MONASTERIES (BASED ON SERBIAN CHARTERS OF DONATION FROM THE SECOND HALF OF THE FOURTEENTH - MID-FIFTEENTH CENTURIES) This article examines relations between Serbian rulers and the Greek monasteries of Mount Athos on the example of Serbian monastic charters issued between 1357 and 1452. The aggrava- tion of the foreign policy situation in the region and the growth of the eschatological attitude forced the Serbian rulers to seek both spiritual and physical shelter in one of the oldest centres of the Orthodox faith and culture — on the Holy Mount. The Greek monasteries of Mount Athos as well as other monasteries interested in the support of Serbian rulers agreed to pray for them as for their kdtors; thus the monasteries satisfied their economic interests too. The author points out that the reduction of the territory of the Serbian state, the main type of rulers’ donations to the monasteries, was compensated by silver from a mine in Novo Brdo, which completely replaced the territorial donations during the reign of George Brankovich (1427—1456). Translated by TLkaterina Tevshina Archival Materials Olga Vasilyeva ALEXANDER V. ZVENIGORODSKY’S "ORIENTAL GIFTS’ TO THE IMPERIAL PUBLIC LIBRARY: ON THE HISTORY OF THE ORIENTAL CHRISTIAN MANUSCRIPT COLUECTION The National Library of Russia (formerly the Imperial Public Library) comprises about eight hundred and fifty Oriental Christian manuscripts, including two hundred and forty Georgian and about a hundred Armenian handwritten books. Most of the manuscripts were purchased 537 SUMMARIES by the Library. One rare exception, however, is the 'Oriental gifts’ received from the famous collector Alexander V. Zvenigorodsky, who in 1876 presented the Library with two miniatures (St Matthew and Transfiguration) from a late twelfth — early thirteenth-century Georgian Gospel. A year later, the collector donated to the Library an Armenian Tetraevangelion manuscript created in 1635 in Bitlis, Turkey, by scribe and artist Sakhak Balishetsi, who had decorated the book with lavish ornamented headpieces, marginalia and miniatures. The article follows the history of the 'Oriental gifts’, regarded as some of the most precious gems in the collection of the National Library of Russia and real masterpieces of the art of the book. Translated by Natalia Magnes Elena Piotrovskaya ON A MANUSCRIPT ‘CONCERNING MATTERS RELIGIOUS AND MORAL’ FROM THE NIKOLAY LIKHACHEV COLLECTION IN THE ARCHIVE OF THE ST PETERSBURG INSTITUTE OF HISTORY, RUSSIAN ACADEMY OF SCIENCES The subject of this study is Code 491 (eighteenth century) from the Russian part of the Nikolay Likhachev collection currently held by the Archive of the St Petersburg Institute of History, Russian Academy of Sciences. The manuscript consists of handwritten excerpts from translations of 'The Great Mirror’ and 'The Most Radiant Star’ and a text, with engravings by Simeon Simonovic and Hristofor Zefarovic, of a description of Jerusalem. Our preliminary observations show that Code 491 is a unique phenomenon in the history of book and printed Slavic-Russian publications on the Holy Land and Palestinian topography. The study is based on the conceptual foundations developed by Socrates Klepikov, Oleg Khromov and Natella Topuriya, who made an invaluable contribution to the investigation of this this cultural and historical tradition. Translated by Natalia Magnes Anna Jerusalimskaja YAKOV IVANOVICH SMIRNOV IN THE CAUCASUS This is the first study presenting a huge contribution of the leading scholar Yakov Ivanovich Smirnov to the archaeology of the ancient and medieval Caucasus. This theme is relatively little known, through it appears to be one of the essentials of his great academic heritage. The article is based on archival materials, some of which are held by the Hermitage Museum: notably photographs printed from Smirnov’s original negatives and his draft inven- tory records (published here for the first time), where a whole number of new interesting facts have been found. Curator of the Caucasian collections once sorted and studied by Smirnov, the author of the article finds these materials to be particularly important. The article is another call for publication of the archival materials left after the untimely passing of this unique researcher. Translated by Anna Jerusalimskaja 538 SUMMARIES Arseny Sokolov ON THE PROBLEM OF ‘BYZANTINE MODEL’ OF RELATIONS BETWEEN THE STATE AND THE ORTHODOX CHURCH IN RUSSIA ON THE EVE OF 1917: THE STATE PARISH SAVINGS BANKS Relations between die State and the Orthodox Church on the eve of the 1917 Revolution is often described by the term ‘Byzantine model’, whereby state and church institutions and their functions were closely intertwined. Often the clergy executed purely secular tasks, which was in conflict with the Church’s mission. One of the best examples of that was the establishment of state parish savings banks in 1916. Translated by Arseny Sokolov Yulia Yancharkova THE KONDAKOV ARCHAEOLOGICAL INSTITUTE IN PRAGUE DURING WORLD WAR II. THE MAKING OF THE COLLECTIONS The Archaeological Institute named after Nikodim Kondakov operated in Prague throughout the German Protectorate period from 1939 to 1945, amassing collections of icons, cast metal crosses, fabrics, coins and ancient books. The article investigates the purpose of the collections, their destinies and sources from which the artefacts were acquired. The study also examines the funding sources used by the Institute to procure art works and analyses other issues pertain- ing to the Institute’s material wealth that started to grow in 1942 owing to the mass production and sale of icon replicas, most of which were not intended for Czech or German consumers. The authors try to establish the buyers of the numerous high-quality wooden icons printed by the Kondakov Institute. Translated by Natalia Magnes Vera Zalesskaya and Yury Pyatnitsky ABOUT REVIEW AS SCIENTIFIC SUBJECT About Review as Scientific Subject (Some Remarks on Audrey Vinogradov’s Publication m Viz an try sky Vremennik. 2009. Vol. 68 (93). P. 243—249) In the article written by the epigraphist Andrey Vinogradov he examines two editions of the State Hermitage: the catalogue of the temporary exhibition (2000) ‘Sinai, Byzantium and Russia’ and the catalogue collection ‘Monuments of Byzantine Applied Arts 4th - 7th Centuries’ (2006). We, the authors of these two editions (Vera Zalesskaya and Yury Pyatnitsky), consider it our duty to express our attitude, on the one hand, to the unproved accusation of non-correct transla- tion of the Greek and Latin inscriptions, and, on the other, to demonstrate the incompetence of the reviewer himself both in material paleography and in the contemporary state of some historical events (for instance, the history of Great Bulgaria in the seventh century). The review is written in the language unbecoming in academic society and is abound in incor- rect and boorish expressions. Translated by 1Vera Zalesskaya and Yury Pyatnitsky
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genre	(DE-588)1071861417 Konferenzschrift 2013 Sankt Petersburg gnd-content (DE-588)4016928-5 Festschrift 2017 Sankt Petersburg gnd-content
genre_facet	Konferenzschrift 2013 Sankt Petersburg Festschrift 2017 Sankt Petersburg
geographic	Byzantinisches Reich (DE-588)4009256-2 gnd
geographic_facet	Byzantinisches Reich
id	DE-604.BV045157659
illustrated	Illustrated
indexdate	2024-11-19T13:04:29Z
institution	BVB
institution_GND	(DE-588)1096529998 (DE-588)2124053-X
isbn	9785935727512
issn	1403480-3
language	Russian
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-030547220
oclc_num	1050940665
open_access_boolean
owner	DE-Y2 DE-255 DE-12
owner_facet	DE-Y2 DE-255 DE-12
physical	543 Seiten, 1 Faltblatt Illustrationen, Pläne (schwarz-weiß), 1 Faltblatt (farbig)
psigel	gbd_0
publishDate	2017
publishDateSearch	2017
publishDateSort	2017
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 2017 543 Seiten, 1 Faltblatt Illustrationen, Pläne (schwarz-weiß), 1 Faltblatt (farbig) txt rdacontent n rdamedia nc rdacarrier 880-08 Trudy Gosudarstvennogo Ėrmitaža 89 1403480-3 Text russisch, Zusammenfassungen der einzelnen Beiträge und Inhaltsverzeichnis auch 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 (DE-588)4016928-5 Festschrift 2017 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 Vladimirovna ca. 20./21. Jh. (DE-588)1159264198 edt 880-03 Bank, Alisa Vladimirovna 1906-1984 (DE-588)139624066 hnr 880-05 Gosudarstvennyj Ėrmitaž (DE-588)2124053-X isb Trudy Gosudarstvennogo Ėrmitaža 89 (DE-604)BV011847213 89 Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030547220&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030547220&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030547220&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract 700-01/(N Залесская, Вера Николаевна edt 700-02/(N Степанова, Елена Владимировна edt 700-03/(N Банк, Алиса Владимировна 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 2017 490-08/(N Труды Государственного Эрмитажа 89
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 (DE-588)4016928-5
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 Festschrift 2017 Sankt Petersburg
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030547220&sequence=000004&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=030547220&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030547220&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA
volume_link	(DE-604)BV011847213
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